拟山园帖.10卷.王铎书.王无咎集.吕昌摹.张翱镌.清顺治16年拓本
王铎《拟山园帖》，共十卷，清代个人丛帖。清顺治八年至十六年（1651-1659年）王铎次子王无咎撰集，吕昌摹，张翱镌。此帖全刻王铎一家之书，共103种，计18000余字，内容多为临前人帖、跋、碑铭，兼有少量自撰诗文等。原石现存河南孟津王铎故居。
《拟山园帖》收录了王铎52岁至60岁时的力作，是王铎临古出新臻熟的阶段，更是其书法拟古功力的最好体现。清龚鼎孽跋语称：“文安公书法妙天下，真得晋人三昧，寸缣尺号海内，宝为拱璧。”清郭尚先云：“观《拟山园帖》，乃知孟津相国于古法耽玩之功”。
王铎(1592-1652年)，字觉斯(之)，号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，祖籍平阳府洪洞县(今山西省洪洞县)。明朝万历二十年(1592年)，生于河南孟津县。天启二年(1622年)考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年(1644年)，跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年(1652年)病逝，享年61岁，安葬于河南巩义县洛河边，谥号“文安”。
《拟山园帖》为王无咨收其父王铎精品墨迹，刻工亦一时名手，用石90方（每块长87公分、宽25公分），历时8年，于顺治十六年（1659）五月完成。此帖按“天干”顺序分十册，隶、楷、行、草诸体兼备，无不精妙，是不可多得的艺术珍品，也是我国最早一部拟诸家书法遗迹的个人丛帖。
王铎学书不仅以二王之法为正统，且广泛博取其他诸家法帖， 《拟山园帖》中不仅有二王踪迹，且还有颜柳、欧虞、褚李、薛裴、徐贺等的影子，用以滋养和丰富自己。
张缙彦跋《拟山园帖》云：“文安公书法妙天下，藉茅太史括所藏书及墨苑家所流传汇集此本，有缺略模糊必求别本正字补之，备极龙跃虎卧攫象搏之致，文安四十年精力尽在此矣。”
沙孟海《近三百年书学》说王铎：“一生吃着二王法帖，天分又高，功力又深，结果居然能得其正传，矫正赵孟、董其昌的末流之失，在于明季，可说是书学界的‘中兴之主’了。他的作品，固然流传很多，我们只要翻开他那部《拟山园帖》，就可以概见他这副优越的本领。”
从《拟山园帖》中可看出王铎的楷书，其小楷则出自钟王，大楷则有颜柳之风，用笔凝实而不失刚劲，楷法严整又富于意趣；其隶书则从《礼器》、《曹全》等汉碑而来，用笔方中兼圆，体势疏朗舒展，清人翁方纲评其：“作隶书却不工，然自有拔俗之气，知其平日未尝染指开元以后八分也。”
艺术成就最高的当然是其行草书，其字态俯仰顾盼，无一字正，却无一字不正，布局疏密开合，纵横得势，用笔刚劲老辣，沉着痛快，气势雄浑，险绝苍健。
清代书法家梁巘《评书帖》云王铎：“书得执笔法，学米南宫之苍老劲健，全以力胜。”
晚清、民国书法家吴昌硕评说：“文安健笔蟠蛟璃，有明书法推第一。”
马宗霍《霎岳楼笔谈》评：“明人草书，无不纵而取势者，觉斯则纵而能敛，故不极势而势若不近，非力有余，未易语此。”
书法家林散之说：“觉斯(王铎)书法出于大王，而浸淫李北海，自唐怀素后第一人，然尽变右军之书法，而独辟门户，纵横挥霍，不主故常。”
启功在自己的《论书绝句》里，则借倪云林之语“王侯笔力能抗鼎，五百年来无此君。 ”来称赞王铎书法笔力、体势之悍。
Xiangshan Garden Calligraphy, Volume 10, Wang Duo’s Book, Wang Wujiu Collection, Lv Changmo, Zhang Ao Inscription, Rubbings in the 16th year of the Shunzhi reign of the Qing Dynasty

Wang Duo’s “Imitating Mountain Garden Calligraphy” consists of ten volumes, which were compiled by individuals during the Qing Dynasty. Compiled by Wang Wujiu, the second son of Wang Duo, from the eighth to sixteenth years of the Shunzhi reign of the Qing Dynasty (1651-1659), copied by Lv Chang and engraved by Zhang Ao. This post is entirely engraved with the books of the Wang Duo family, consisting of 103 types and over 18000 words. The content is mainly composed of previous postscripts, postscripts, and inscriptions, as well as a small amount of self written poetry and prose. The original stone still exists in the former residence of Wang Duo in Mengjin, Henan.

The “Imitating Mountain Garden Calligraphy” includes Wang Duo’s masterpieces from the ages of 52 to 60, which is a new and mature stage for Wang Duo to emerge from ancient times and the best embodiment of his calligraphy skills in imitating ancient times. In the postscript of the Qing Gong Ding, it was said: “The calligraphy of Duke Wen’an is exquisite in the world, truly surpassing the Samadhi of the Jin people. His feet are called the sea, and his treasures are arched walls.

Wang Duo (1592-1652), also known as Jue Si (Zhi), was known as Shi Qiao, Song Qiao, Chi An, Chi Xian Taoist, and Yantan Fisherman. His ancestral home was Hongdong County, Pingyang Prefecture (now Hongdong County, Shanxi Province). Born in Mengjin County, Henan Province in the 20th year of the Wanli reign of the Ming Dynasty (1592). In the second year of the Tianqi reign (1622), he passed the imperial examination and was selected as a concubine. He served as the Crown Prince Zuo Yude, the Crown Prince Right concubine, the Crown Prince Zhan Shi, and the Minister of Rites in Nanjing. The Hongguang regime was established and he was appointed as the Grand Master of Dongge. In the first year of Shunzhi (1644), he surrendered to the Qing Dynasty with Qian Qianyi and was awarded the title of Minister of Rites, Bachelor of Hongwen Academy, and Crown Prince Shaobao. In the ninth year of the Shunzhi reign (1652), he passed away at the age of 61 and was buried by the Luohe River in Gongyi County, Henan Province, with the posthumous title “Wen’an”.

The “Imitating Mountain Garden Calligraphy” is a masterpiece of Wang Wuzi’s father Wang Duo’s ink, and the carving technique was also a famous hand at that time. It used 90 square meters of stone (each 87 centimeters long and 25 centimeters wide) and lasted for 8 years. It was completed in May of the 16th year of the Shunzhi reign (1659). This post is divided into ten volumes in the order of “Heavenly Stems”, with a combination of official script, regular script, line script, and grass script, all of which are exquisite. It is a rare artistic treasure and also the earliest personal collection of calligraphy relics from various schools in China.

Wang Duoxue’s book not only takes the teachings of the Two Kings as the orthodox, but also extensively draws on other Buddhist scriptures. In the “Imitating Mountain Garden Calligraphy”, there are not only traces of the Two Kings, but also shadows of Yan Liu, Ouyu, Chu Li, Xue Pei, Xu He, and others, used to nourish and enrich oneself.

Zhang Jinyan’s postscript “Imitating Mountain Garden Calligraphy” states: “The calligraphy of Duke Wen’an is wonderful in the world. This book was collected by Mao Taishi Kuo and passed down by the Moyuan family, and if there are any shortcomings or blurriness, it is necessary to ask for a different version to be supplemented with correct characters. It is prepared for the extreme dragon leaping and tiger lying down, grabbing the elephant and fighting. Wen’an’s forty years of energy have been spent here

Sha Menghai’s “Nearly Three Hundred Years of Calligraphy” said that Wang Duo: “Throughout his life, he ate the Two Kings’ Calligraphy, with high talent and deep skills. As a result, he was able to obtain his authentic teachings and correct the last mistakes of Zhao Meng and Dong Qichang in the Ming Dynasty. He can be said to be the ‘master of the revival’ in the field of calligraphy. His works have indeed been widely circulated, and we can only open his” Imitating Mountain Garden Calligraphy “to see his superior skills

From the “Imitating the Mountain Garden Calligraphy”, it can be seen that Wang Duo’s regular script, with small regular script originating from King Zhong and large regular script having the style of a willow with a firm and vigorous brush, is rigorous and full of interest; The official script is derived from Han steles such as “Rites” and “Cao Quan”. The strokes are both square and round, and the body is sparse and graceful. The Qing Dynasty scholar Weng Fanggang commented on it: “Although he wrote official script, he did not work, but he had a tendency to break free from vulgarity. He knew that he had never touched the eight points after the Kaiyuan era

The highest artistic achievement is of course its cursive script, which has a posture of looking up and looking up, with neither a single word being correct nor a single word being incorrect. Its layout is dense and open, with both vertical and horizontal strokes being powerful, and its strokes are vigorous and lively, calm and cheerful, with a powerful and vigorous momentum, and it is extremely dangerous and vigorous.

The Qing Dynasty calligrapher Liang Hui wrote in his “Book Commentary” that Wang Duo said, “A person who writes a book must learn the technique of writing, and learn from the old and vigorous Minan Palace, all with strength

Wu Changshuo, a calligrapher of the late Qing and Republic of China, commented, “Wen An has a strong pen and a dragon glass, and Ming calligraphy ranks first

Ma Zonghuo’s Commentary on the Essay of the Sayue Tower: “In the cursive script of the Ming Dynasty, there are always those who take the power vertically, while those who perceive the power vertically can gather it. Therefore, if the power is not extremely strong and the power is not close, there is not enough strength, and it is not easy to say this

Calligrapher Lin Sanzhi said, “The calligraphy of Jue Si (Wang Duo) originated from the great king and was immersed in Li Beihai. He was the first person since Tang Huaisu, but he completely transformed into the calligraphy of the Right Army. He opened his own door, freely and recklessly squandered, and was not accustomed to it

Qigong praised Wang Duo’s calligraphy skills and physique in his own “On the Jue Jue of the Book” by borrowing Ni Yunlin’s words, “The power of a prince’s pen can resist a tripod, and there has been no such ruler for five hundred years.

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