王时敏（1592-1680），字逊之，号烟客，晚年又号西庐老人，他出生于江苏太仓的一个显赫家族。身为清初宫廷画风的主要代表，他与王翚、王鉴、王原祁一同形成了受皇室扶植的“四王”画派，这一画派的山水画风对整个清初艺术界产生了深远的影响。
王时敏的艺术生涯始于对宋元名迹的深入研究和摹仿。他的祖父王锡爵是明朝万历年间的相国，家中收藏丰富，尤其是宋元名迹，这为王时敏的艺术启蒙提供了得天独厚的条件。少年时期的王时敏在董其昌、陈继儒等前辈画家的指导下，开始了他的学画之路。他对黄公望的山水画特别倾心，刻苦钻研，力求追摹其神韵。
入清之后，王时敏选择隐居不仕，将全部精力投入到诗文、书法和绘画的创作中。他擅长山水画，尤其善于将古人的笔墨技巧融入自己的作品中。他的山水画作不仅展现了传统画法的精髓，更在摹古的过程中总结了前人在笔墨方面的丰富经验。在《西庐画跋》中，他对同派画家王翚的赞赏也体现了他对摹古逼真的艺术追求。
然而，王时敏的艺术道路并非一帆风顺。虽然他在摹古方面下了实实在在的功夫，甚至达到了逼真的地步，但也因此陷入了泥古之弊。他的作品虽然技艺高超，但往往缺乏真实的自然感受和对造化的真切体验。这一点在他的作品中表现得淋漓尽致，使得他的作品在一定程度上缺乏生动性和独创性。
尽管如此，王时敏对于绘画历史遗产的整理与研究仍然做出了重要贡献。他的摹古之作不仅是对前人艺术的传承，更是在传承中寻求创新，试图在古人的基础上形成自己的艺术风格。这种精神在某种程度上体现了中国传统艺术的精髓：既尊重传统，又不忘创新。
总的来说，王时敏是一位具有深厚艺术造诣的画家。他的作品虽然在一定程度上受到了摹古之弊的影响，但他对于传统画法的深入研究和总结仍然对中国传统艺术的发展产生了积极的影响。他的艺术生涯不仅是对个人才华的展现，更是对中国传统艺术精神的一种传承和发扬。
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临走前，“艺术名画”这些值得一读的美文还请您多多关注
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