應酬書法在王鐸傳世作品中佔有相當大的比例，幾乎每兩件作品中，就有一件是為應酬而寫的。對於應酬，王鐸的態度相當複雜：既希望藉此補貼家用，建立與維護人脈網絡；但有時因數量過大或被人催逼，不免心生厭煩。王鐸往往通過請求延期與拒絕部分應酬的方式，來保證書寫品質。

在一些特定的應酬場合中，圍觀的友人構成了獨特的環境，身臨其境，王鐸的表演情緒空前高漲，發揮出非凡的「造勢」才能，他通過對種種視覺元素的反差運用，製造強大的視覺衝擊力，以饜足觀眾對於作品形式的心理預期。

在中文語境中，「應酬」往往暗示著創作態度的敷衍與作品水準的低劣。然而，王鐸許多精彩的作品卻是應酬作品，而不是那些自娛的或是為家族收藏所書的作品。對於應酬與作品品質的關係，似不能一概而論。

Among Wang Duo’s extant calligraphies, almost half were made to fulfill social obligations. Wang’s attitude towards writing that is meant to satisfy social obligations was complex. On the one hand, he was willing to write calligraphy for financial gain and to expand and maintain his social network; on the other, he was sometimes annoyed at the pressure to deliver work. To preserve the quality of his output, he would postpone deliveries or refuse commissions.

On occasion, Wang Duo brushed calligraphy at social gatherings, where the presence of an audience created an atmosphere of keen anticipation and heightened his urge to perform. Wang possessed a keen sense of drama that made his energetic performances on these occasions memorable. Especially at gatherings like these, he made certain to include strong contrasts among the elements of his work to make a vivid visual impression on his expectant audience.

The phrase “artworks of social obligation” is often understood to refer to careless work executed in haste. These works are contrasted to those done for self-amusement or as personal gifts, circumstances customarily taken to be optimum for the production of good quality work. The body of Wang Duo’s output, however, includes many brilliant pieces that were made to meet social obligations. This suggests that our presumption of a direct relationship between artworks of social obligation and the quality of such works should be reconsidered.

王鐸; 應酬; 圍觀; 表演; 造勢

Wang Duo; social obligation; audience; performance