王琦為"珠山八友"之首，生于1884年，卒于1937年，享年53歲。其初以捏面人為生，后向鄧碧珊學畫瓷板肖像。先以錢慧安仕女畫為藍本，后改學"揚州八怪"之一的黃慎，晚年的作品開始擺脫錢慧安和黃慎的影子，在繼承中有了自己的特征，以寫意人物畫見長。
王琦傳世之作較多，主要是人物畫。1928年以前，其人物畫的風貌中叮以看出學錢慧安的影子;后來學黃慎的筆墨技法，并逐漸脫離前人窠臼形成自己的風格。王氏尤其善神道人物和古典人物，贗品也以此類為多。從王氏人物畫的筆墨特點來看，主要有以下幾個特點:
Wang Qi was born in 1884 and died in 1937 at the age of 53. He made a living by kneading people's faces, and later learned to paint porcelain plate portraits from Deng Bishan. Based on the paintings of Lady Qian Hui'an, Huang Shen, one of the eight eccentrics of Yangzhou, began to cast off the shadows of Qian Hui'an and Huang Shen in his later years. Wang Qi handed down more, mainly figure painting. Before 1928, the style of his figure painting reflected that of Qian Hui'an; later, he learned the techniques of Huang Shen's brush and ink, and gradually broke away from the pattern of predecessors to form his own style. Wang is especially good at shinto figures and classical figures, and fakes are more common. From the Wang figure painting brush and ink features, there are the following main features:
一是王琦的人物畫在乾隆粉彩的基礎上，結合自己早年畫瓷像的技藝，又吸收西洋畫法，人物頭部刻畫細膩，以西畫手法描繪人物臉部，明暗關系清晰，神情捕捉準確，光影富于變化，有西洋繪畫暈染技法，立體感強，被后世稱為"西畫頭子"。而模仿者往往是略加暈染，缺少細膩;稍有光影變化，但明暗層次不足;人物缺少神1青，若表情生硬的瓷上肖像畫。
二是王琦的人物畫，勾線用筆老辣，頓挫有力，衣紋虬結生姿，剛中有柔，整而不亂，介乎于中國傳統減筆描與枯柴描之間，衣衫的表現以中鋒用筆，有黃慎恣縱的筆意，線條簡略流暢，準確凝練，遒勁有力盡顯精神，有以草書入畫的放達和力度。尤其中鋒用筆，線條放達而又疏松，比黃慎的線條更有力度，也更概括，并能在黃慎的基礎上白成一格，做到運筆疏松卻又結構緊湊，線條捭閻卻又抑揚頓挫。而模仿品勾線生硬，運筆的頓挫之態做作，筆力柔弱，線條零亂，不能較好地體現人物結構。
從王琦人物畫的設色來看也有幾個特點:一是早年作品設色細膩，渲染層次豐富，有瓷像畫的微妙變化;二是既注重色彩的冷暖搭配，又不求濃重艷麗，具微茫之感;三是以干筆皴描人物的衣袍，輕敷淡染，層次豐富，并常用點虱之法補充層次。而模仿品設色平板，少陰陽層次變化，特別是染色之后的點虱之法，不隨陰陽層次而變，徒有形式，不得要領。
First, Wang Qi's figure painting is based on the dry long pastel painting, combined with his skills in painting porcelain portraits in his early years, and absorbed western painting techniques. The head of the figure is depicted delicately, and the figure's face is depicted with western painting techniques. The light-dark relationship is clear and the expression is captured accurately, light and shadow rich in change, there are western painting Halo Dyeing Techniques, three-dimensional sense is strong, was later known as the "head of Western painting. ". And the imitator is often a little faint, lack of delicacy; a little light and shadow changes, but the level of light and shade is insufficient; the character is lack of Shen 1 Qing, if the expression of hard porcelain portrait. The second is Wang Qi's figure painting, the outline of the line with the pen is old and craggy, the strokes and strokes are strong and strong, the lines and veins of the clothes are knotted, the hardness is soft, the neatness is not disorderly, and it lies between the traditional Chinese brush-cutting and dry-wood brush-drawing, the clothes and shirts are written by the center with the pen, with the pen meaning of yellow carefully indulging, the lines are simple and smooth, precise and concise, powerful and full of spirit. There is the expressiveness and strength of drawing with cursive script. In particular, the center of the pen, lines and loose, more powerful than Huang Shen's lines, but also more general, and can be in Huang Shen on the basis of a blank space, do the pen and loose but compact structure, the lines of the sun but also cadence. And Imitate Product Hook Line is blunt, the state of stroke and contusion is affected, the pen force is weak, the line is messy, can not better reflect the character structure. From the perspective of the Color Design of Wang Qi's figure painting, there are also several characteristics: first, the early works with delicate color design, rich levels of rendering, there are subtle changes in porcelain painting; Third, dry brush to depict the characters of clothing, light, rich layers, and often use the method of lice to add layers. And imitation product design color plate, less yin-yang level changes, especially after dyeing the method of Point Lice, not with yin-yang level and change, only form, not the point.
另外在鑒定王琦作品時，從其書法的筆墨特點人手，也是十分關鍵的。王琦以草書題畫，個人風格甚強，而且沒有他人代書款的現象，因此書法是鑒別王琦作品的重要依據之一。民國初年的老仿品，大都無意去模仿其書法，有的仿品盡管各方面摹造得都很像，但書法多是離題萬里。現代仿品很注意書法的模仿，并有專門題寫王琦書體之人，但深研細究也只有其形，不得其骨。
In addition, when appraising Wang Qi's works, it is also very important to draw from the character of his calligraphy. Wang Qi to cursive calligraphy painting, personal style is very strong, and there is no other section of the phenomenon, so calligraphy is one of the important basis to identify Wang Qi works. In the early years of the Republic of China, most of the old imitation, have no intention to imitate its calligraphy, some imitation, although all aspects of imitation are very similar, but the calligraphy is far from the point. Modern Imitations pay attention to the imitation of calligraphy, and there is a special subject written Wang Qi calligraphy style, but in-depth study only its shape, not its bone.
