一明清画评中的“浙派”概念如果按明末画论的立场,那么所谓“浙派”,就是指继承浙江出身的画家戴文进的画派。但人们不是以戴文进的出生地钱塘、杭城来命名,称之为“钱塘派”或“杭派”,而是称其为“浙派”,这无疑是为了与“吴派”绘画相区别而已。浙、吴两地的对抗意识是强烈的。在明代画派中,吴地的文人画家处处显示出一种对浙江的职业画家的优越感。然而“浙派”画家中包括山水、花卉、人物画家。若以吴派画家为文人画家,即南宗画家,那么“浙派”画家就成了北宗画家。因此我们在讨论吴、浙两派画风时,就只能 In the painting and calligraphy of Ming and Qing Dynasties, if the concept of “Zhepai” in the Ming Dynasty is based on the theory of painting in the late Ming Dynasty, the so-called “Zhepai” refers to the school of painting Dai Wenjin, who inherited the origin of Zhejiang. But instead of referring to Dai Wenjin’s birthplace of Qiantang and Hangzhou as “Qiantang School,” or “Hangpai School,” people call it the “Zhepai ​​School,” which undoubtedly is different from “Wupai” paintings . Zhejiang and Wu confrontation is strong. In the Ming dynasty, Wu’s literati painters showed a sense of superiority to professional painters in Zhejiang. However, “Zhepai” painters include landscapes, flowers, figure painters. If Wu painters as literati artists, that is, South painter, then “Zhepai” painter became Northern painter. Therefore, when we discuss the styles of Wu and Zhe, we can only do so