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画史上的浙派,是指以明中期(偏前期)钱塘戴进为代表的一个画派。但论画风,并不限于浙江籍的画家,如湖北江夏和宫廷锦农卫中的不少职业画工,均属干这一派系。而专就地域而论,则这一路画风一直笼罩着浙江(以杭州为中心)的画坛,最典型的便是明末清初的武林派,包括稍前的徐渭大写意花卉画。历史上浙派画风的基本特色,大体上有两点值得注意。一是笔墨粗硬刚烈,从好的一面讲,是有气势,从不好的一面讲,便是粗野,狂放,缺少含蓄蕴藉,甚至沦为野狐禅。这一作风的形成,当与浙江的水土地理条件有密切的关系。试与苏州地区的吴门画派相比较,俗话说“杭铁头,苏空头”,又说“宁愿与苏州人相骂,不愿与宁波
Painting the history of the Zhejiang school, refers to the mid-Ming (partial) Qiantang Dai Jin represented a school of painting. However, the style of painting is not limited to painters of Zhejiang nationality. For example, many professional painters in Hubei Jiangxia and Gongjinjinwei are all factions. And specifically on the geographical terms, then this way has been shrouded in style all over Zhejiang (Hangzhou as the center) of the painting, the most typical is the Ming and Qing martial arts faction, including the previous Xu Wei Da freehand flower painting. Historically, the basic characteristics of Zhejiang style of painting, there are basically two points worth noting. On the one hand, it is an imposing manner. On the other hand, it is crude, wild, lacking of implied meanings and even becoming a wild fox. The formation of this style, when the land and water conditions in Zhejiang are closely related. Trying to compare with the Wu-Men School in Suzhou, the saying goes, “Hangtou in Hangzhou and in the head in the Soviet Union,” and say “preferring to scold people in Suzhou rather than Ningbo.”