讨论那些运用中国“浙派”风格进行绘画创作的朝鲜时代画家并不是一件容易的事情。其中一个最为重要的原因可能是由于“浙派”这样一个中国的画史概念与韩国朝鲜时代绘画本身所特有的文化和时代语境之间的不对等。在中国绘画史写作中,“浙派”被用来描述和解释出现于明朝初期这一特定时期所特有的绘画流派。在这一概念的指称中,有一套特别的描述和评判的框架来区分和说明这一时期出现在中国的、不同以往的新绘画倾向与风格。但是,当这套品评标准和表述框架被转用到韩国美术史中,用来指称那些运用中国“浙派”画风进行创作的画家的时候,我们便会发现,这 It is not an easy task to discuss the painters of the Joseon era who used the Chinese style of “Zhejiang School” to create paintings. One of the most important reasons for this may be due to the unequal relationship between the concept of Chinese painting such as “Zhe-faction” and the cultural and contemporary context unique to Korean-Korean painting itself. In the history of Chinese painting, “Zhepai ​​” was used to describe and explain the genre of painting that appeared in this particular period in the early Ming Dynasty. In the allegation of this concept, there is a special framework of description and judgment that distinguishes and explains the different trends and styles of new paintings that emerged in China during this period. However, when the set of evaluation criteria and presentation framework were transferred to the history of Korean art and used to refer to those painters who used the Chinese style of “Zhejiang School” to create works, we found that