Zhejiang School - Seppa

A school of painting centered on professional painters in the Ming Dynasty in China. Zhejiang refers to Zhejiang in the southeast, and since Dai Jin, who is considered to be the founder of this school, was born in Qiantang (Hangzhou, Zhejiang Province), and many of the school's painters were from Zhejiang, it was called this in contrast to the Wu school, which was centered in Jiangsu Province in the east of China at the same time. However, the painters' birthplaces and social status were diverse, and the style of painting was quite broad. The style is a mixture of Southern Song Courtyard painting and the Yuan Dynasty Li and Guo painting styles, with the addition of the rough ink painting technique that is a local style of Zhejiang, and common characteristics include rough brushstrokes, contrast between black surfaces and white space, and emphasis on rhythmic movement. When Dai Jin entered the Painting Academy, this style became the predominant style in Painting Academy painting, and as time went on, this characteristic became more pronounced, and at the same time, it spread from Zhejiang and Fujian to Jiangsu, Guangdong, Hubei, and other places, influencing artists outside of the mainstream, but eventually ceded dominance to Wu school literati painting. Representative painters include Dai Jin in the early period, Wu Wei in the middle period, Zhang Lu and Jiang Song in the later period, and Lan Ying. Zhang Lu and other Zhejiang school painters were criticized by literati critics such as He Liangjun (1506-73) as "crazy and evil learning," but they pursued the possibilities of the Zhejiang ink painting style with their skilled painting techniques, and each of them created their own unique style.

[Shinya Hoshiyama]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国、明(みん)代の職業画家を中心とする画派。浙は東南部の浙江(せっこう)をさし、この派の祖とされた戴進(たいしん)の出身地が銭塘(せんとう)（浙江省杭州(こうしゅう)）であること、また浙江出身の画家が多かったことから、同時期に東部の江蘇(こうそ)省を中心とした呉派に対してこう称された。しかし、画家の出身地、身分などはさまざまで、画風もかなり幅が広い。その様式は南宋(なんそう)院体画に元(げん)代の李(り)・郭(かく)画風が混じり、そこに浙江の地方様式である粗放な水墨画法が加わったもので、この粗放な筆墨、黒面と余白の対比や律動感の強調などが共通する特徴である。戴進が画院に入るとともに画院絵画の主要な様式となり、時代が下るにしたがいこの特徴が著しくなり、同時に浙江、福建から江蘇、広東(カントン)、湖北などへと拡大して在野の画家にも影響が及んだが、やがて呉派文人画にその優位を譲った。代表的画家には初期の戴進、中期に呉偉(ごい)、後期に張路(ちょうろ)、蒋嵩(しょうすう)らがおり、藍瑛(らんえい)に至っている。張路以下浙派系の画家は、何良俊(かりょうしゅん)（1506―73）ら文人批評家から「狂態邪学」と非難されたが、熟練した画技で浙江水墨画様式の可能性を追求し、各自個性的な作風を打ち出している。

［星山晋也］

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