“新安画派”定义之困境安徽人民出版社出版的《新安画派》一书,是目前对新安画派研究比较全面的一部著作。该书力图从政治背景、历史原因、地理环境、人文思想等方面来阐述新安画派的形成和流变。可是“新安画派”这个提法一开始就存在先天不足。这个困惑自然不仅限于新安画派,其他画派也是如此。与当代人刻意标榜某某画派不一样,古代的画派都是后人提出的。新安画派由张庚在《浦山论画》中首先提出:“新安自渐师以云林法见长,人多趋之,不失之结,即失之疏,是亦一派也。”《新安画派》中一书在引述了张庚的一些观点后认 “Xin’an School of Painting ” definition of the dilemma Anhui People’s Publishing House published “Xin’an School” a book, is currently on the Xin’an School of painting a more comprehensive study. The book attempts to elaborate from the political background, historical reasons, geographical environment, humanistic thinking and other aspects of the formation of the New School and rhetoric. However, “Xin’an School School ” This formulation has inherent deficiencies at the outset. This puzzled nature is not limited to the Xinan School, as is the other schools. Unlike the contemporary one who flaunts a certain school of painting, the ancient school of painting was posed by future generations. The Xin’an School of Painting was first proposed by Zhang Geng in “Pushan’s Theory of Painting”: “The Xin’an self-taught teacher learned from Yunlin Law that many people tend to go without losing the knot, The book ”Xin’an School of Painting" was quoted after quoting Zhang’s views