明代画论是明代画家对绘画创作的理论总结,也影响了明代绘画实践。董其昌的南北宗说旨在倡导文人画,对于后世影响深远。王履“吾师心,心师目,目师华山”的论断,则是承传“师造化”理论,在明初画坛甚为可贵。何良俊把画家分为正派、院体、利家、行家等类别,是对明代画家人品画风的理论阐释。朱谋垔《画史会要》对于自宋至明不少不知名画家事迹及题画诗的记载,具有重要的史料和学术价值。 The theory of painting in the Ming Dynasty was a summary of the theory of painter in the Ming Dynasty and also affected the practice of painting in the Ming Dynasty. Dong Qichang’s North-South case aims to advocate literati painting, far-reaching impact on future generations. Wang Lu “My teacher heart, heart division, Head division Huashan ” argument, it is Cheng Chuan “division builds ” theory, in the early Ming Dynasty is very valuable. He Liangjun divides the painter into decent, courtyard, home, expert and other categories, is the Ming Dynasty painter character style theory interpretation. Zhu Mou 垔 “history of painting will be” for the many famous painter from the Song and Ming Dynasties painterly poems and historical records, has important historical and academic value.