Ch:
yuantihua. Lit. academy style painting. A type of Chinese painting associated
with the Imperial Court Academy. Broadly speaking, the term may refer to the styles
of each Imperial Court Academy beginning with that of the Tang dynasty and continuing
through the Ming dynasty. More specifically, intaiga designates the Song
Academy style, perpetuated as a classic mode by later Chinese and Japanese artists.
Officially known as the Hanlin Tuhuayuan (Jp: Kanrin Togain 翰林図画院), the painting
academy, gain 画院 functioned as a separate bureau within the Hanlin Academy
(Ch: Hanlinyuan; Jp: Kanrin-in 翰林院), the group of scholars serving the court. Although the Hanlin
Academy was established in 738 during the reign of Emperor Xuansong (Jp: *Gensou 玄宗, 685-762), the term gain first was used in the mid-9c work MingLidaihuachi (Jp: REKIDAI MEIGAKI 歴代名画記) by Zhang Yenyuan (Jp: Chou Gen'en 張彦遠, 815?-after
874). Artisans had long been called to serve the government, but it is in the
Tang period that an academy of painters was first utilized to provide decoration
for the imperial court and government offices. The two most famous and influential
academies were the Northern Song painting academy under Emperor Huizong
(Jp: Kisou 徽宗, 1082-1135) and the Southern Song painting academy under Emperor
Gaozong(Jp: Kousou 高宗, 1107-87). The Northern Song academy created a highly colored
and naturalistic mode of rendering bird-and-flower subjects intai kachouga
院体花鳥画. The Southern Song academy style, dominated by the Li Tang (Jp: Ri Tou
李唐, act. early 12c) which influenced the landscapes of Ma Yuan (Jp: Ba En 馬遠, act.
late 12c-early 13c) and Xia Gui (Jp: Ka Kei 夏珪, act.1194-1224), became
a dominant force within Chinese and Japanese landscape painting. The academy style
of landscape painting intai sansuiga 院体山水画 features assymetrical
or one-corner composition *henkaku
no kei 辺角の景, emphasis on the void, thick, angular outlines, and axe-cut
texture strokes *fuhekishun
斧劈皴. In China, the academy style, nearly extinct during the Yuan dynasty, was
revitalized by the so-called Ming academy painters associated with the Zhe school,
Seppa 浙派.
Intaiga first entered Japan through imported Song paintings
including: Autumn and Winter Landscapes Shuutou sansui-zu 秋冬山水図 attributed
to Emperor Huizong, in Konchi-in 金地院, Kyoto; Landscapes Sansui-zu 山水図
attributed to Li Tang, Koutouin 高桐院, Kyoto; Oxen Shuuya bokugyuu-zu 秋野牧牛図
attributed to Yan Ciping (Jp: En Jihei 閻次平, act. late 12c), Sen'oku Hakkokan 泉屋博古館,
Kyoto; Ox and Herdboys Sekichuu kiboku-zu 雪中帰牧図 by Li Di (Jp: Ri
Teki 李迪, act. late 12c), Yamato Bunkakan 大和文華館, Nara; Snow Landscape Sekkei sansui-zu
雪景山水図 attributed to Liang Kai (Jp: Ryou Kai 梁楷, act. early 13c), Tokyo National
Museum; and numerous paintings attributed to Ma Yuan and Xia Guei. These works
and others served as models for much early Muromachi landscape painting, in particular
the Shoukokuji 相国寺 style associated with Shuubun 周文 (act. 15c). A second wave of
academy style painting entered Japan with the Zhe school and influenced the landscapes
of Sesshuu 雪舟 (1420-1501). The academy mode also formed the basis of the Kanou
style (see *Kanouha 狩野派)
which dominated Japanese landscape painting of the 16-17c. |
