| In the history of Chinese ancient paintings, emperors of the Song dynasty had ever participated in painting and were in the direct involvement of norms to guide academic painters and paintings'development in the Royal Art Academy at that time. To begin with, the property of Art Academy is a sort of cultural system, showing for the Art Academy of the scale, structure and operational mechanism, etc., belongs to the "hardware" factors; secondly, it is concerned about another performance of Art Academy---"software" factors which can be divided into two levels. One is the major players of the Art Academy, who went to the Art Academy and engaged in painting activities under the auspices of the emperor; the other is the Art Academy's Painting style which was formed by the academic painters. As a whole, Art Academy, academic painters, academic paintings work together and are inseparable, reflecting the basic situation of the Song Dynasty painting.This paper focused on the eras of the emperor Hui-Zong and emperor Gao-Zong of the Song Dynasty, two fairly specific historical periods, combining with the historical and cultural background at that time. Starting from the occurrence, development and the basic profile of'Art Academy in two periods of Song Dynasty, it explores a lot of problems of the academy painters and paintings in an all-round way.Full-text is divided into three chapters. The first chapter explores the basic information of Art Academy of in periods of emperor Hui-Zong and emperor Gao-Zong of Song Dynasty, mainly including Art Academy's site and subordinating, functions and establishment, foundation of the educational system of Painting in emperor Hui-Zong dynasty and reconstruction in emperor Gao-Zong dynasty and so on.Especially, the art school system under the control of the Art Academy's system is an important educational model, including its establishment, subordinating and personnel settings, academic settings and teaching etc, which deserves attention and study. The second chapter studies the academic painters in periods of emperor Hui-Zong and emperor Gao-Zong of Song Dynasty. Academic painters'hiring came mainly from the previous generation left behind, recommendation of academy painters, emperor directly admission and examinations and so on. In addition, the two dynasties artist's promotion and transfer system are still not clear, although the prominent artists had been likely to receive promotion opportunities, but lacked the necessary supervision and restraint mechanisms. From the treatment point of view, thanks to the emperors who had paid great attention to paint and directly participated in Art Academy management, painters had enjoyed a higher courtesy. Especially in time of the emperor Gao-Zong dynasty, the treatment of painters had increased and the technician's status had also improved to some extent. Therefore, the painter's creativeness of two dynasties are well worth attention.The third chapter studies emperor Hui-Zong and emperor Gao-Zong dynasties'academic paintings. First, it conducts a more comprehensive analysis to the"xuanheti", the prevailing style in emperor Hui-Zong dynasty, such as the main theme and artistic characteristics. Second, new tendencies of the painting species have been summarized in emperor Gao-Zong dynasty, which consist of landscape painting, flower and bird painting, history painting, portrait and so on. Finally, we discuss the limitation of the "Academy" style. It over-emphasizes on the "shape" and "method" to make paintings'language seem monotonous and lack charm. Moreover, impacted by the favor of the emperor aesthetic, artistic personality has also been a certain degree of inhibition. |
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