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''Yuàntǐhuà'' was the chief style of academic or court painting in [[Song Dynasty]] China, and remained highly regarded and canonical into the [[Ming Dynasty|Ming]] and [[Qing Dynasty|Qing Dynasties]].

''Yuàntǐhuà'' was the chief style of academic or court painting in [[Song Dynasty]] China, and remained highly regarded and canonical into the [[Ming Dynasty|Ming]] and [[Qing Dynasty|Qing Dynasties]].

This style is most strongly associated with the Hanlin Painting Academy (翰林図画院, ''Hànlín túhuà yuàn''), a bureau within the [[Hanlin Academy]], the chief group of scholar-officials in service to the court. The court's maintenance of a set group of official court painters began in the [[Tang Dynasty]], but it was in the Song that this academy became truly set, and canonical, setting the foundations for what would be known as the "Northern School" and "Southern School" of Chinese painting through to today. The Northern School, epitomized by the period under [[Emperor Huizong]] (r. [[1101]]-[[1125]]) of the [[Northern Song Dynasty]], is known especially for its highly colorful and naturalistic [[birds and flowers paintings]], while the Southern School, developed under his son, [[Emperor Gaozong]] (r. [[1127]]-[[1162]]) of the [[Southern Song Dynasty]], is known for monochrome ink landscapes. Especially representative of Song dynasty Southern School landscapes are those of [[Ma Yuan]], [[Xia Gui]], and their followers, who employed large areas of void or negative space; thick, angular, outlines; and axe-cut texture effects on the rocks.

This style is most strongly associated with the Hanlin Painting Academy (翰林図画院, ''Hànlín túhuà yuàn''), a bureau within the [[Hanlin Academy]], the chief group of scholar-officials in service to the court. The court's maintenance of a set group of official court painters began in the [[Tang Dynasty]], but it was in the Song that this academy became truly set, and canonical, setting the foundations for what would be known as the "Northern School" and "Southern School" of Chinese painting through to today. The Northern School, epitomized by the period under [[Emperor Huizong]] (r. [[1101]]-[[1125]]) of the [[Northern Song Dynasty]], is known especially for its highly colorful and naturalistic [[birds and flowers paintings]], while the Southern School, developed under his son, [[Emperor Gaozong of Song|Emperor Gaozong]] (r. [[1127]]-[[1162]]) of the [[Southern Song Dynasty]], is known for monochrome ink landscapes. Especially representative of Song dynasty Southern School landscapes are those of [[Ma Yuan]], [[Xia Gui]], and their followers, who employed large areas of void or negative space; thick, angular, outlines; and axe-cut texture effects on the rocks.

The academic style lost favor and support in the [[Yuan Dynasty]], and all but died out, but was revived in the Ming. Members of the [[Zhe school]] of painting were particularly influential in this revival.

The academic style lost favor and support in the [[Yuan Dynasty]], and all but died out, but was revived in the Ming. Members of the [[Zhe school]] of painting were particularly influential in this revival.