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Paintings created by artists of the Painting Academy (established in the Five Dynasties, Song, Ming, and Qing dynasties, and officially named the Hanlin Painting Academy during the Song dynasty) which was an institution for producing paintings to meet the needs of the imperial court from the Tang dynasty onwards. Or paintings in that style (generally a realistic and detailed style). Also called Academy paintings. Many masterpieces were produced from the end of the Northern Song to the mid-Southern Song dynasty, and this period can be said to be the heyday of Academy style painting. Therefore, when people generally talk about Academy style painting, they often refer to paintings in the style of Academy style painting from the reign of Emperor Huizong (1100-1125) onwards at the end of the Northern Song dynasty and during the Southern Song dynasty. The Southern Song Painting Academy produced many outstanding painters, including Li Anzhong, Li Di, and Mao Yi, famous for their bird-and-flower paintings, and Li Tang, Yan Shiping, Liu Songnian, Ma Yuan, and Xia Gui, famous for their landscape paintings. The unique Academy style, which responded to the tastes of the imperial court, was first established by adopting the decorative style of Huang Quan's Huang style (coloring the subject with clear outlines) of bird-and-flower painting, known as the Huang style, but in the late Northern Song, it eventually evolved into a style that incorporated the Xu style's mokkotsu painting technique (capturing the subject only with the shades of ink). In landscape painting, the style of Li Cheng and Guo Xi, who painted a panoramic view of the whole of nature, was the representative style of the Northern Song Painting Academy. However, during the reign of Huizong, under his guidance, the Yuan-style landscape painting style was developed, which aimed to create a poetic mood by depicting only a corner of nature and arranging empathetic figures and scenery in the painting. This compositional method, in which the main scenery is painted close up in the lower half of the diagonal, was later called "Zanzan Josui" (Remaining Mountains and Water), or "Ma Yi Jia" (Ma's Corner) after Ma Yuan. After the Yuan and Ming dynasties, the Yuan-style style of painting fell into formalism and declined. In addition, a considerable amount of Song and Yuan painting was imported during the Northern and Southern Dynasties and Muromachi periods, and this Yuan-style painting had a great influence on the Japanese landscape painting world from the Oei period (1394-1428) onwards.

[Shinya Hoshiyama]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国唐代以降、宮廷の用に応ずる絵画制作の機関である画院（五代・宋(そう)・明(みん)・清(しん)の諸朝に設けられ、宋代の正式名は翰林図画院(かんりんとがいん)）の画家によって描かれた絵画。ないしはその様式（概して写実的で細密な画風）をもった画。院画ともいう。北宋末から南宋中期に傑作が多く、この時期が院体画の最盛期といえる。したがって一般に院体画といえば、北宋末の徽宗(きそう)朝（1100～1125）以後と南宋の院体画様式の画をさすことが多い。南宋の画院はことに優れた画家が輩出し、花鳥画では李安忠(りあんちゅう)、李迪(りてき)、毛益、山水画では李唐、閻次平(えんじへい)、劉松年(りゅうしょうねん)、馬遠(ばえん)、夏珪(かけい)などが名高い。宮廷趣味に応じた独特の院体様式は、初め花鳥画において、五代蜀(しょく)の黄筌(こうせん)の鉤勒填彩(こうろくてんさい)（対象の輪郭をはっきりとって彩色する）による装飾的な様式、いわゆる黄氏体(こうしたい)が採用されて成立したが、やがて北宋後期になると徐氏体の没骨(もっこつ)画法（墨の濃淡の調子のみで対象をとらえる）を融合した様式へと変遷していった。山水画では、大自然の全景を大観的に描く李成、郭煕(かくき)の画風が北宋画院を代表する様式であったが、徽宗朝に至って、徽宗の指導のもとに、自然の一角を取り出して描き、感情移入の可能な画中人物や点景物を配して、詩的情趣を出すことを目ざした院体山水画様式が育成された。対角線の下半分に主要景物を近接して描くこの構図法は、後世「残山剰水(ざんざんじょうすい)」、また馬遠の名にちなみ「馬一角(ばいっかく)」などとよばれた。元・明以後、院体画風は形式主義に陥り、衰退していった。なお、南北朝・室町時代には宋元画が少なからず輸入され、その院体画は応永(おうえい)期（1394～1428）以降の日本の山水画壇に大きな影響を与えている。

［星山晋也］

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