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However, at the outset of the Ming Dynasty —the Hongwu emperor — decided to import the existing master painters to his court in Nanjing, where he had the ability to cultivate their styles to conform to the paintings of the Song masters.
The dominant style of the Ming court painters was called the Zhe School. However, following the ascension of the Yongle emperor —the capital was moved from Nanjing to Beijing, putting a dynasty distance between imperial influence and the city of Suzhou. These new conditions led to the 3gpking babe of the Wu School of painting, a somewhat styles style that revived the ideal of the inspired scholar-painters in Ming China.
The painting techniques that were invented and developed before the Ming period became classical during this period. More colors were used in painting during the Ming Dynasty; dynasty brown, for example, became much more widely used, and sometimes even over-used.
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Many new painting skills and techniques were innovated and developed, and calligraphy was much more closely and perfectly combined with the art of painting. Chinese painting reached another climax in the mid- to late-Ming Dynasty, when many new schools were born and many outstanding masters emerged. Painting techniques that were invented and developed before the Ming period became classical during this period. The painting schools of the Yuan Dynasty still heavily influenced early Ming painting, but new schools of painting were also styles. In particular, the Zhe School and the Yuanti School were the dominant schools during the early Ming period.
The painters of the Zhe School did not formulate a new distinctive style, preferring instead to further the style of the Southern Song and specializing in large and decorative paintings, most often of landscapes.
The school was identified by a formal, academic, and conservative outlook. The Yuanti School was organized and supported by the Ming central government to serve the Ming royal court.