académica
Explanation:
El estilo de la pintura académica...
In Ming painting, the traditions of both the Southern Song painting academy and the Yuan (1279–1368) scholar-artist were developed further. While the Zhe (Zhejiang Province) school of painters carried on the descriptive, ink-wash style of the Southern Song with great technical virtuosity, the Wu (Suzhou) school explored the expressive calligraphic styles of Yuan scholar-painters emphasizing restraint and self-cultivation. In Ming scholar-painting, as in calligraphy, each form is built up of a recognized set of brushstrokes, yet the execution of these forms is, each time, a unique personal performance. Valuing the presence of personality in a work over mere technical skill, the Ming scholar-painter aimed for mastery of performance rather than laborious craftsmanship.
scholar
SYLLABICATION:
schol·ar
PRONUNCIATION:
sklr
NOUN:
1a. A learned person. b. A specialist in a given branch of knowledge: a classical scholar. 2. One who attends school or studies with a teacher; a student. 3. A student who holds or has held a particular scholarship.
ETYMOLOGY:
Middle English scoler, from Old French escolerand from Old English scolere, both from Medieval Latin scholris, from Late Latin, of a school, from Latin scola, schola, school. See school1.
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20 mins confidence:  see answer
Explanation:
en china no es el estilo de los academicos, es el estilo de los pintores independientes
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Note added at 5 hrs 27 mins (2003-11-09 19:44:20 GMT)
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scholar painting style=el estilo de los pintores independientes. scholar=en arte de china es el pintor independiente
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Note added at 5 hrs 45 mins (2003-11-09 20:01:46 GMT)
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The Scholar\'s Tradition Gallery includes objects from China, Japan, and Korea that are associated with an educated class of connoisseurs and intellectuals who prized freedom of personal expression. The paintings, calligraphy, and writing implements in a scholar’s collection reflected his discriminating taste, educational background, and moral character. Chinese scholars owned carved seals to stamp their paintings, books, and documents; they kept their seals in specially designed chests. In the 1700s and 1800s, a number of Japanese artists adopted the ideals of Chinese scholar-painters, studying and interpreting Chinese styles and techniques and painting landscapes inspired by Chinese images.
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Note added at 6 hrs 6 mins (2003-11-09 20:23:05 GMT)
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http://www.nytimes.com/fodors/fdrs_feat_24_2.html
In late medieval times, with the Northern Song (10th-12th centuries) period, scholar officials came to dominate Chinese society through their unique social status and the perquisites of rank they enjoyed. They created their own arts for personal expression and relaxation. Calligraphy was preeminent, but painting, garden design, the collecting of antiquities and of objects for the scholar\'s studio were also significant. Modern-day museums display much calligraphy and painting by scholar artists (\"literati,\" wenren) - men like Ni Zan, Shen Zhou, or Dong Qichang who were self-styled amateurs in the sense that they did not obtain their social identity through their artistic skills.
Several museums dedicated to individual artists have been established in recent years, usually at their native place. Garden design of the Ming and Qing is also largely a scholar\'s taste, designed to engage all the senses and to be savored in different ways at all times of the day and year. The many fine gardens in cities like Suzhou, Yangzhou,Nanjing, Hangzhou, and Shanghai were aped by imperial patrons in Beijing (as at Bei Hai and the Summer Palace). Idealized views of the Chinese past derived from the exquisitely harmonized settings of scholar\'s gardens (as in the 18th-century novel, The Dream of the Red Chamber) should be taken with the proverbial grain of salt. Only a small percentage of the population actually lived in such idyllic precincts.
| Kika Capretti
Local time: 23:18
Native speaker of:  Italian
PRO pts in pair: 4
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21 hrs confidence:  estilo de pintura tradicional
Explanation:
estilo de pintura tradicional (china)
Me parece que en la cultura china el término “pintura tradicional” es +/- equivalente a lo que en la cultura occidental se denomina “pintura académica”.
Por otra parte, el concepto “pintura académica” se llama en inglés “academic painting”, no “scholar painting”.
Saludos cordiales,
Manuel
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Academic Art, in the first instance, academic art refers to the art of the academies. However, it may also be used as a stylistic descriptor of the >genre of >history painting, that is painting which portrayed subjects drawn from classical antiquity or the Bible in the >grand manner. In the C20 it has come to mean, not entirely justly, technically accomplished but otherwise arid and outmoded narrative painting.
Those who professed the style with most conviction, such as Sir Joshua >Reynolds in his Discourses, or J-A-D Ingres, frequently failed to translate the generalized rhetoric of their pronouncements into concrete particulars which students would be able to assimilate. Behind academic painting lies the idea that the means must suit the end, and that important painting (which academic art was by definition) demanded exceptional ability exercised with restraint and understanding.
• `Acad‚mique', Dictionnaire de l'Acad‚mie des Beaux-Arts vol.I (1855).
http://rubens.anu.edu.au/htdocs/teach/eah/ab2.html
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La Pintura tradicional china:
Los origines de la pintura tradicional china se remontan a las más tempranas épocas de la historia de este país. En general, podemos decir que las obras anteriores a la dinastía T'ang (618-907) son dibujo de líneas producidos por personas que se dedican a otras actividades. Esta fue la edad de oro de los dibujos de figuras humanas. Durante la primera mitad de la dinastía T'ang, el paisaje y las pinturas que representaban flores y pájaros comenzaron a ganar importancia. Los cuadros con montañas, bosques, campos y jardines nos permiten evadirnos de los sinsabores de este mundo y penetrar en el reino de la paz y la tranquilidad. Este ha sido el motivo de que el paisaje haya sido siempre una forma pictórica muy apreciada por los literatos y burócratas chinos. También son muy admirados los árboles, piedras, praderas, flores pájaros y otros animales que aparecen en las pinturas de flores y pájaros, dotadas de gran viveza y energía. Así pues, las tres categorías principales de la pintura tradicional china serían el paisaje, flores y pájaros y las representaciones de figuras humanas de la primera época.
Las clases dirigentes y las elites de las dinastías T'ang y Sung (920-1279) fueron grandes mecenas de la pintura. El objetivo que se perseguía con las obras de este período no era puramente artístico sino que tenía una vertiente política y educativa. El estilo tendía a ser elaborado y vistoso. La corte de la dinastía Sung fundó una academia de pintura con un plan de estudios sistemático. Hui Tsung, emperador de la dinastía Sung destacado por su amor a las artes en general y a la pintura en particular aportó fondos para la formación de los artistas prometedores. Esta fue la época de máximo esplendor de la academia.
http://www.monografias.com/trabajos2/culturachina/culturachi...
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Caderno 2/NY exibe pintura antiga chinesa
Characteristics of the Technique::
The technique of traditional Chinese painting is divided into two major styles: meticulous (gongbi) and freehand (xieyi) . Meticulous style requires great care and grace; the strict composition has fine elaboration. The effect is highly decorative. Freehand style generalizes shapes and displays rich brushwork and ink technique. It is easier for beginners, hence this book introduces the techniques of freehand painting, covering brush techniques and the use of ink and colour.
Introduction::
Chinese painting has its origins in the pictographs inscribed on bronze during the Xia, Shang and Zhou dynasties. Paintings on silk, possessing linear effects, had appeared during the period of the Warring States (475-221BC) and by the late Western Han era (206BC-AD24) , paintings in rich colors were being done, such as the murals discovered in Han tombs.
In the history of Chinese painting, figure painting was the first genre to appear.
The earliest examples, during the Warring States period, were on silk. (Paper began to be manufactured only in the first century AD.) By the prime Tang (AD740-70) , figure painting was already well advanced. Mountains, rivers, flowers and birds served only as the background or embellishment of a painting; they developed into independent genres at a much later date. In time, however, landscape painting became the most important genre and numerous schools, theories and techniques relating to it evolved. The earliest extant Chinese landscape is Spring Excursion by Zhan Ziqian of the Sui (AD 581-618) ,an artist who paid special attention to brushwork and used dots and lines as his principal method of expression. Today, many artists believe that a mastery of landscape painting makes it easier to learn figure and flower-and bird painting because techniques learnt for the former can be used in the latter. Traditional Chinese Paintings
http://www.artzbox.com/articles_chinese/chinesepaintinginfo....
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Wang Meng was a native of Huzhou who lived from the late Yuan (1279-1368) to the early Ming (1368-1644) Dynasty. He served in the Tai'an government in the early Ming Dynasty, was implicated and put into prison, and eventually died behind the bars. He learned painting from his grandfather on the maternal side, Zhao Mengfu, when he was young, and befriended Huang Gongwang and Ni Zan when he grew up. He liked to use a very dry brush to draw dots in his pictures, and his pictures are rich in content. Wang liked to draw dense forests in the towns by the Yangtze River, and his paintings are always magnificently conceived. His representative works include Seclusion in Qingbian, Summer Residence in the Mountain and Reading in Spring in the Mountain.
The Wumen Painting School
With the demise of the Yuan Dynasty, Suzhou became a gathering place for Chinese intellectuals. These included many well-known painters. According to historical records, some 150 painters, about one-fifth of all the Ming Dynasty painters, were in Suzhou, and they formed an influential school of painting. Historically Suzhou was also known as Wumen, and this painting school was named the Wumen Painting School. Shen Zhou was its most influential painter; other famous members were Wen Zhengming, Tang Yin and Qiu Ying.
During the reigns of Emperors Longqing, Wanli and Chongzhen of the Ming Dynasty (1567-1644), the Wu Painting School flourished. Though the subjects of the Wu School paintings were limited due to the painters' narrow life circles, and though some of their works were repetitive in content, these painters inherited traditional Chinese painting skills to give vivid presentation of the figures they depicted. They were all men of considerable culture and had their respective aesthetic pursuits. Their brushstroke techniques and creative painting methods had a tremendous impact on painters of later times.
http://www.canada-china.ca/english/china_culture/painting.ht...
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Note added at 21 hrs 39 mins (2003-11-10 11:55:35 GMT)
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La pintura tradicional china ha desarrollado básicamente dos escuelas principales: la de gongbi, o Escuela del Norte, minuciosa y de gran realismo; y la de xieyi, o Escuela del Sur, bastante expresiva. El profesor Zhang Keming cultiva con afortunados resultados las técnicas y estilos de estas dos tendencias milenarias. Cuando ejecuta sus obras de acuerdo con los cánones gongbi, el estilo resulta de muy estudiada configuración; son obras delicadas, con un colorido de marcada naturalidad; y como los detalles abundan, el efecto resulta bastante decorativo.
http://www.china.org.cn/ChinaToday/Today/ChinaToday/ct98x/ct...
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