Both these paintings are mo fang, or exact copies, of famous Tang originals by Northern Sung artists. The act of copying earlier works was a sign of the veneration of the earlier Tang painting academy. The subject of both works is the courtΓÇôin the one case the fugitive emperor and in the other elite palace women engaged in appropriate activities to their social role. Since the Northern Sung were attempting to revive the imperial power of the previous era, the careers of artists who could demonstrate skills comparable to those of the Tang were insured by institutional patronage. Huizong was himself a Northern Sung emperor whose visual art collection far outstripped his abilities as a political administrator.
Key Topics
The interrelationship of patron and artist, and the evolution of artistic expression.
ΓÇó Royal patronage: the living conditions and freedom of artists in Benin, West Africa (c. 1400-1700), determined by their standing with the king, or oba.
ΓÇó The art academy: created in ninth-century China, was an important governmental tool for training professional artists, and for dictating style and subject matter.
ΓÇó Mutual benefit: the Renaissance brought an end to artist anonymity and an increase in important commissions from secular, as well as religious, patrons. The prestige of all priests was enhanced.
ΓÇó Patronage and innovation: even under a centuries-old system of patronage, artists in Papua New Guinea have exercised creative control.
ΓÇó The enduring legacy of patronage: Mughal and French art academies founded by powerful patrons influenced their respective artistic traditions for centuries.
