The 17th Century In The Second Half Of The Landscape The Huangshan Image,

My dissertation, taking the Huangshan Mountains paintings in the second-half 17^th century as a starting point and combining other media paintings such as prints, explores how the painters and other particular people - such as literati, gentlemen, officials, Anhui Province-born businessmen, locals and people from other places - in this specific space time (in the second-half 17^th century in Anhui Province and the areas to the south of the Yangtze River) reflect their understanding of the 'Huangshan Mountains' area of space-time by creating the images of Huangshan Mountains in their paintings. The further exploration of the Huangshan Mountains images in paintings aims at revealing the entangling conceptions among various groups of people, and then at analyzing deeply the interrelationship between the people groups and particular social context. Indeed it is a problem of the exchange and combination of painting history with the histories of society, culture, and concepts.In the first chapter, the dissertation reviews and summarizes the Huangshan Mountains' history, texts, icons and images before the second-half 17^th century or the 'Period of Pre-Huangshan Mountains Phenomena'. In the second chapter, it focuses on the differentiation of the Huangshan Mountains images in the landscape paintings in the second-half of the seventeenth century, that is to say, on the images of Huangshan Mountains as both natural geology and cultural scenery, and also on the images of Huangshan Mountains as both non-reality and non-present These two kinds of images of Huangshan Mountains, however, have a deep relation to the society and local background of the second-balf 17^th century and to the painters' identity and conditions. They are both related to the changes of the dynasties happened in the 17^th century and to the reestablishment of 'Huizhou Consciousness' after the New Deal promoted by the Emperor Kangxi. Of course, it is also of relevance to the identity, conditions, and choice of the adherents of the former dynasty, the provincial gentlemen, literati painters, which are the main points to be discussed in the third chapter.The images of Huangshan Mountains was not only created by painters, but also accepted by the reception system held by the people at that period. From the different receptions by the different groups of people, we could clearly and meticulously find the conception problems among the various people groups in the second-half 17^th century.