The Bulk Of The Original

As a case unfolded upon territory, the Yellow Mountain is a very significant performance motif in the painting circle of Ming and Qing dynasties and even in the history of the contemporary art. Focusing on the Yellow Mountain, the artist group launched a series of artistic practices, which indeed flourished in the Ming and Qing Dynasties. They broke the phenomenon at that time of blindly imitating ancient work pieces in Jiangsu and Zhejiang art circle, and the atmosphere of following the set routine of the Song schemas and styles. They portrayed the unique mountain style by means of the beauty of hills and water, and hence brought a vibrant new painting style by referring to the ancient artists as well as the nature. Their artistic courage to set things right was indeed an immortal virtue in the art circle of Ming and Qing Dynasties. The backbones of the Yellow Mountain artist group include Jianjiang, Shitao, Meiqing and Dai Benxiao etc, among whom some are local Huizhou artists, some are from other areas. Because of the predestined relationship with the Yellow Mountain, they related their artistic career with this eminent mountain. Three of the four monks in late Ming and early Qing dynasties founded a close relationship with this mountain, which is an obvious example. The Yellow Mountain artist group highlights sketching and do not obstinately follow traditions; this drawing pursuits as well as their distinguished and unique artistic characters endow a different character feature to the Yellow Mountain and hence make this group the most influential territory artist group and guide the important artistic trend in the early art circle in Qing Dynasty. This is not only resulted from the special geographic and cultural environment in Huizhou, but also related with numerous artists’ constructive contributions to the ontological meaning of painting. The artistic exploration and practices related with the Yellow Mountain on their own jointly changed the art culture of early Qing Dynasty at a time, resulting in direct or indirect critical enlightenment to such issues as how to connect nature with the mind, how to establish the character of drawing schema and how the inheritance track is in the landscape drawing history.The peculiar stance of Yellow Mountain Pine-cloud nourished Anhui, i.e., the artist group taking the Yellow Mountain as their activity center. In the increasingly stylized landscape art circle, they play a crucial part in breaking off the worldly and vulgar trend and enlightening the benighted. As time goes by, in the middle and late twentieth century, the reputation of the Yellow Mountain increases sharply and this mountain has become a pilgrimage for landscape artists. Undoubtedly this is related with Mei Qing, Jian Jiang, and Shi Tao’s nature imitating, and also a feasible artistic practice path for searching a breakthrough for the traditional Chinese painting to complete the butt joint with the contemporary age. The pattern and motif expansion of the Yellow Mountain arise from the promotion and practices of Li Ruiqing, Zhang Daqian and Huang Binhong. Particularly, the theory and practice of the landscape master Huang Binhong completed the summary and reform of the Yellow Mountain painting group, developed and expanded the drawing tradition of the artist group of Yellow Mountain and the new growth point and potential relationship with the contemporary age, making this painting group eternally exist in the Chinese painting history for their uniqueness and artistic fascination.The formation of the Yellow Mountain artist group is closely related with the comprehensive culture system in the Huizhou District at the time. Within this system, the great support of Huizhou merchants is rather crucial for the formation and thriving of this group. From the artistic perspective of Yellow Mountain drawings, discuss the art formation rule and creation enlightenment of the Yellow Mountain image and analyze the correlation between different types of people and social situation in the culture framework of a certain era. This is a unified and integrated issue between the history of painting, and the history of society, culture, ideology, economy as well as district. The interaction effect between economy and art is clearly presented in the drawing works of the Yellow Mountain artist group. Taking this point as a focusing center, this paper conducts an objective analysis on correlation between the artwork value and economic value in such aspects as:the social interaction investigation between Huizhou merchants and Yellow Mountain art group, artwork running and sponsoring, style of major artistic works, overall performance of Yellow Mountain paintings in the artistic market, response of receivers and investment orientation. Undoubtedly after the Yellow Mountain painting works have experienced history tests, the academic status and aesthetic value in the art history will be glamorous everlastingly, and the exploitable market space is tremendous as well.