Abstract
Artistic schools represent a theoretical paradigm in the discourse of art history and art historical narrative. While discussions on Chinese art genres and artistic schools have been prevalent in classical Chinese art, theoretical introspection regarding their existence has emerged relatively late. In recent years, there has been a growing academic debate in China about the rationality of artistic schools. Of particular interest is the assertion made by some scholars that there is no need to deliberately create artistic schools. As a duality in the realms of art history and art historical studies, does the existence of artistic schools have theoretical and aesthetic justification? What are the boundaries, and where lies their value? This paper, drawing insights from Changbai Mountain painting, combines theoretical discussions from art history to explore the rationality and limitations of the existence of artistic schools, aiming to provide a new perspective for the discourse on Chinese arts artistic schools.
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