A Study On The Printed Print Of Nanjing In The Late Ming And Early Qing Dynasties

During the late Ming and early Qing Dynasty, Nanjing Sanshan Street area was the agglomeration of publishing industry, which saw the emergence of Hu Zhengyan’s "Ten Bamboo Studio Painting Ppectrum", "Ten Bamboo Vegetarian Jian spectrum", Wu Faxiang’s "Radish Variant Ancient Xuan Jian Spectrum", Min Qiji’s "Will Be True Six-magic," Li Yu’s "Mustard Seed Garden Painting Biography". All of these books represent the highest level of Chinese woodblock color overprint prints. In the same area, the same time period these paintmakers had direct or indirect relationship through travelling and making friends, as a result, these Hua Pu influenced each other. On the basis of their biographies Friendship, this paper mainly studies the relation between these Hua Pu by comparative analysis on purport positioning, themes and sources, design and expression, colors and prints and other aspects. There are both similarities and differences, like their own focus and innovation, different conception, different design methods and artistic ideas. Overprint prints became more and more mature after the initial groping and development. After the Qing Dynasty, various versions appeared, and more Hua Pu lost the first edition of the original. The paper focuses on the comparison between the original and later versions.