Research On The "Xianxiang Tu" Of Wanli In Ming Dynasty

In this paper,the late Ming dynasty painter Ding Yunpeng,Cui Zizhong's name as the main object of study,comparison of two different faces of the "wash map",as a breakthrough in the Ming and Qing "wash map.In this paper,the collection of paintings and related documents in the library of the "image wash" are collated,focusing on the tracing of the origin of the "image wash" Schema and its development in different historical stages,furthermore,it discusses the background of the painting and the identity of the painter,and analyzes the reason of the popularity of the image-washing theme in the late Ming Dynasty and its schematic connotation.The first chapter mainly from the handed down painting and literature,combing the development and changes of the image wash,for the image wash theme prevalent in the late Ming Dynasty,put forward three guesses.In the second chapter,the author introduces and Compares Ding Yunpeng's picture-washing and Cui Zizhong's picture-washing.Ding Yunpeng's picture-washing not only inherits the former Schemata,but also innovates,which is mostly a fake to meet the market demand Unlike the popular SCHEMATA in the market,Cui Zizhong's picture of the washing of the elephant may have been created by a man of letters as a result of his meditation and Enlightenment.The third chapter is extended from the second chapter to discuss the self-consciousness of the literati in the Ming Dynasty,the interpretation of the image connotation in Cui Zizhong's picture of washing images,and the discussion of the identity of the literati in the picture.The last chapter combs the development and evolution of the connotation of the picture of washing,enumerates the examples of the images in the picture of washing gradually being used in other media,and deduces that the image of washing gradually left the color of Buddhism in the Ming and Qing dynasties,to the conclusion of secularization.