A Study On The Images Of Gods In The Woodblock Of "Shan Hai Jing" In The Ming And Qing

The Ming and Qing dynasties were the heyday and decline period of my country’s traditional Woodblock printing,during which a large number of wonderful printmaking works were born.Especially in the Ming Dynasty,the enthusiasm for the creation of folk prints reached its peak.Due to the imperial control in the Qing Dynasty,the folk prints were in a slump,but the court prints made some progress.The engraving works of "Shan Hai Jing" born under this background must have strong characteristics of the times.This article selects the image of the deity that depicts more in the image to explore."Shan Hai Jing" itself integrates cultural value,historical value and other disciplinary values.The text content has a certain depth of research,but in terms of its print works,only Mr.Ma Changyi has done a more comprehensive research.Therefore,this article analyzes the images of gods in the prints of the "Shan Hai Jing" in the Ming and Qing Dynasties,combined with the artistic characteristics of the publication itself,and contributes to the research of the "Shan Hai Jing",and explores the art of the Ming and Qing dynasties.The way of change.This article mainly analyzes and compares the gods in the two generations of prints,and uses the similarities and differences between the two to explore the deep connotation of the image.First of all,I initially sorted out the book-making process and book attributes of "Shan Hai Jing",integrated the deities in it,and grasped it as a whole,and then divided these deities into categories,summarized and summarized them,and became familiar with their attributes.Secondly,select the representative editions of the Ming and Qing "Shan Hai Jing" prints:Ming Hu Wenhuan and Jiang Yinggao editions;Qing Dynasty "Divine Yidian" and Wang Fu editions for in-depth research,comparing the relationship between pictures and texts and artistic characteristics,respectively From the simulation of graphics and text,the relationship between graphics and text representation,the mutual interpretation of graphics and text,and the layout,pictures,and scenes,the corresponding conclusions are drawn,and the similarities and differences are summarized.Once again,starting from the specific image of the deity,using the deity’s face,clothing,objects to be manipulated,and things to ride as the starting point,to deeply explore the relationship between the drawing and the background of the times,and to combine it with the social style and popular art forms.See the big from the small and explore the changes in customs and aesthetic concepts in Ming and Qing society.Finally,combining imagery with mythology and anthropology,based on the cultural connotation of the gods themselves,explore the simple but unique worldview of the ancestors and the aesthetic tendency symbolized by the images of the gods,and summarize the rich cultural value behind it.