Study On The Creation And Schema Generalzation Of Hundred Children Pictures In Ming And Qing Dynasties

Since the primitive society,human beings have had the appeal of "thriving population",and resorted to art to create the image called "grab-bun doll" by later scholars.Since then,babies have become one of the subject objects to express the good desire of human reproduction."Baby theme" roughly follows the development of figure painting.With the development of social productive forces,artists have attached people’s good expectation of population reproduction to a new schema-"100sub-graph","100" means endless meaning.The production of this pattern reached its peak in the Song Dynasty,continued to flourish in the Ming and Qing dynasties,and gradually declined until the end of the Qing Dynasty.As soon as it appeared,it was favored by people.Whether it was in the court or in the folk,it was widely existed.The 100 subgraphs created in different contexts show different creative motives and cultural connotations.As a cultural symbol,the phenomenon of image generalization appeared more obvious in the Ming and Qing dynasties.It was attached to various media and broadened the artistic expression form of hundred subgraphs.However,behind this phenomenon is the resultant force of political,economic,social and other complex factors.The Hundred-child schema not only has unique artistic characteristics,but also reflects the national economic form,ethical concepts and the ups and downs of The Times at the symbolic level.The second chapter of this article starts with the multi child culture,demonstrating that the multi child ideology has long existed,and provides an overview of the basic situation of the hundred child painting.It sorts out the development of the baby play painting and the hundred child painting from the Warring States period to the Ming and Qing dynasties,and explores the composition characteristics,image content,functions,and other issues of their painting style;In Chapter 3,based on the identity of the creative subject,the content is divided into three sections: Palace Hundred Zi Tu,Scholar Hundred Zi Tu,and Folk Hundred Zi Tu.Several typical Ming and Qing Hundred Zi Tu paintings are studied from different perspectives,showcasing the different styles,contents,and tastes presented by the Hundred Zi Tu in different creative contexts;The fourth chapter points out the generalization phenomenon exhibited by the Baizi Diagram,showcasing its diverse media characteristics through the collection of Baizi Diagram works with different material carriers.Finally,it analyzes the internal connection between the generalization phenomenon of images and natural economic forms,Confucian ethical concepts,and reveals the hidden political crisis of the Ming and Qing dynasties behind its generalization.