Zong and finishing
The Ming and Qing dynasties were a period of change in the development of stone carved line painting, reflecting the distinctive characteristics of combining Confucianism, Taoism, Interpretation and folk beliefs in orthodox thought, and there were many types of carved pictures, religious paintings, allegorical paintings and custom paintings. In the Ming Dynasty, on the basis of continuing the tradition of carving pictures in the Song Dynasty, stone carved line paintings gave rise to new types such as allegorical paintings and celebrity icons that borrowed images to spread and educate ideas. The Qing Dynasty also created a variety of Shinto ghosts, demons and demons, praying for blessings and longevity, and used the scenery to express the unique landscape paintings, flowers and birds paintings flourished for a while.
Among the many stone carvings in the Forest of Stone Steles Museum in Xi'an, the stone carved line paintings are unique and have high value in many fields such as art, iconography, history, folklore and religion. However, for a long time, this batch of stone carved line paintings was not well known to the public. The surging news learned that the "Carved Map of the People - The World of Faith in the Ming and Qing Dynasties Of Shaanxi Ming and Qing Dynasties" was recently exhibited at the Xi'an Forest of Steles Museum, and the exhibition was based on the collection, from which 65 stone carved line paintings (groups) of the Ming and Qing dynasties were selected, presenting the flow trajectory of folk beliefs in the Ming and Qing dynasties in Shaanxi for the audience. It is reported that the exhibition will last until September 17.
Unit 1 Jishe Anbang
In the process of symbiosis with nature, human beings have always been fighting against various disasters caused by nature to mankind. At the same time, human beings have endowed the divine power on the supernormal phenomena in nature. These protests and extraordinary phenomena are carved on the stele in the form of pictures, which began in the Northern Song Dynasty and continued to be such a tradition through the Ming Dynasty. In this way, people express the jishi anbang ideology of disaster elimination, Qianshou Kangding, and Lize long-term. In the Ming Dynasty, the treatment of the flooding of the Yellow River and the worship of divinity on Mount Taibai and Mount Hua became representatives of the carved stone line paintings of this period.
The Yellow River said that in the fourteenth year of Ming Jiajing (1535), Liu Tianhe wrote and wrote a book
There are three descriptions in the map of the Yellow River, namely, "the Five Inbound Transports of the Yellow River in the National Dynasty", "The Essentials of Ancient and Modern River Governance" and "The View of Governing the River". The main content is to reflect the changes of the Yellow River from the early Ming Dynasty to the fourteenth year of Jiajing (1535), the five times the Yellow River entered the canal, the ancient and modern river management strategies, and Liu Tianhe's opinions on river management. This stele is illustrated and illustrated. It has certain value for the study of the relationship between the Yellow River and the canal in ancient times, and is also an outstanding special inscription on the governance of the Yellow River in the history of Chinese maps. This picture was written by Liu Tianhe after the completion of the zhihe in April of the fourteenth year of Jiajing, and was engraved in stone when he was transferred to Shaanxi, and later placed in the Forest of Steles in Xi'an.
Taibai Quantu Qing Kangxi Thirty-ninth Year (1700) Jiala Inscription, Li Shilong, Bu Shiquan
Taibai Quantu Qing Kangxi Thirty-ninth Year (1700) Jiala Inscription, Li Shilong, Bu Shiquan
Taibai is Taibai Mountain, with an altitude of more than 3700 meters, which is the main peak of Qinling Mountain. The inscription in the upper left corner of the stele records that Jia Yin, the deputy envoy of Shaanxi Province, climbed the Taibai Mountain to pray for rain for the people and was able to see the whole picture of the Taibai Mountain. The Taibai Mountains also made it impossible for the literati and inkers of the past generations to know its full picture because of the strange dangers. Jara painted this picture, which not only expresses the hardships of praying for rain, but also allows future generations to follow the map for viewing. From the bottom up, you can see the Qinghu Temple, Sanguan Pond, Thunder God Cave, Erxian Bridge, Cigarette Mountain, Xiaban Temple, Songhuaping, Guanyun Sea, Erliguan and other scenic spots, and there are Taibai Three Pools, Stargazing Tower and Buddha Pond, Jade Emperor Pond, Dragon Pond, FengChi, Sanqing Pond and other scenic spots on the top, which are fascinating.
Taihua Quantu Qing Kangxi Thirty-ninth Year (1700) Jiala Inscription, Li Shilong, Bu Shiquan
Taihua Quantu Qing Kangxi Thirty-ninth Year (1700) Jiala Inscription, Li Shilong, Bu Shiquan
The "Notes on the Water Classic" says that Huashan "looks far away, if it is flower-shaped", hence the name. The inscription on the upper right of this figure is "Taihua Quantu", and the inscription on the upper left of the three Qin observations made Jala climb the South Peak in March of the thirty-eighth year of the Kangxi Dynasty (1699) to write a poem, and in May of the following year (1700) to pray for rain and three stays on Mount Hua. After returning, he carved this map, hoping to pass it on to future generations together with the "Taibai Quantu", and future generations can see the face of the mountain spirit. From bottom to top, this map depicts Huayin County, Xiyue Temple, Taihua Mountain Gate, Yuquan Temple, Queen Mother Temple, Salvation Temple and other scenic spots. Halfway up the mountainside, there are scenic spots such as Huixin Stone, Changchun Stone Room, Thousand Foot Building, Fox Sorrow, and Ear Rubbing Rock. From right to left, the summit of the mountain is painted with landscapes such as giant spirit palms, Jade Girl Peak, and West Peak.
Three Realms of the Yellow River Twenty-four Years of Qing Daoguang (1844) The author is unknown
This map records that in the twenty-second year of Daoguang (1842), the Flooding of the Yellow River caused more than 500 hectares of paddy fields, well gardens, dry land, and beach land in nine villages including Baozhai Village to be affected. Over the years, the Yellow River changed course, causing chaos in the village boundaries. In order to avoid controversy, the villagers collectively discussed and made a record of the topography of the village and the number of acres of land and inscribed a map. The picture depicts in detail the names of the villages, the buildings, the size of the fields and their locations, especially emphasizing the people of sanshe, who were the most seriously affected at that time, and describing the tragic scene of "no cone on the ground, no branches to live in, and countless people who have fled in all directions", which truly reflects the situation of the victims who "cover the hiding places, and there are not many people".
Unit 2 Blessings of Man and God
Folk beliefs in the Ming and Qing dynasties showed a mixture of religious beliefs. Under the premise of maintaining their respective belief systems, Confucianism, Taoism, and Buddhism have influenced each other, forming belief concepts that are different from those of previous generations. Confucianism not only became an important belief of the scholar-doctor class, but also played a huge role in secular life and had a profound influence on Taoism and Buddhism. The pursuit of immortality in Taoism has promoted a change in folk beliefs. In the process of dissemination, secular concepts adapted to the needs of the people's inner world were gradually formed, and various sects such as "mixed yuan religion" were derived. In Buddhist belief, Guanyin is widely revered, and the people combine Confucianism with Buddhist beliefs to create a variety of images such as "sending children to Guanyin", expressing the desire of many children and blessings, and praying for blessings.
Statue of the Most Holy Prophet Qing Yongzheng In the twelfth year (1734) and Prince Shuoguo
This stele was painted in the forest of steles by Prince Heshuoguo when he sent Lama Lai back to Tibet from Beijing and passed through Xi'an. The five characters of the "Portrait of the Most Holy Ancestor" in the forehead seal book, the inscription "Yongzheng Jiayin September Wangri and Prince Shuoguo Jinghua" in the upper right corner, and the inscription below the inscription is a "Treasure of the Prince of Heshuoguo" In Chinese and Manchu. The picture shows a bust of Confucius, wearing a crown on his head, wearing a robe, and his arms wrapped around his abdomen. Thick eyebrows, bright eyes, slightly looking down. The expression was calm and solemn, thoughtful. The character lines are concise and generalized, smooth and strong. The forehead, eyebrows, corners of the eyes and beard are meticulously depicted in a subtle way, aptly representing the supreme saint.
Portrait of Dong Zhongshu In the Thirty-first Year of the Qing Kangxi Dynasty (1692) Wu Pangui Inscription Praise, Zhao Xi Dedication Book, Zhao Shu Written Dong Wenchang, Dong Chengxu Shangshi, Gao Jundian Engraved.
The seal book at the top of this figure is titled "Han Alcohol Confucian Statue" in four characters. The inscription under it reads "First Confucian Guangchuan Bo DongFuzi Statue Zan". The next depiction of Dong Zhongshu sitting on a rock, full face, wise eyes, wide eyebrows, beard naturally hanging, calm and serene look, head tied scarf, shoulder shawl, wearing a robe with open sleeves, hands on the chest as an arch. Sitting against the wind, the scarf, shawl, and robe all flutter with the wind, alluding to Dong Zhongshu's Confucian thought of "heaven and man induction".
Mixed Yuan Xuantian Sect Leader Statue Ming Jiajing Thirty-one Years (1552) Wu Wenhuan
This image is the Taoist Wudang Mixed Yuan Sect's main god "Xuan Emperor", also known as the "Mixed Yuan Xuan Tian Sect Leader". Some of the inscriptions on the stele are Taoist about the "Arctic Xuantian God", that is, the "holy name" of the sect leader. In the portrait, the face of the Mixed Yuan Sect is like a full moon, the dragon eyebrows and phoenix eyes, the head plate is double bun, the shoulder is "Voldemort Big Dipper Seven Star Sword", holding the dust, the armor is looming under the long clothes, and standing on his feet. The thickness of the character line drawing is reasonable and the density is appropriate. The handling of the robes, swords, and tails that fluttered with the wind seemed to be like the heavenly gods swimming in the mortal world, and the bones of the Immortal Wind Dao were born spontaneously.
Statue of the Immeasurable Ancestor Ming Jiajing Forty-three Years (1564) The author is unknown
The full name of the Immeasurable Ancestor is Zhenwu Dang devil emperor, is the northern god of Han mythology and legend, and is the famous Jade Jing Zun god among the Taoist gods. In the picture, the immeasurable ancestor has a halo on his head, dressed in a golden armor and jade belt, sitting cross-legged on his feet, staring at the Xuanwu in front of his feet, and standing next to him with an exorcism sword, the image is very powerful, and the lines are smooth and natural.
Map of the Western Elysium Tomorrow Shun 6th Year (1462) Fu Xingge, Qin Wang
The stele is headed in a square circle, and the inscription on the stele is "Map of the Western Elysium". The stele is divided into two parts: the upper and lower parts. The upper part is the main picture, using the expression method of the ancient Chinese traditional "boundary painting", the composition is symmetrical left and right, with the main figure Amitabha Buddha as the center, the two bodhisattvas on the left and right, the surrounding monks, the bodhisattvas are surrounded by clusters, and the pavilions and pavilions, the lotus flowers of the treasure pond, the kabuki music, the flying flowers and other scenes are distributed. It has formed a spectacular picture of the Western Pure Land Elysium. The following section is a list of inscription helpers. The rich information on Buddhist culture in the text and images published on the stele is conducive to in-depth understanding and understanding of the development of Buddhist art and beliefs in the Ming Dynasty.
Zizhu Guanyin Eighteenth Year of Qing Kangxi (1679) Wang Ziyingzhi, Yang Yupu, Yang Yuzhen engraving.
Zizhu Guanyin, also known as cave Guanyin, on the left side of this figure, there is a painting of a Guanyin Bodhisattva sitting at the mouth of a hanging cave, surrounded by vines and roses, behind the purple bamboo, parrots spread their wings in the air. Guanyin Bodhisattva holds a willow and sits half-on the altar of Bodhi leaves. On a plate of stones at the bottom of the mountain, there were children of good fortune who raised their palms and bowed to Guanyin. The upper end of the right side is engraved with the praise of Guanyin Bodhisattva, and the lower end is engraved with a note, from which it can be seen that Wang Ziying has eaten vegetarian food since childhood and has devoted himself to respecting the bodhisattva. Forty was still childless, so he vowed to paint five thousand and forty-eight statues of bodhisattvas scattered in all directions for worship. Since the age of forty-three, a mother has given birth to ten sons and three daughters, and all of them are also very beautiful. Nearly 70 years this year, more than 1,300 statues were rewritten, and because they came to Qin to visit their relatives, they asked someone to carve the bodhisattvas they painted in stone to hang on forever.
Three Madonna Statues of the Qing Kangxi Twenty-second Year (1683) Oro Inscription, Zhu Jue Wrote, Bu Shiquan.
In the traditional Chinese belief, the Virgin Mary refers to an elderly woman with extraordinary character, and after mythology, it becomes a bond between man and God, and is the sustenance of people's spiritual world. The three Virgins are pictured sitting in a cave with a leaking stream under their feet. The face of the character is loving and serene, the posture is dignified, the clothes are gorgeous, exuding the charity unique to motherhood, the virgin on the right and in the middle each embraces a child, and the left side of the virgin stands next to a child, and the three children are lively and lovely. The lines of the figures in the picture are fine and soft, and the contours of the mountains and stones are rough and sharply contrasted. The work expresses the desire to have children and the concept of having many children and many blessings.
Lotus Tai Guanyin Statue Qing Daoguang Seventeenth Year (1837) Hu Yuanyi and Hu Yuan exploded.
In the picture, Guanyin sits on a lotus pedestal floating on the head of the clouds, wearing a crown in a high bun with a small Buddha carved in the crown. The forehead has a white, eyebrows are clear; the hands are folded in front of the abdomen, the left hand holds the rosary; the top of the head is fluttering, wearing an embroidered sky coat, wearing a collar diagonal opening jacket, with buttons, and the neckline is embroidered with a patterned trim, which is a costume with a strong folk color. On the right side of Guanyin Bodhisattva, there is a virtuous boy holding Guanyin's arms in both hands, standing on the lotus platform, looking up at Guanyin. The upper right side of Guanyin is inscribed with mantras and the date of the monthly Buddhist practice. The upper left side is engraved with the message "Qianlong Bingwu accompanied the eunuch Yuyang Praying for the Wish to Raise Jade Mountain and Recite He Ciyou to Honor the Statue of the God with Zhi Ling".
Dharma Dongdu Tu Qing Kangxi Twenty-eight Years (1689) Wind Upside Down Writing
In the picture, Dharma's right hand is draped on his shoulder, and the head of the staff is hanging on his shoulder; the left hand holds a Buddha bead; his eyes are on the side, and his hair is curly: he is wearing a robe, and his exposed chest and legs and feet have whiskers, and his feet step on reeds to cross the river north. The whole picture adopts the depiction techniques of thickness, light and shade, and dynamic contrast, and the exotic image characteristics of Dharma are expressed in a wonderful way. The undulating waves of the river add to the dynamics of the picture.
Unit 3 Reverence and Salute
In china's indigenous beliefs, Confucianism plays an important role in establishing a positive conception of how to live in the world. Among them, the in-depth elaboration of the concepts of "benevolence", "etiquette", "wisdom" and "faith" has become the core of establishing good social relations. In the folk, people pin this concept on plums, orchids, bamboo, chrysanthemums, lotuses, red indigo and other plants, as well as high mountain scenery, borrowing objects to express nostalgia, sending affection to the scenery, and expressing the noble character of scholars; at the same time, Confucianism is integrated into other religious beliefs, gaining universal recognition in secular life, and also has a profound impact on local governance.
Ruilian Shitu Ming Hongzhi Seven Years (1494) Zhu Chenglin Book, Zhou Fengyi, Zhou Fengxiang model carving.
This picture is titled "Ruilian Poetry Diagram", with a seven-word poem and a verse. The poem is a tribute to some of the qualities that Raylian possessed: the text tells the reason for the carving of Raylian's diagram. This figure is composed of four kinds of plants: lotus, red indigo, mushroom, and cattail, which are given different qualities of people. Among them, the lotus flower represents incorruptibility and many children; the red indigo represents not forgetting the original; the mushroom represents good character: the cattail represents thrift. Zhu Chenglin, the King of Yongshou, used this figure to praise his brother Zhu Chengyong, the King of Qin, for his noble character of ruling for the people and being honest and honest as an official.
Nine Dove Figures Ming Wanli Twenty-first Year (1593) Zuo SimingShu, Zuo Shi Baowen, Lü Jiyi, Li Menglin carved.
The stone is divided into two parts. The upper part is inscribed with three large characters of the letter "澹然亭", and there is a text on the top, which records that Zuo Shi carved this figure in order to promote the virtuousness of his father Zuo Siming. The lower part is a stone carving of the "Nine Dove Diagram". Engraved is a picture of nine herons perched at the water's edge, with the signature of "Lü Ji" in the middle of the left side and the seal of "Jiankou Creation" below. The "Nine Doves" here is pronounced "Nine Thoughts", which refers to the nine ways of thinking that Confucius spoke of in the Analects. Zuo Siming's name is taken from the "Nine Thoughts" sentence "See Siming". This painting is uniquely engraved, the nine herons are carved out of the yang line in a large area of the ground, the line surface is combined, and the surrounding environment is replaced by a knife, imitating a variety of brushwork, presenting the effect of an ink freehand painting.
Independent Dynasty Gangtu Qianlong Decade (1745) Li Fengchun
The inscription on this figure is "Independent Dynasty Map", which means that a person who is an official in the imperial court can maintain a noble personality despite the dangers of power struggle. At the bottom of the picture is a strange stone, towering in the clouds; below the strange rock there is a pine sticking out, and on the other side a round of sunrise rises slowly; on the strange rock, a crane stands on one leg, stretches its neck and opens its mouth, and looks ahead. The inscription on the top of the picture is a pai wen, which expresses that Li Fengchun was taught by his father and teacher, read and cherished the ancient times, and had lofty ambitions, such as "the crane stands in the sky and hears in the sky".
The Gentleman of the Void Qing Kangxi Thirty-eight Years (1699) Jia Lazhi, Inscription and Book.
The first title of this figure is "Gentleman in the Void". According to the text, this picture was drawn by Jala at the Guanzhong Academy in the thirty-eighth year of the Qing Kangxi Dynasty (1699) while inspecting the affairs of the Three Qins. The picture depicts the wind and bamboo under the fierce wind, allowing the wind and rain to blow, standing proudly, vowing not to bend the waist. The author borrows lyricism to express the noble character of indomitable and independent cold autumn, which has far-reaching meanings.
Jia La, a qing Kangxi dynasty (1662-1722) person, the character Yu wan, the number of Ke Zhai, also known as Bai Shi Weng, Shanxi Linfen people. Gongzhu stone and folded branches of flowers, like to use thin pen dry ink, steep and unworldly, painting style is elegant and elegant, famous for a while.
Incense Festival Diagram Qing Kangxi Thirty-ninth Year (1700) Jia Lazhi
At this moment, the lower right side of the stone is carved with orchids and bamboo clusters that grow from the stone. The bamboo is straight, the orchid leaves are stretched, the rocks are rugged, and the texture is clear. In the upper left corner, the book is titled "Incense Festival Diagram" and written "Qingfen Eternal, Lan Zhide." The one who is indomitable, the bamboo exercise. Therefore, Lan is the king, and the fragrant bamboo has a gentleman's product. ...... The orchid bamboo one, who is not too soft, is too rigid, and seeks to be strong and soft, and the qi rhymes with each other." It expresses the characteristics of Jiala borrowing bamboo and orchid, and expresses the feeling of gentleman's purity, which is a typical work of borrowing material lyricism.
Unit 4 Fu Shou Kangning
In secular life, people often realize the ideal of eternal life by believing in Taoism. As folk beliefs are deeply rooted in the hearts of the people, images that are closer to the daily life of the people are given more meaning. Create the image of Fu, Lu and Shou, and take the images of Songhe, Peony, and Kuixing as typical images representing longevity, well-being and cultural movement. By depicting these images, it is more convenient for the people to express their hopes for a better life, making it a popular way of expression. In addition, in the process of faith transformation, Guan Yu's image evolved from the representative of "loyalty" to the embodiment of driving out evil. These changes became a prominent feature of folk beliefs in the Ming and Qing dynasties.
Nine-Nine Cold Removal Diagram Ming Hongzhi First Year (1488) Zhu Chenglin Baowen
The Nine-Nine Cold Suppression Chart is divided into two layers: upper and lower. The upper floor is inscribed with eleven separate drawings, including nine natural solar terms and a winter solstice and a plum blossom. Among them, the solar terms chart depicts the changes in the solar terms from "19" to "99", and each is accompanied by seven poems, with pictures and texts. In addition, the plum blossom picture engraved in the middle is a nine-branch plum blossom inserted in the bottle, each branch has nine petals, which means counting from the beginning of the winter solstice, every nine days is one "nine", "nine nine" eighty-one days, so "nine nine cold" is also called "number nine". Between the "19" and "99" figures is the winter solstice figure, and the middle one is tall, wearing an official hat and carrying a flag on his shoulder, who is the prince of the sheep; next to him, two children are selecting the goods on the sheep's back for the winter. It means that from the beginning of the winter solstice, it is about to enter the coldest season of the year. The lower level is an inscription inscribed by Zhu Chenglin.
Portrait of Zhang Xian during the Kangxi Dynasty of the Qing Dynasty (1662-1722) written by Deng Lin
In traditional folk beliefs, it advocates multiple children and blessings, attaches importance to passing on the generations, and regards the inheritance of family property with or without heirs as a sign of the rise and fall of a family, so it is particularly believed in the god of sending children. In addition, people also believe that the birth of a boy should be suspended with an arc arrow (bow and arrow), and zhang Xian's "bullet" and "birthday" are harmonious, implying the meaning of "birth". When people portray the deity of the child, most of them appear with the image of a child, so that people can clearly distinguish his functions at a glance. Zhang Xian is riding on horseback, holding a boy in his arms and holding a bow and arrow in his left hand, which has a clear meaning. A group of three figures is carved in the air, one in the front holds up a flag to lead the way, one in the middle rides on the unicorn, and the other in the back holds an official hat to accompany him, showing that the heavenly official sends a knight to welcome his son.
Fulu Shou Three-Star Diagram During the Kangxi Dynasty of the Qing Dynasty (1662-1722), Zhao Xixian wrote it
Fu, Lu and Shou are typical images of Chinese ancestors exploring the stars of the universe. Lucky star is derived from Jupiter, the lord auspicious, descendant Eternal Protection, Sheji Tranquility, etc.; Lu star is derived from Wenqu star, the main merit of fame and fortune, prosperity and decline, etc.; shou star is derived from the South Pole star, is the brightest star in the South Pole, the Lord lives forever. Below this picture is an elderly person, with a head like a shou peach, wearing a robe with a "shou" character pattern, hunched over, holding a dragon head crutch in his right hand, holding the lower edge of the tai chi diagram in his left hand, doing a viewing posture, this is the birthday star; on the left side of the picture, a person stands, wearing an official hat, wearing an official uniform, with a twisted whisker in his left hand, and holding the upper edge of the tai chi figure in his right hand, this is Lu Xing; a person on the right side of the picture, with a slight leaning forward body, wearing a scarf, holding a boy, in front of him there are two children around the side of the tai chi figure, this is the lucky star. The whole picture shows the concept of rich and perfect, immortality, many children and many blessings, and auspicious and satisfactory life.
Guan Sheng Zhenjun statue praise Qing Shunzhi fourteen years (1657) Qin Junsheng inscription praise, Bu Zhen, Bu Deyuan carved stone.
The figure is divided into two parts: upper and lower. The upper part is "Guan Sheng Zhenjun Statue Praise", which is a collection of thirty sentences from the Book of Poetry and the Book of Books to praise Guan Yu, such as: "Praise the saint Mo Ruo praise the saint with holy words", expressing the admiration of the society at that time for Guan Yu. The lower part depicts Guan Yu surrounded by auspicious clouds, Yoshiko Guan Ping and his attendant Zhou Cang. Among them, Guan Gong was dressed in a brocade robe and sat steadily on the Taishi chair covered with tiger skin, with a solemn expression; Guan Ping, the righteous son, dressed in a battle robe, stood next to bi Gongbijing holding the seal; the attendant Zhou Cang leopard had a ringed eye, a swallow jaw tiger whisker, holding a green dragon crescent knife, standing behind him, majestic, like a galloping horse. Through the vivid portrayal of the image of the three people, the inner world of exorcising evil spirits and helping the righteous is naturally revealed.
Guan Fuzi is praised by the Qing Kangxi Dynasty forty-three years (1704) and written by Dali Shan
Guan Fuzi, also known as Guan Yu. The imperial courts of all dynasties have many praises, just as it is written in the inscription of this picture: "Qiankun and shoushou, the sun and the moon are hanging together, the righteousness is awe-inspiring, and it is sitting on the edge of danger, for the master of all generations." The picture depicts a seated portrait of Guan Yu, with a cloth scarf on his head, his beard hanging down in front of his abdomen, his eyes shining, and his expression majestic: wearing a python robe, with his right hand on his knees, and a belt in his left hand; the image depicts a strong contrast, and the lines of the clothing are concise, while the beard and animal skin cushions, especially the hairs on the back of the hands, are depicted in the slightest, into the wood, and a flesh-and-blood, distinctive image of Guan Gong jumps on the paper.
The Ming and Qing dynasty stone carved line paintings in the Xi'an Forest of Steles Museum are an important part of the ancient relics of Shaanxi. Through the display of the Ming and Qing Dynasty stone carved line painting image system, understand the political expression behind the image. In the form of engraving, the state has deeply penetrated the thinking of governance into the lives of the people and subtly played the role of engraving the people. The audience can wander through such an image world and feel the rich connotation and infinite charm of traditional Chinese beliefs. Today, by watching the exhibition, the real state of local governance history in the Ming and Qing dynasties is restored, and it is also a realistic presentation of regional culture transmitted in the form of illustrations.
(This article is based on the relevant exhibition content and related reports of the Xi'an Forest of Stone Steles Museum)
Editor-in-Charge: Li Mei
Proofreader: Liu Wei