Guangxi post-1995 girls created their own Q version of illustrations of ethnic girls. How much do you know about different ethnic groups in China?

every nation has its own unique characteristics. They have their own unique costumes, unique languages, unique customs and even their own unique characters. But our nation is United as one. The girls born after 1995 in Guangxi created their own Q-version illustrations of ethnic girls. How much do you know about different ethnic groups in China? Then let's talk about several ethnic groups together.

First, Buyi people have a strong ethnic flavor and a strong festive atmosphere.

For us who live in places where ethnic minorities live in concentrated communities, the Buyi people have a stronger flavor and a very strong national characteristic. First of all, their costumes are mainly indigo. Although simple, they are elegant, and their food is also very distinctive. Among them, colored glutinous rice is quite representative. Moreover, they have their own language, which has been passed down from generation to generation and has never been cut off. Do you like such a strong national flavor?

Second, the Dai nationality is lively, elegant and beautiful

In my cognitive range, the Dai nationality who lives in Yunnan is an elegant and beautiful people who can sing and dance. Their costumes are very unique, and it seems that only their local women can wear them to reflect that elegant charm. Moreover, their peacock dance is so smart and lively, and the girl's smart body seems to be like a peacock. Their characteristic activities should be the Water-splashing Festival, that is, their New Year. The more water they throw at you, the more blessings they give you. The strong national culture is so desirable.

Third, Xinjiang Uighurs are good at singing and dancing, and there are many beautiful women.

Xinjiang Uighurs have been a nation rich in beautiful women since ancient times. They dance with songs and have a cheerful rhythm, just like butterflies. Sweet and soft roasted blue, delicious kebabs, how mouth-watering it is, and women everywhere in the streets of Xinjiang are all like beauties coming out of paintings. They have their own language and writing, and they are a beautiful ethnic settlement, and they are also a sweet hometown.

The culture of each ethnic group is different, so we should tolerate each other, integrate with each other and unite with each other to realize national prosperity. China traditional illustration.

The old novels have illustrations and Xiu Xiang, which is a tradition in our country.

Illustrations are all woodcuts, which are carved on woodblocks and then printed. They are often both vulgar and crude, with few exceptions. Ren Weichang in Xianfeng period is generally regarded as the last master of Chinese traditional printmaking. The figure of the 33 Musketeers, which has been handed down from generation to generation, has vivid characters.

Chinese printmaking has a long history. The oldest print work is the Xiao-shaped seal of the Han Dynasty. The seal is engraved with pictures of dragons, tigers, birds and so on, which are printed on silk paper and become exquisite and beautiful graphics. Prints grew up in Buddhist paintings in Sui and Tang Dynasties, flourished in Song and Yuan Dynasties, and reached its peak in the late Ming Dynasty. The greatest artist was Chen Hongshou (Lao Lian). Prints developed generally in Qing Dynasty, and New Year pictures prevailed among the people. Ren Weichang in Xianfeng period is generally regarded as the last master of Chinese traditional printmaking. Later prints were influenced by western art, which was quite different from our traditional style.

Ren Weichang's printmaking collection "The Picture of Thirty-three Musketeers", * * * has the figures of thirty-three musketeers, and the figures are very vivid. Occasionally, when I am free, leafing through several pages triggers some imagination and often leads to an idea: "It is best to' insert' a short story into each picture." Traditionally, painters always draw illustrations for novelists. At all times and in all countries, it seems that there has never been a novelist who inserts novels for a series of paintings.

because I haven't read much, I don't know all the stories of these 33 swordsmen. But anyway, it's a novel, and I don't know the original story, so I might as well create a story at will. But even the desire to write thirty-three stories about the knight errant will never be completed. After writing the first article "sword of the yue maiden", I couldn't write the second novel "Campus Guest". Writing a narrative is much less laborious than writing a novel, so I use a straightforward way to introduce the original story.

Among them, four stories, The Campus Guest, Nie Yinniang, The Red Line and Kunlun Slave, are well known, so I won't describe them in detail. At the same time, the style of the original text is excellent, so I can't translate it into the same concise and beautiful style, so I append the original text. The more uncommon stories have written all the original contents.

The art of engraving and illustration of ancient books in China

The ancients wrote books and made statements, and attached importance to the role of pictures. "Zuo Tu You Shu", "Zuo Tu You Shi" and "The text is not enough to supplement it, and the picture is not enough to describe it", which complement each other with pictures and texts, and are a fine tradition of China's books.

There are countless books engraved in China in the past dynasties, many of which are accompanied by exquisite illustrations, which are not only a valuable historical and cultural wealth, but also vivid materials for studying ancient politics, culture and folk customs.

1. The origin and appearance of China's printed illustrations of ancient books

In terms of its production form, China's ancient books can be roughly divided into two times: writing a book and printing a book. Before the Han Dynasty, people copied books on natural carriers such as bamboo slips and wooden slips or silk fabrics such as silk. In 1942, a silk painting was unearthed in the Chu Tomb of the Warring States Period in Changsha, Hunan Province, painted with color images and descriptions similar to inscriptions on bronze, and surrounded by twelve gods, symbolizing twelve months, which is an early relic of silk illustrations in China.

The so-called block-printed illustrations refer to the copies of paintings obtained by block printing. Block printing, also known as full-page printing, refers to the method of engraving words or pictures on a whole board or other materials, and then printing them with ink. In this way, a large number of copies of illustrations and drawings can be obtained. Because the ancient books are mainly pears and jujube, these illustrations are all prints, also known as woodcut.

after the invention of block printing, it was first applied to the printing and engraving of Buddhist scriptures and illustrations. Master Xuanzang, a famous monk in the Tang Dynasty, once carved and printed Buddha statues. At the end of the Tang Dynasty, Feng Zhi quoted Yi Lu from the Monk Garden in the volume of Yun Xian San Lu, saying: "Xuanzang printed the image of Pu Xian on the back paper and applied it to all directions, carrying nothing every year." It can be seen that the number is quite large.

The existing older block-printed artwork is the Darani Sutra, which was unearthed from the tomb of the Tang Dynasty near Wangjianglou outside the East Gate of Chengdu in 1953. This piece was found in a silver bracelet worn on the main arm of the tomb, engraved with ancient Sanskrit sutras, and printed with small Buddha statues around and in the center. According to the examination, when published in Tang Suzong to Germany two years (AD 757).

another more important piece of print remains in the Tang dynasty is the title page painting of King Kong Prajna Paramita Sutra published in the 9th year of Tang Xiantong (AD 868). This paper is a 16-foot-long paper, which is composed of six pages glued together. At the end of the paper, there is a picture of a tree for a lonely garden. The whole picture is luxuriantly decorated, the layout is safe, and the lines are delicate and strong. It is a masterpiece with mature engraving skills. At the end of the volume, there is the publication of "Xian Tong's April 15th, 9th, when Wang D made almsgiving for his second parents", which is the earliest extant engraved illustrated artwork and famous Buddhist prints with exact publication date. China printed illustrations for books in the form of block printing, which was at least 5 years earlier than Europe. This picture is the most famous masterpiece of early block printing illustrations in China.

In the early Tang Dynasty, emperors adopted the policy of paying equal attention to Confucianism, Buddhism and Taoism, and Buddhism developed rapidly. Empress Wu Zetian changed the Tang Dynasty to Zhou Dynasty, and borrowed the Great Cloud Sutra as the symbol of the woman's order from heaven, claiming that her "Longxing" was a prophecy of Buddhism, and it was also a great development of Buddhism. At that time, statues and temples were built all over the country; Scholars published scriptures, which became a common practice. From this point of view, at that time, there must be a large number of Buddhist prints. It's just that because the years are far away, there are few prints in the Tang Dynasty that remain today. In addition, in the fifth year of Tang Huichang (A.D. 845), Tang Wuzong wrote a letter to destroy the Buddha, and all the scriptures were engraved, all of which were robbed of ashes. The Buddhist editions that have been handed down to this day are just like auspicious feathers, which are hard to find. However, according to the documentary records and the existing physical objects, it can be preliminarily affirmed that after the invention of block printing in China, it was first widely used in the printing of Buddhist scriptures, and Buddhist works became the earliest category in the history of block printing and illustration art in China.

Second, the Five Dynasties, Song and Yuan Illustrations

The Five Dynasties following the Tang Dynasty were an era of great turmoil, division and chaos in China's history, and also a period of relative decline in the history of art. However, the art of engraving and illustration initiated in the Tang Dynasty has made great progress in the turmoil.

There is still only one kind of Buddhist theme in the engraved illustrations left over from the Five Dynasties, and the number is rare, but compared with the Tang Dynasty, there are still more. Among them, the most noteworthy are the statue of the Great Sage Vishamen and the statue of Avalokitesvara. Both pictures were published in the fourth year of the late Jin Dynasty (AD 947), and the latter was inscribed with the words "Made by Cao Yuanzhong, a teacher of Guiyijun Festival History Verification School" and signed by Lei Yanmei, the engraver. It is the earliest existing engraving illustration with all the time, place, publisher and engraver's name available. The former is the earliest existing engraving and illustration of Guanyin, which shows that although they are all Buddhist works of art, they are far richer in theme selection than in the Tang Dynasty.

in 96 ad, the northern song dynasty was established, and the country was reunified after the conquest of the north. In Song Dynasty, Wen Zhi was emphasized, block printing developed in an all-round way, and the art of block printing and illustration also made great progress.

The artistic remains of engraving and illustration in the Song Dynasty are still mainly Buddhist. Among them, there are four illustrations in Song Taizong's time magazine "Interpretation of Imperial Collection", which are the oldest existing landscape paintings; Four pictures (existing in Japan), such as Maitreya Buddha and Manjusri Bodhisattva, published during the reign of Emperor Yongxi, are all excellent works. The Mandala of Darani and the Mantra of Darani are also world-famous heritages. For example, the Manjusri Guide Picture Zan published in Lin 'an in the Southern Song Dynasty, with the plate placed at the top of the page, is the earliest existing large-scale Buddhist illustration group painting, and can also be said to be the oldest comic book work handed down from generation to generation. The Biography of Lienv, published by Yu Qin in Jian 'an in the Southern Song Dynasty, is even more worthy of a great book. Xu Kang's "Dream of the Past" commented: "Since Xiu Xiang's books, the biography of Lienv published in the Song Dynasty is the most refined." The layout of this book is similar to that of Manjusri Guide Tuzan.

Liao, Jin and Xixia, which confronted the Song Dynasty, were all regimes established by ethnic minorities in China. They have also made impressive achievements in the art field of engraving illustrations. For example, Yanjing, the capital of Liao country, is an important creation place of the northern Buddhist engraving and illustration art. In July, 1974, in the Sakyamuni Pagoda of Buddha Palace Temple in Yingxian County, Shanxi Province, a large number of carved Buddhist scriptures in Liao Dynasty were found, including more than ten illustrations, all of which were fine works. The title painting of Zhao Cheng Zang (also known as Jin Zang), a tripitaka in the Jin Dynasty, has a neat and powerful engraving, deep and vigorous, simple and bright background, and distinctive characters, which is a rare structure in Buddhist engraving illustrations.

From the above, it is not difficult to see that the engraving illustrations of the Five Dynasties, the Song Dynasty, Liao and Jin Dynasties have made obvious progress in carving skills, carving teams, drawing areas, and expressing contents and techniques, laying a good foundation for the great development of engraving illustration art in the future.

The Yuan Dynasty is also an important era in the history of block printing in China. Compared with the Song Dynasty, the illustrations of books published in Yuan Dynasty are not only inferior, but also improved. As far as the religious territory is concerned, the Zhaishang completed in the Yuan Dynasty has a neat and beautiful title painting, which is far beyond the Song Dynasty. More importantly, many kinds of book illustrations in China began to appear in the Yuan Dynasty. For example, The Story of the West Chamber published in Yuan Dynasty is the earliest extant illustration of traditional operas, Five Kinds of All-phase Pinghua is the earliest illustration published in Pinghua, and Shi Wen Guang Ji is the beginning of a kind of book with pictures, all of which are worthy of a great book in the history of printmaking illustrations. Therefore, the Song and Yuan Dynasties are an important era in the history of engraving and illustration art in China.

Third, dazzling illustrations of the Ming Dynasty

In the Ming Dynasty, China's book publishing industry developed in an all-round way, with many engravers and numerous workshops, and the art of engraving and illustration entered a golden age of prosperity. Its characteristics are mainly manifested in the following aspects.

A hundred flowers blossom and flourish like never before, which is the first feature of the Ming Dynasty engraving illustrations. After the exploration of Tang, Song and Yuan dynasties, in the Ming Dynasty, the art of block-printed illustrations not only expanded unprecedentedly in the production area, but also gradually formed three major art schools: Jian 'an, Jinling and Xin 'an. Other block-printed illustrations in Wulin, Suzhou and Xing Wu also had their own characteristics, surrounding the three major schools, such as the stars arching the moon, showing a vibrant school. Various schools and regions compete for beauty, but communicate and promote each other, which provides good conditions for the development of China engraving art to a broader world.

The second feature of the Ming Dynasty's engraving and illustration art is that it has various forms and is good at winning. This is mainly manifested in the fact that there are many types of illustrations, such as double-sided connection, multi-sided connection, moonlight connection, etc., in addition to the single-sided way in Song and Yuan Dynasties, which provides ample choice for painters to shape with the same kind.

The third feature of the Ming Dynasty engraving and illustration art, as well as the greatest feature of its artistic style, is the change from naive to exquisite and complicated. Generally speaking, the early illustrations of Jian 'an and Jinling schools have a rough and simple folk art style. Since the rise of Huizhou printmaking, it has become the mainstream of illustration art in the Ming Dynasty, and printmaking in Jian 'an and Jinling has also moved closer to it, merged with it, making China's illustration art more dazzling. This is probably because after the middle and late Wanli period of the Ming Dynasty, a large number of scholars took part in the creation of illustrations, which made illustrations not only the binding of books and illustrations of words, but also the fun of literati's desks. The participation of intellectuals has played a decisive role in improving the social status of illustrations and promoting their leap in quality and quantity.

The specialization of the illustrator ranks is the fourth feature of the Ming Dynasty engraving illustration art.. In the Ming Dynasty, there were many artists who left their names, such as Wang Geng, Wang Xiu, Cai Chonghuan, He Ying, Lu Xiazi, Xiong Lianquan, Meng Zhang Zheng, etc., all of whom were famous at that time. These people worked hard and left behind countless works, such as Wang Wenheng's works that can still be seen today, that is, no less than dozens. Some well-known great painters, such as Tang Yin, Chou Ying, Qian Gu, Ding Yunpeng and Chen Hongshou, also draw drawings for illustrations. Carving in the Ming Dynasty is as numerous as stars. For example, there are nearly 3 engravers in Huangchuan, Shexian County, Anhui Province, who are the main engravers of Huizhou School. Their father and son have been handed down from generation to generation, and they have lived in the north and south, making outstanding contributions to the spread of Huizhou engraving style. Others, such as Jingde Bao Chengxun, Guo Zhuoran, Wulin Xiang Nanzhou, Xing Wu Wang Wenzuo, Jinling Liu Suming, etc., are all great masters. Such a huge team of engravers has become the talent base for the great development of engraving and illustration art in Ming Dynasty.

Excellence in techniques and rapid progress are the fifth characteristics of the Ming dynasty engraving illustration art. The early illustrations of Jian 'an and Jinling schools are still slightly rough in technique, and their techniques have not changed much. After the rise of Huizhou school, this situation has been completely improved, and all of them are used freely and skillfully. At the same time, the engravers also pay attention to summing up the theory. For example, the Huizhou engraver copied by Lu Yujiu said: "Carving on wooden boards is not unusual, and the kung fu is deep and careful. If you want to raise the thread steadily with double knives, you should watch more and carve more. Look more and think more, and everything is clever. There are only eighteen kinds of martial arts, and the sculptor is never too old to learn. Holding the knife has its own principle of holding the knife, and the printing ability is high or low. □□□□□□ Great event, first carve people to carve mountains and rivers. " Concise, itself is a textbook about engraving.

carry forward the calendar and bring forth the old.