Period:Qing dynasty Production date:1900-1911
Materials:paper
Technique:woodblock
Subjects:mammal military deity arms/armour
Dimensions:Height: 42 centimetres (Royal mount) Width: 25.40 centimetres
Description:
Woodblock print in ink and colours on paper.
IMG
![图片[1]-print BM-1982-1217-0.55-China Archive](https://chinaarchive.net/Qin dynasty/43/mid_00099488_001.jpg)
![图片[2]-print BM-1982-1217-0.55-China Archive](https://chinaarchive.net/Qin dynasty/43/mid_00672313_001.jpg)
Comments:In popular-print tradition, door guards often derive from stories and novels. Zhao Gongming is usually paired with the Daoist Master of the Burning Lamp, Randeng daoren. They were adversaries in the late 17th-century novel The Investiture of the Gods (Fengshen yanyi). Zhao rides a black tiger and brandishes his iron cudgel. His magic weapon, a pair of scissors, floats near his head. He holds a gold ingot, symbol of wealth. This is because he sometimes functions as a god of wealth. Zhao Gongming’s appearance reflects theatre practices. In Chinese opera, face-painting conveys information about the temperament of the person being portrayed on stage. Red indicates courage, loyalty and uprightness.
Materials:paper
Technique:woodblock
Subjects:mammal military deity arms/armour
Dimensions:Height: 42 centimetres (Royal mount) Width: 25.40 centimetres
Description:
Woodblock print in ink and colours on paper.
IMG
Comments:In popular-print tradition, door guards often derive from stories and novels. Zhao Gongming is usually paired with the Daoist Master of the Burning Lamp, Randeng daoren. They were adversaries in the late 17th-century novel The Investiture of the Gods (Fengshen yanyi). Zhao rides a black tiger and brandishes his iron cudgel. His magic weapon, a pair of scissors, floats near his head. He holds a gold ingot, symbol of wealth. This is because he sometimes functions as a god of wealth. Zhao Gongming’s appearance reflects theatre practices. In Chinese opera, face-painting conveys information about the temperament of the person being portrayed on stage. Red indicates courage, loyalty and uprightness.
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
