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    In Ming Dynasty, Hangzhou was one of the three engraving printing centers of the country. In Wanli Year, Wuxing's printing industry suddenly rose as a new force. The wood carving print achieved most in inset pictures for literature works such as novels, opera scripts and poems. For instance, the Hangzhou published Whorehouse Poems had illustrations drew by Zhang Mengzheng of Renhe and carved by the masters of Anhui style Huang Guifang, Huang Yibin and Huang Duanpu who resided in Hangzhou. The flowing lines and beautiful designs of the illustration made it the fine representative of the print of Ming Dynasty in full bloom. The most delicate work was the illustrations in Collection Of Wu's Literary Writings of the White Snow Workshop Edition designed by Zhang Shiling of Wulin. The carving was a combined effort of Xiang Nanzhou of Wulin and Hong Guoliang and Wang Chengpu of Anhui, and laid a solid foundation for the later Wulin style with its gentle and tactful lines. In Chongzhen Year, the Hangzhou edition Jin Ping Mei With Newly Embroidered Portrait And Reviews had 100 pictures in it and was done by Liu Qixian, Liu Yingzu, Huang Ruyao, Huang Zili and Hong Guoliang. In Wanli Year, the books published by Rongyu Workshop of Wulin were all reviewed by Li Zhuowu and excellently illustrated by masters, such as The Loyal And Righteous Heros In Marshes, The Tale Of Pi-Pa, The Tale Of The Gold Seal, The Northern Version Of West Chamber, The Tale Of Joint Jade Adornment, Sadness In Boudoir and The Tale Of The Red Horsetail Whisk. The publisher of Changxing, Zang Maoxun, used to revise Collection Of Yuan Dynasty Tunes, totaling 100 chapters. He added one illustration to each chapter, with emphasis on the character's facial expressions. The most distinctive of opera script illustrations were those in Ancient Za Ju (Gu Quzhai's edition) carved by the clansmen of Huang's family. Almost all of them were elaborate works among the best of Wulin prints. The traditional Chinese print was a process of reproduction, that is, the designer and the carver were different people while the designer was the more important of the two. The artist Chen Hongshou produced many excellent wood carving sketches in his life, such as the illustrations of West Chamber ' The Original Edition and Crimson On Mandarin Duck Grave. When he was only nineteen, he drew twelve illustrations for Jiu Ge, among which the one Qu Yuan's Chanting was the most impressive. The layout of the picture was simple and stable with flowing lines. The character, Qu Yuan, bore both worries and anger as he had a look of fortitude on his face. Chen Hongshou's illustrations for the West Chamber ' Northern Private Edition were magnificent, too. For instance, in the picture entitled Peeping Over The Letter, he portrayed vividly the subtle feelings of the girl Cui Yingying in love and the boldness of the servant girl Hongniang who sustained her master in the resistance of marital arrangement from Cui Yingying's family. His illustrations for Hero Of The Marshes and Learning The Ancient were all classic works of the country's realistic figure painting and held important positions in the history of print. The publication of sketch collections was a prominent feature of Wulin print with influential works like A Collection Of Famous Works In All Generations, A Collection Of Shiyu's Illustrations, Sketch Collection Of Jiya Workshop, and Liu Xuhu's Plum Collection. Xuxing was another town of print, which produced the well-known red-and-black printed books. Min Qige and Ling Mengchu of Wuxing were the two who did a great number of beautiful illustrations.

Illustrations in West Chamber, by Chen Hongshou
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