明代万历以后,我国古代小说插图进入辉煌时期。这不仅体现在这一时期小说插图数量之多,也体现在插图形式之多样,可以说,这一时期是中国古代小说插图样式最为齐备的时期。从刊于小说内封、卷首及版心等处说明插图性质的用语来看,即有“全相”、“全像”、“出相”、“出像”及“绣像”等词语。这些“全相”、“全像”、“出相”、“出像”及“绣像”等,虽以共时的状态出现在万历、泰昌、天启、崇祯时期,而从中国古代小说插图的历史流脉来看,它们本来是具有时间上的延 After the Wanli Ming Dynasty, the illustrations of ancient Chinese novels entered a period of glory. This is not only reflected in the number of novel illustrations in this period, but also in the diverse forms of illustration. It can be said that this period is the most complete period for the illustrations of ancient Chinese novels. From the perspectives of the nature of illustration illustrated in the novel’s internal seal, volume and edition heart, there are “all-phase”, “all-image”, “out of phase” And “embroidered like ” and other words. These “all phases”, “all images”, “appearances”, “appearances” and “embroidery images”, etc. appear in synchronic states in Wanli, Taichang, Apocalypse, Chongzhen period, and from the historical flow of ancient Chinese novel illustrations, they are originally with the time extension