水陸畫「其他各界等眾」

司蠶之神，我國古代民間流傳之蠶官為女神，而此畫卻為一宋代官服老者；五鬼為民間傳說中的五瘟神，分別是：春瘟張元伯、夏瘟劉元達、秋瘟趙 公明、冬瘟鐘士貴、總管瘟史文業。

The painting features various deities, including the Silkworm Goddess and the Five Ghosts. However, there seems to be a discrepancy between the traditional representation of the Silkworm Goddess as a female deity associated with sericulture and the portrayal in the painting as an elderly figure in Song Dynasty official attire.

The Five Ghosts are figures from Chinese folklore representing different plague deities: Spring Plague - Zhang Yuanbo, Summer Plague - Liu Yuanda, Autumn Plague - Zhao Gongming, Winter Plague - Zhong Shigui, and the Central Plague (Managing Director) -Shi Wenye.

鶴神是道教中太歲部下的凶神之一，與目遊神相似，時而在天，時而巡遊四方，須迴避。 傳說鶴神原是八仙之一韓湘子之妻，想成為神仙，去見玉帝時忘記沐浴更衣，因冒失污物被封為鶴神。 畫中唯一女性裝束者為鶴神，其他武士是七煞諸神，為金神方位上的凶神。 右上方一武士，高舉長戟烈火環繞，背負噴射烈焰的葫蘆，應為火災凶神；其他六煞手持各式兵器，他們災禍兇煞的傳說讓人心驚膽戰。

The painting depicts various deities, including the Crane Deity and the Seven Inauspicious Deities. The Crane Deity is considered an ominous deity under the command of Tai Sui in Daoism. Legend has it that the Crane Deity was originally Han Xiangzi's wife, one of the Eight Immortals. She became a deity after aspiring to become an immortal but forgot to cleanse herself before meeting the Jade Emperor, leading to her transformation into the Crane Deity due to impurities.

The Seven Inauspicious Deities are associated with negative energies and are considered inauspicious in traditional Chinese beliefs. The depiction includes a female figure as the Crane Deity and six male warriors representing the Seven Inauspicious Deities. One warrior in the upper right corner holds a long spear surrounded by fierce flames, likely representing a deity associated with fire disasters. The other six warriors wield various weapons, embodying the fearsome reputation of these deities linked to calamities and misfortunes.

畫中人物前排右起為：年禁、月禁、太白、歲煞；後排右起為：官符、土後、土伯、幢命。 年禁、月禁為禁忌之神。

太白即金星，知名度家喻戶曉，在道教神仙中地位僅次於最高尊神三清祖師（太上老君、元始天尊、通天教主），金有肅殺之意；歲煞為最兇惡之神，只見他 怒目豎發，雙手法器，衣褶飄帶飛舞漫捲，刻畫得兇猛威武，很有力量；

官符即官煞；土後、土伯即土地神，畫中唯一女子為士地娘娘；幢命為幡幢之神。

In the painting, the front row figures, from right to left, are: Year Prohibition, Month Prohibition, Venus, and Yearly Prohibition; in the back row, from right to left, are: Official Talisman, Earth Deity, Earth Lord, and Banner Deity.

Venus, known as the planet of gold, holds significant status in Daoist pantheon, second only to the highest-ranking deities, the Three Pure Ones (Lord of Primordial Beginning, Lord of the Numinous Treasure, Lord of the Way and its Virtue). Venus represents solemnity and severity.

Yearly Prohibition is one of the fiercest deities, depicted with fierce eyes, holding divine instruments in both hands, with his robes fluttering fiercely, conveying a powerful and intimidating presence.

The Official Talisman represents a deity associated with officialdom.

Earth Deity and Earth Lord represent deities governing the earth. The sole female figure in the painting likely depicts Earth Deity also known as Lady of the Earth, representing the nurturing aspect of the earth.

Banner Deity represents a deity associated with banners and flags.

吊客、喪門俱系兇神，主疾病、喪事；大耗、小耗歲中虛耗之神，主破財、災禍；宅龍為鎮宅之神。 以上諸神為道教神仙中最低級神。

畫分兩層，上方一蛇身鬼頭者為喪門；隨後一白衣白帽、滿臉哭喪相婦女即為吊客；婦女身後為大耗、小耗，一個偷財寶，一個偷糧食，另 一個準備索人性命。 下層左第二人頭戴展翅幞頭、雙手捧圭的青年官員為宅龍，身旁左右為其副官和護衛及其真龍化身。

The painting portrays various deities associated with calamities and household protection:  Diaoke and Sangmen are both considered ominous deities associated with illness and funerals; Dahao and Xiaohao are deities associated with loss and expenditure, symbolizing financial losses and disasters; Zhailong is the guardian deity of households, responsible for protecting homes from negative influences.

The depiction features two layers:  In the upper layer, the figure with a serpent body and ghostly head represents Sangmen (the Funeral Door); behind is a woman dressed in white mourning attire, symbolizing Diaoke (Mourning Guest). Behind her are Dahao (Great Expenditure) and Xiaohao (Small Expenditure), one stealing treasures and the other stealing food, while another prepares to claim lives.  In the lower layer, the second figure from the left, wearing a ceremonial headdress and holding a ceremonial tablet, represents Zhailong (Household Dragon), with attendants and guardians by his side, including his true dragon form.

These deities represent the lower-ranking celestial beings in Daoism, associated with calamities, funeral rites, and household protection.

城隍、社廟、土地、殿塔、伽藍（寺院）都有神守護。 城隍原義為護城壕溝，後演變為道教管理地方之神的名字。 宋時，於地方有功者被祀為城隍；清後，城隍神已從地方保護神升格為護國安邦、調風和雨之神。 畫中下層右三人為城隍，頭效五梁冠、身著紅袍的王者為首，隨後侍立兩位頭戴冠帽的大臣；左方兩青年神者，穿藍袍者為殿塔神，穿紅 袍者為伽藍神；上層頭戴烏帽、慈眉善目的老翁為士地神，雙手捧書冊者為社廟神。

The painting illustrates various deities associated with safeguarding the country, its people, temples, and other sacred places:  City God: Deities linked to city protection, evolving from guardians of city moats to overseeing local and national affairs; Community and Temple Deities: Guardians of local communities and temples;  Land Deities: Spirits associated with the land, serving as local guardians or earth spirits; Temple and Pagoda Deities: Divine beings related to the protection of temples and pagodas; Sangharama: Deities safeguarding monastic establishments or temples.

In the lower layer, three figures on the right represent City God, with the main deity in a red robe and king-like attire, accompanied by two ministers. On the left, two youthful figures symbolize Temple and Pagoda deities and Sangharama deities.

In the upper layer, the elderly figure with a black hat and a benevolent expression signifies Land Deity, while the figure holding a book represents Community and Temple Deity.

地藏菩薩，佛教「四大菩薩」之一。 據《地藏十輪經》等記載，他“安忍不動如大地，靜慮深密如秘藏”，故名“地藏”。 他受佛的囑咐托，在釋迦佛入滅後到彌勒佛降生前的這段時期度化眾生，曾發下大誓願，謂「地獄不空，誓不成佛」。 秦廣等眾為十殿閻王中前四王，一殿秦廣王、二殿楚江王、三殿宋帝王、四殿五官王，各自掌管不同地獄，統領幽冥吉兇。

The Ksitigarbha Bodhisattva is one of the "Four Great Bodhisattvas" highly revered in Buddhism. According to scriptures such as the "Ten Wheels of Ksitigarbha Sutra," he is described as "calm like the earth, deeply contemplative like a hidden treasure," hence the name "Earth Treasure." Entrusted by Buddha, Earth Store Bodhisattva is committed to guiding and helping sentient beings from the time of Shakyamuni Buddha's Nirvana until the birth of Maitreya Buddha. He once made a great vow, stating, "Until all beings in the hell realms are liberated, I will not attain Buddhahood."

Qin Guang and others are among the first four kings of the Ten Yama Kings. Qin Guang King presides over the first court, Chu Jiang King over the second court, Song Di King over the third court, and Wu Guan King over the fourth court. Each is responsible for overseeing different realms of hell, managing the fates of beings in the afterlife.

閻羅、變成、泰山、平等、都市、轉輪都是閻王名，與第102 幅圖中四閻王合稱十殿間王。 十殿間王是中國古代特有的民間信仰，分別居於陰間地獄的十殿之上，掌管審判押到自己殿上的鬼魂，按照人生前的善惡行為給與相應的賞罰。 因為閻羅王名氣最大，所以居十殿閻王之首，簡稱閻王，職責是統領陰間諸神，掌管人的生死和輪迴。

Yanluo, Biancheng, Taishan, Pingdeng, Dushi, Zhuanlun are all names of Yama Kings, collectively known as the Ten Kings among the Yama Kings, along with the Four Yama Kings mentioned in the 102nd illustration. The Ten Yama Kings are a unique folk belief in ancient China, each residing above one of the ten halls in the underworld. They are responsible for judging the spirits brought to their halls, delivering appropriate rewards or punishments based on their actions in their previous lives. Yanluo, being the most renowned, is the chief among the Ten Yama Kings, commonly referred to as Yama. His responsibilities include overseeing the various gods in the underworld and managing the cycle of life, death, and reincarnation.

中國古代有三界之說，天上、人間、地獄。 傳說地獄有十大閻王，統領地府六曹四司此外還有首席判官崔府君、鐘魁、黑白無常、牛頭馬面、孟婆神等，官制設置基本上都是按照當時人間的規制。 圖中下層六員大臣代表六曹；上層六人，右邊四員大臣代表四司，左方兩人手捧卷宗者，品味較低，皆為都司官。

In ancient China, there was a belief in the three realms: heaven, earth, and the underworld. According to legends, the underworld had ten Yama Kings who governed various aspects of the afterlife. In addition to the Yama Kings, there were chief judges, including Cui Fujun, Zhong Kui, Black and White Impermanence, Ox-Head, Horse-Face, and Meng Po, among others. The administrative structure in the underworld mirrored that of the earthly bureaucracy. 

In the illustration, the six officials in the lower part represent the six bureaus, while the six figures in the upper part include four officials representing the four divisions and two individuals holding scrolls, indicating lower-ranking officials.

地府五道將軍為地獄東、南、西、北、中人口的五位守路神，具有監督閻王、判官或糾正其不公行為的權利。 此襯也常暗中巡遊於人間訪生死冤情，傳說以人夢的方式與人交流。

The Five Generals of the Underworld, also known as the Five Road Generals, are deities responsible for guarding the five directions (East, South, West, North, and Center) in the underworld. They have the authority to supervise Yama Kings, judges, or correct any unfair actions. According to folklore, these deities also roam in the human realm in disguise, often interacting with people through dreams to inquire about unresolved matters related to life and death.

善惡二指善神與惡神，善神系八部眾中主持正義之神；惡神即夜叉羅剎，為害人之惡鬼。

The Wholesome and Unwholesome Departments refer to the divine entities representing righteousness and malevolence respectively. The Wholesome Department consists of deities upholding justice among the Eight Departments, while the Evil Department comprises malevolent spirits such as Yakshas and Rakshasas, known for causing harm to humans.

八寒八熱俱為地獄名，皆由眾生所造各種不同之業因而感召不同之果報，各有八種不同的刑罰。

The Eight Cold Hells and Eight Hot Hells are both names of realms in hell, each representing different karmic consequences resulting from various actions performed by sentient beings. Each realm entails eight distinct forms of punishment.

畫面上層監獄城牆一圈尖刀豎立，大門緊閉，城外有一裸身罪鬼被枷在木樁邊，旁有牛頭獄卒看守，傳說這就是孤獨地獄；下層畫面表現屋倒牆崩，一男子被砸 喪命，兩男子見狀而無奈，一婦女掩袖啼哭；畫面右邊一男子受傷倒地，好似剛被救起，兩婦人作救護狀；中間雲霧裡若隱若現三人，可能是鬼魂在去往陰間 報到的黃泉路上。 畫面表現了人間的悲慘境遇和地獄的冷酷無情，意在教化有情行善積德。

In the upper part of the picture, the prison walls are lined with sharp knives, the gates tightly shut. Outside the walls, a naked soul is chained to a wooden stake, guarded by a bull-headed jailer. This scene depicts the Lonely Hell, where souls suffer in isolation. 

In the lower part, a collapsing house causes the death of a man, while two others look on helplessly. A woman weeps beside them. On the right, a wounded man lies on the ground, seemingly just rescued, while two women tend to him. In the misty center, three figures emerge, possibly souls traversing the underworld on their journey to the afterlife. 

The painting portrays the grim realities of human suffering and the ruthless nature of hell, aiming to encourage sentient beings to perform good deeds and accumulate merits.

面然也叫烏尤。 烏尤為梵語之音譯，漢譯為面然。 佛經記載，釋迦牟尼佛的弟子阿難在半夜夢見一餓鬼，自稱面然，雙阿難說，三日後汝命將盡，墮餓鬼中。 阿難恐懼，向佛申訴，佛授以經咒，謂誦之能使餓鬼得食，汝也可福壽綿長。

這就是水陸道場的緣起。 畫面上層為開啟水陸法會的阿難大師，他手持法器，口誦咒語，正在超度餓鬼，旁有兩小僧執幡待立；下層中間紅裙綠帶、亂發飛散者即面然鬼王 ，亦稱面然大士，是瑜伽施食法門中鬼王的代表，也是菩薩的化身。

The figure known as "Mianran," is a representation of a hungry ghost or ghost king. According to Buddhist sutras, Ananda, a disciple of the Buddha, dreamt of a hungry ghost self-identified as Mianran, who revealed that he had only three days left before falling into the hungry ghost realm due to his imminent death. Ananda, fearing for Mianran's fate, sought the Buddha's help. The Buddha imparted a sutra and mantra, stating that reciting it would allow hungry ghosts to receive sustenance and lead to an extension of life.

In the upper part of the painting, Ananda, the great master initiating the water-land Dharma assembly, holds ritual implements and recites mantras to rescue hungry ghosts. Two young monks stand by with banners. In the lower part, the figure in a red skirt and green sash with disheveled hair represents Mianran, the ghost king. Also known as Mianran Dashi, he is a representative figure in the Yogacara Flaming Mouth Food Bestowal Ritual and is considered an incarnation of a bodhisattva.

畫分兩層，上層畫主病鬼王兩人，下層畫五瘟使者，皆為中國民間傳說中專司瘟疫之神。 瘟疫是急性傳染病，古代發生瘟疫時，人們認為是瘟神所為。 畫面右下方拎桶者為總管中瘟史文業，其身後馬頭持葫蘆者為夏瘟劉元達，烏鴉頭持劍者為冬𤼎鐘士貴，左方虎頭持扇者為秋瘟趙公明，中間鳥頭 執錘者為春瘟張元伯。

The painting is divided into two layers. In the upper layer, it depicts the main figures of the plague, namely the Lord of Disease and the Ghost King. In the lower layer, it portrays the Five Plague Envoys, who are folk deities responsible for various epidemics. These deities were believed to be responsible for outbreaks of infectious diseases in ancient times.

In the lower right corner, the figure carrying a bucket is the Chief of the Central Plague, Shi Wenye. Behind him, the one with a horse's head carrying a gourd is Liu Yuanda, the envoy of summer plague. The figure with a crow's head holding a sword represents Zhong Shigui, the envoy of winter plague. On the left side, the one with a tiger's head holding a fan is Zhao Gongming, the envoy of autumn plague. In the middle, the bird-headed figure wielding a hammer is Zhang Yuanbo, the envoy of spring plague.

這是一輻陰間地獄餓鬼道的想像畫。 針咽鬼肚子（食量）很大，而喉嚨小得像針孔；臭毛鬼，毛利而臭自拔受苦；巨口飢火熾然鬼，火焰常從口出，故縱得飲食，亦化灰燼。

This is an imaginative depiction of hungry ghosts in the realm of hungry ghosts in the underworld. The "Needle-Throat Ghost" has a large belly (appetite), but its throat is as small as a needle hole. The "Stinking Hair Ghost" is covered in foul-smelling hair, experiencing suffering from self-plucking.

The "Giant-Mouth Hungry-Fire Ghost" has a huge mouth from which flames constantly emerge. Even when they manage to consume food and drink, it turns into ashes due to the fiery nature. These depictions highlight the torments and hardships experienced by these hungry ghosts in the afterlife.

畫出頂部畫一結跏趺坐於蓮花上的菩薩，在誦經祈福與超度眾有情。 中間為面然鬼王，亦稱面然大士，是佛教水陸道場始口施食法門中鬼王的代表。 鬼王面前供品堆積如山，孤魂得知水陸道場放焰口、施食物，紛紛來領食物和元寶。

佛教水陸道場不但使孤魂超度，也使窮苦的世人也得到福報。 畫面中左下方五富人，為佛門布施財物，佛門又接濟需要幫助的（畫面中）衣不蔽體、貧病交加的窮苦大眾，即祈福向善、和諧共生、普度有情。

The painting depicts a Bodhisattva seated in a full lotus posture on a lotus flower at the top, engaged in reciting scriptures, offering prayers, and delivering sentient beings. In the middle is the Scorched Face Ghost King, also known as Scorched Face Bodhisattva, representing the Ghost King in the Buddhist Water and Land Dharma Assembly, specifically in the Food Bestowal Ritual.

In front of the Ghost King, there is a pile of offerings resembling a mountain. Upon learning about the Food Bestowal Ritual and the release of flames in the Water and Land Dharma Assembly, numerous wandering spirits eagerly come to receive food and treasures.

The Buddhist Water and Land Dharma Assembly not only benefits wandering spirits but also extends blessings to the impoverished people. In the bottom-left corner of the painting, there are five wealthy individuals engaged in Buddhist almsgiving, contributing material wealth. The Buddhist community is shown aiding those in need, symbolized by the destitute individuals suffering from poverty and illness, promoting the ideals of praying for blessings, cultivating virtue, fostering harmony, and universally saving sentient beings.

「六道」指天道，人道，阿修羅道，畜生道，餓鬼道，地獄道。 佛陀概括世間一切有情，皆歸為六大種類，因各自所作的善惡因果不同，在六道中輪迴。

畫面主要刻畫了人道和畜生道，意在教化眾生積德行善。

"The Six Realms" refer to the realms of existence in Buddhism: Deva (heavenly beings), Human, Asura (demigods), Animal, Preta (hungry ghosts), and Hell. All sentient beings are classified into these six categories based on their karmic actions, and they undergo the cycle of reincarnation within these paths.

The painting primarily depicts the Human and Animal realms, aiming to guide sentient beings to accumulate virtue and perform good deeds in order to transcend the cycle of suffering in the Six Paths.

畫中頭戴束髮金冠、雙手執鎮圭者，為六位帝王。 玉圭不是隨身穿戴之物，而是古帝王祭祀用的重要禮器，主要流行於商周與春秋戰國時期。 《週禮》記載，為祭祀東方神位之用，後來又成為一種權力、身份、地位的象徵，即天子執「鎮圭」、公執「桓圭」、侯執「信圭」、伯 執“躬圭”，等級不同所持玉圭的形制也不同。

畫面刻畫了往古帝王、太子雍容華貴、瀟酒的風度，意在傳播佛陀教義，教化眾生積德行善，享受人間福報。

In the painting, the figures wearing golden crowns and holding ceremonial jade scepters are depicted as six ancient emperors. The jade scepter, known as "Zhen Gui," was not an accessory for personal wear but an important ritual object used in ancient times, especially during the Shang and Zhou dynasties. According to the "Zhou Li" (Rites of Zhou), it was employed in the worship of deities in the eastern direction. Over time, it evolved into a symbol of power, status, and rank, with variations such as the "Zhen Gui" held by the emperor, "Huan Gui" by a duke, "Xin Gui" by a marquis, and so on, each corresponding to a different level of hierarchy.

The painting portrays the regal and refined demeanor of ancient emperors and princes, conveying the message of Buddhist teachings to guide beings toward accumulating virtue and performing good deeds, thereby enjoying blessings in the human realm.

畫中左前方貴婦代表往古妃後，其餘代表宮嬪、婇女，均為享受人間福報的女眾。 整幅畫面描繪出宮延嬪妃、婇女眾高貴典雅、怡然自得、內心充滿幸福的生活實景。

In the painting, the figure in the foreground on the left, representing a noble lady, signifies ancient queens and consorts, while the others represent palace consorts and attendants. All of them symbolize female beings enjoying blessings in the human realm. The entire composition depicts the graceful and contented life of palace consorts, concubines, and attendants, radiating an air of nobility and happiness.

畫中四位頭藏展翅幞頭官帽、雙手執紛者，代表往古文官；後方五位披甲戴盔、威風凜凜者，代表往古武將。

In the painting, the four figures in front, wearing official caps and holding scrolls, represent ancient civil officials. Behind them, the five figures in armor and helmets represent ancient military generals.

此畫均為歷代為國殺身成仁的將士，代表儒家道德的最高標準。 畫面下層四將中，左方穿綠袍的為關羽，右方穿白袍的為高長恭，頭戴黑紗帽白頭巾、手持鞭者為隋唐名將尉遲恭。 關羽為三國蜀漢大將，曾身經百戰、威震華夏；高長恭為北齊蘭陵王，勇武而貌美，自以為不能使敵人畏懼，常戴面具出戰，故後人繪蘭陵王像皆隨身 攜一面具。

畫面上層泛指一切為國捐軀的往古將士。 為紀念他們的功績、祈禱他們的靈魂得到安寧，故繪水陸畫瞻仰緬懷。

The painting depicts soldiers from various historical periods who sacrificed themselves for their country, embodying the highest moral standards of Confucianism. In the lower part of the painting, the figure on the left wearing a green robe represents Guan Yu, while the one on the right wearing a white robe is Gao Changgong. The figure in the middle wearing a black veil hat and holding a whip is the famous general Wei Chi Gong from the Sui and Tang dynasties. Guan Yu was a prominent general of the Shu Han during the Three Kingdoms period, known for his bravery and military prowess. Gao Changgong was a prince of the Northern Qi dynasty, renowned for his courage and beauty, often wearing a mask in battle as he felt his enemies weren't afraid of his appearance. The upper part of the painting represents all ancient soldiers who sacrificed themselves for their country. This painting serves as a memorial to their achievements and prays for the peace of their souls, thus portraying scenes of water and land worship to honor and remember them.

比丘為佛教僧人的梵文音譯，指已受具足戒的男性出家人，也稱和尚，為佛教出家四眾之一。 出家女眾為比丘尼，預備出家的男眾為沙彌，女眾為沙彌尼。

The term "Bi Qiu" is a transliteration of the Sanskrit word "bhikshu" in Buddhism, referring to male monastics who have received full ordination. They are also known as monks and constitute one of the fourfold assembly of Buddhist monastics. Female monastics are called bhikshuni, and male novices preparing for ordination are called shramanera, while female novices are called shramanerika.

佛教徒出家男女二眾分別稱為比丘、比丘尼；在家眾中護衛佛法、按佛教之法行事的男眾稱為優婆塞，女眾稱為優婆夷，通稱在家居士。

In Buddhism, ordained male and female monastics are respectively called bhikshu and bhikshuni. Among lay Buddhists who uphold the Dharma and adhere to Buddhist practices, males are referred to as upasaka, and females are referred to as upasika. Collectively, they are known as lay practitioners or householders.

道教追求所謂長生不老之術，每天早晨在紅霞升起時呼吸吐納，此之謂升霞。 燒丹亦稱煉丹，是道教最基本的修練術。 有外丹與內丹之分。 外丹術源自先秦，是在丹爐中燒煉礦物以製「仙丹」服之；內丹術是透過內煉，使精、氣、在體內聚凝不散而成丹。 畫面上方五道士的情態，表現了他們升霞、燒丹的一個側面。

In Daoism, the pursuit of longevity and immortality is a central theme. The practice of shengxia involves breathing exercises and meditation during the sunrise. Shaodan, or alchemy, is a fundamental Daoist practice. There are external alchemy (outer elixir) and internal alchemy (inner elixir). External alchemy involves refining minerals in a crucible to produce an "elixir" consumed for spiritual benefits. Internal alchemy involves cultivating and refining one's internal energies to form an inner elixir. The image of the five Daoist practitioners in the painting captures their engagement in practices related to sunrise meditation and alchemical pursuits.

中國古代將讀書人尊稱為儒家、賢士。 他們不僅飽讀詩書，而且琴棋書畫樣皆通。

In ancient China, educated individuals were honored with titles such as Confucian Scholar and Virtuous Gentleman signifying their wisdom and virtue. They were not only well-versed in literature and classics but also skilled in various arts such as music, chess, calligraphy, and painting.

泛指儒家所倡導的孝子賢孫。

The painting represents the Confucian ideals of filial piety and respect for elders, emphasizing the importance of family virtues.

三貞、九烈、賢婦，封建社會用來讚譽寧死不改嫁、不失身，恪守婦道的貞烈女子。

The "Three Chaste Women," "Nine Virtuous Women," and "Exemplary Wives" were terms used in feudal society to praise women who remained faithful, virtuous, and devoted to their marital duties, even in the face of adversity.

畫中人物眾多，形象鮮明。 上層畫士、農、工、商、醫、卜諸人眾。 負劍者為士，荷鋤擔食者為農，背負工具者為工，挑擔者為商，醫人、卜者均有明顯的職業標記。 下層畫戲劇和百戲演員。 戲劇人物包括生、旦、淨、末、醜；「百戲」古代樂舞與雜技的總稱，人物服裝怪異，或穿著外氅，或披獅外衣。

The upper layer of the painting depicts individuals from various professions, including scholars, farmers, artisans, merchants, doctors, and diviners. The warrior with a sword represents the scholar, the one carrying farming tools symbolizes the farmer, the person with tools on their back represents the artisan, and the one carrying goods represents the merchant. There are clear occupational markers for the doctor and diviner.

The lower layer of the painting portrays theatrical and variety performers. The theatrical characters include the male lead (sheng), the female lead (dan), the painted-face role (jing), the comic character (chou), and the clown (mo). They also represent various forms of music, dance, and acrobatics, and the performers wear unique and colorful costumes.

畫中上層為被休棄的妻子，臨別回顧幼子，刻畫出母子被迫生離的悲慘情狀；下層畫面為僱典奴婢，未成年的奴僕被人販賣。

In the painting, the upper layer portrays the forsaken wife, who glances back at her young child as she leaves, depicting the poignant scene of a mother and child being forcibly separated. The lower layer depicts hired servants, including underage servants who have been trafficked and sold.

畫面描繪大眾由於荒年和各種原因所遭受的痛苦，有的吊死樹下，有的舉刀自刎，已被迫輕生，魂歸離恨天；有的尚在苦難中掙扎，骨瘦如柴的饑民 流離失所，被疾病、飢餓折磨得無復人形，奄奄待斃，狀極淒慘。

The painting depicts the suffering of the masses due to famine and various reasons. Some are shown hanging from trees, while others are depicted using knives for self-inflicted wounds, driven to desperate measures. The skeletal figures of famine-stricken refugees highlight the harsh conditions they endure, facing disease and hunger. The overall scene is one of extreme despair and misery.

這幅畫的內容分上下兩部分，下部畫貧病交加而陷於困境的幾家人，有的在逃荒要飯行路艱難，有的因飢餓和病魔纏身不能行走而倒身在地；上部畫他們的 孩子還不懂得生活已面臨死亡的邊緣，四個小孩攀樹捕鳥，其中一孩因樹枝折斷跌人深澗，可謂禍不單行。

The painting is divided into two parts. The lower part depicts families in poverty and illness. Some are begging for food on difficult roads, while others are unable to walk due to hunger and illness, lying on the ground. The upper part of the painting shows their children, unaware of the imminent threat of death. Four children are climbing trees to catch birds, and one child falls into a deep ravine after a tree branch breaks, adding to the misfortunes.

畫師們用大膽的想像，描繪出無辜銜冤而死的百姓魂魄向貪官污吏報仇雪恨的情景。 被害人或手提自己的頭顱向仇人擲去，或揪住仇人毆打，被毆打的官吏倉皇欲遁。 此畫意在教化官吏要善待百姓、行善積德，善待百姓就是善待自己，就是在做功德之事，否則就會血債血償。

The artists use bold imagination to depict the souls of innocent people who died unjustly seeking revenge against corrupt officials. The victims are portrayed either holding their own heads and throwing them at their enemies or physically assaulting the wrongdoers, leaving the corrupt officials panicked and desperate to escape. The painting serves as a moral lesson, emphasizing the importance for officials to treat the common people with kindness, accumulate virtuous deeds, and recognize that treating others well is equivalent to doing good for oneself. Otherwise, there will be karmic consequences to face.

這幅畫刻畫的是鬧市行刑的場面。

This painting depicts the scene of an execution in a bustling city.

畫中所繪匪徒，身穿盔甲，人馬精壯，類似官兵，這些兵戈、盜賊正在搶劫和殺戮。

The painting portrays marauders dressed in armor, displaying strength and militaristic prowess akin to soldiers. These soldiers and thieves are engaged in acts of robbery and violence.

畫面遠景為崇山峻嶺之中，殘軍敗將棄甲曳兵、相扶而走；近景為屋宇焚燒，人們被困於一片火海之中，嚎啕呼救，掙扎待斃。

The painting depicts a distant view of rugged mountains, where defeated soldiers abandon their armor and retreat while assisting each other. In the foreground, buildings are engulfed in flames, trapping people in a sea of fire. They cry out for help and struggle in desperation.

畫面遠處山林野獸出沒，兩隻猛虎將行人撲倒在地，坐騎受驚奔逃而去；近景客棧中正在發生仇冤報恨之事，當事人驚恐地去報官府，而官員卻無動於衷、不予理睬 。 老百姓的生活遭受天災人禍的雙重打擊，生命沒有保障而成為孤魂。

The painting portrays a distant scene where wild beasts roam in the mountains, and two fierce tigers pounce on pedestrians, causing chaos as their mounts flee in panic. In the foreground, an incident of revenge and resentment unfolds at an inn. The concerned individuals, frightened, rush to report the matter to the authorities, but the officials remain indifferent and pay no attention. The lives of ordinary people are doubly affected by natural disasters and human calamities, leaving them without security and becoming wandering spirits.

畫的下半部描繪婦女救護產婦、接生嬰兒的情景。 上半部畫一人袒腹而臥狀若中暑，旁有三人正在進行護理；路旁有兩塊路牌，一塊書“雙牌十里”，另一塊書“輕避重，少避老”。

The lower half of the painting depicts scenes of women caring for pregnant women and delivering babies. In the upper half, one person lies down, exposing their abdomen as if suffering from heatstroke, while three others are providing care. Along the road, there are two road signs. One sign reads "Shuangpai Shili" (Double signs, ten miles), and the other reads "The light avoid the heavy; the young avoid the old."

在偏僻山村的一座茅屋內，老人誤服毒藥而口吐鮮血，二婦女在旁救護；門外路上畫四人一驢，被庸醫治死者的家屬正揪往醫生打罵，醫生驚懼欲逃 ，黑驢正在回首翹望；畫面的右上角還畫著幾個人在蕭瑟的寒風中行進。 畫面表現了冬天肅殺的景象和人們悲慘的境遇。

In a remote mountain village, inside a thatched house, an elderly person mistakenly ingests poison and spits out blood. Two women are providing assistance nearby. Outside the door, on the road, there is a depiction of four people and a donkey. The relatives of the person who died due to the negligence of the quack doctor are dragging the doctor away for punishment. The doctor is frightened and trying to escape, while a black donkey looks back inquisitively. In the upper right corner of the painting, several people are depicted moving forward in the desolate winter wind. The scene portrays the chilling winter atmosphere and the tragic circumstances of the people.

畫的上層為身殂道路、客死他鄉的內容；下層描繪水災中遇難的災民，有的已被溺死，漂屍中流，有的正在水波中掙扎呼救，有的雖已逃到岸上，但衣履 不全、四顧茫然。

The upper part of the painting depicts scenes of people dying on the road or in foreign lands. The lower part illustrates victims of a flood disaster. Some have already drowned and their bodies float among the waves, while others struggle and cry for help in the water. Some survivors have managed to reach the shore, but they are disheveled and bewildered, with their clothes incomplete, surveying their surroundings with despair.

這是一幅以巫師和伶人為題材的畫。 右下方畫一長須男子，持劍托缽似在作法，正是巫師形象；隨後一綠衣紅裙女子，一手執拍板、一手執令箭；左方有一左肩扛鈀斧、右手持樂器的男子 ；旁立一猴，朱衣皂靴，扛著大扇，都係散樂和雜技演員。

This is a painting depicting sorcerers, scattered musicians, performers, officials, fallen aristocrats, souls, and various ghosts.

In the lower right corner, there is an image of a bearded man holding a sword and a begging bowl, seemingly performing some ritual—a representation of a sorcerer. Following him is a woman wearing a green robe and a red skirt, holding a clapper in one hand and a command arrow in the other. On the left side, there is a man carrying an axe on his left shoulder and holding a musical instrument in his right hand. Standing beside him is a monkey, wearing red clothes and black boots, carrying a large fan. All of them represent scattered musicians and acrobats.