１、１８９３年６月７日，直隸提督葉誌超奉李鴻章命帶兵赴朝鮮剿匪，日本也派兵，調節不成，致使中日交戰。下麵是當時清軍的宣傳畫，葉軍們水陸大勝倭寇。然而與事實相差甚遠的是：葉誌超率兩萬清兵，和一萬日軍對壘，卻膽小如鼠，兩次不戰而逃，將屬國朝鮮，拱手讓人，為甲午戰敗中方之第一責任人。但是卻謊報戰功，飾敗為勝，吹噓牙山大捷，蒙蔽清政府，得到明令褒獎，被委派為駐平壤諸軍總統帥，實在是滑天下之大稽！ 高山道人畫，１８９４ ２、北洋的海軍都督丁汝昌，雖然舍身取義，為國捐軀，比之上麵的陸戰，多少要光彩一些。可是他作為水軍主帥，指揮失當，統馭無方，十年磨一劍，未戰而屈兵，部下軍紀鬆弛，主帥也爭風吃醋，中飽私囊。對於洋教練，也無絲毫約束之力，甲午一役，把大清朝的家底，全部葬送幹淨。更為可笑的是，這一軍主帥的丁大都督，臨死前竟不能令行禁止，還給手下人做了墊背的，以至於是先投降後自盡抑或是先自盡後投降，眾說紛紜。當年禮部右侍郎誌銳稱之為疲將難製。時人林紓歎曰：唯軍機遙製，主將不知兵事，故至於此。 下麵的鴨綠江大捷，就是朝鮮戰事時歌頌北洋水師的戰報，徒笑後人。 
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無名氏畫, １８９４
Drawing on imaginative representations of famous battles, the artists of the Sino-Japanese War prints were continuing a tradition of colourful dramatic battle images designed to captivate the viewer. A realistic record of actual events was not the aim. It is this strain of fantasy which distinguishes the Chinese prints. Stereotypes from Chinese military tales, including brave generals, dashing footsoldiers and cowardly enemies, populate the images. Although the course of the Sino-Japanese War did not fit this pattern, the print makers, who were usually anonymous, continued to produce scenes that appealed to their audiences and made no attempt to break with the usual conventions of composition. By the 1890s, the quality of most Chinese popular prints had declined from the fine standards of the sixteenth and seventeenth centuries. Indistinct outlining and carelessly applied blocks of colour are common features of the Chinese prints in the Sino-Japanese War series.
３、日本的劇作和繪畫：聶士成的被打敗。這位聶士成，在朝鮮和日軍還是很好的打了一仗，後來官至直隸總督，算是取代了主帥葉誌超的位子，可是為時已晚，回天無力，最後戰死疆場。日軍對他也十分忌諱，不提葉主帥，隻提對手為聶士成。
４、日本的版畫：第一次中日戰爭，日本大勝全勝。
The Japanese prints depict actual events of battles which were followed with intense interest by the Japanese and international communities. For the Chinese artists, the shock of defeat by Japan was too great to absorb, and auspicious images of victory were transmitted to the court and people of China, perpetuating the myth of China's invincibility.
５、甲午海戰之後，日本人眼裏的中國國民形象：這幅版畫的題目，叫清將丁汝昌率眾來降。其實此時的丁汝昌已經服毒自盡。代表北洋艦隊投降的，是道員牛昶炳、副職程璧光等人。
