明代中晚期以後，開始流行以神佛、鬼怪故事為主題的長篇通俗小說，綜合了宗教、神話等民間閱聽的內容，加上配合説唱或圖像等諸多媒介，使得其傳播流通範圍十分廣泛。例如廟宇壁畫、私宅廳堂所見者，均喻取祈求吉祥、道德教化；於儀式中所見者，既可以圖繪方式成為「儀式畫」，亦可作為儀式戲劇之搬演。

《西遊記》通過敘事情節的安排，使唐三藏師徒在取經路途上飽嘗降妖過關的試煉；也在這些克服關卡的過程，形塑取經隊伍中各種性格迥異的人物形象，並依其性格、事蹟而成為俗神的職司與功能，即出現奉祀齊天大聖以護庇幼兒成長的廟宇；而唐三藏、水手爺的塑像則反映人性在紅塵俗世間的悲憫與欲望。本展區即透過此類宗教文學與工藝作品的結合，活潑而生動地展現神魔小說中的信仰課題。

Since the mid to late Ming Dynasty, full-length popular fiction featuring the theme of gods, Buddhist deities, ghosts and monsters had begun to flourish. Its content combined various religious and mythological stories circulated among the general population in written or oral forms. These fiction stories spread far and wide through a multitude of media, such as narration, singing, and graphics. For example, temple murals and residence halls featured these stories to pray for good fortune and teach moral lessons, while at ceremonies, these stories were graphically portrayed through ceremonial paintings or theatrically performed through ritual dramas.

As the plot unfolds in the Journey to the West, Tang Sanzang (Tripitaka Master of Tang) and his disciples experience a series of trials on their pilgrimage in search for Buddhist sutras. In the process of subduing monsters and demons, these characters take on markedly different images. Based on their personalities and deeds, they subsequently develop into folk gods serving various duties and functions. Accordingly, temples that enshrine Qitian Dasheng (Great Sage, Heaven’s Equal) have been established to bless children with healthy growth. On the other hand, the statues of Tang Sanzang and Sailor Guardian reflect the compassion and desire of humans in this mundane world. Through the combination of such religious literature and craft creations, this section vividly and dramatically exhibits the faith related topics in gods and demons fiction.

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