《封神演義》乃是以武王伐紂的朝代更迭為背景的神魔小說，將改朝換代視為天地秩序的重整，故而諸神仙必須重新歷劫封神；小說中許多膾炙人口的情節亦往往以說書、圖畫等方式廣為流傳，對民間的神明觀念產生極為重要的影響。

展出文物以《封神演義》的神像畫及布製神畫（湖南地區稱為「吊偈」）為主，這些神畫多半懸掛於宅第或儀式壇場，既可娛目，亦兼具神道教化的功能，內容以突顯「邪不勝正」的教化意涵為主。

小說中影響漢人宗教最深者當屬哪吒太子，故事情節演繹與托塔天王李靖間的父子情仇，隱然呈現了漢人文化中親子關係的張力，但在神明體系中卻皆為守護境域之神，箇中情節頗隱含趣味。而以物質文化觀點觀諸宗教文化，亦可見神道設教，藉物質形式深入尋常百姓的生活體驗。

Based upon the regime change when King Wu overthrew tyrant Zhou, the Legend of Deification - a gods and demons novel - depicts how various divinities overcome calamities and regain deification in their endeavor to put the world back in order. Many well-loved and oft-quoted scenarios became widely circulated through storytelling and graphics. This has had a profound impact on the formation of folk beliefs.

The artifacts on display mainly include portraits and fabric paintings (known as diaoji or “hanging verse” in Hunan) of deities in the Legend of Deification. Mostly hung at residences or ceremonial altars, these deity paintings not only offer a feast for the eyes but also serve as a vehicle of moral enlightenment. They typically highlight the didactic lesson that virtue prevails over vice.

In this novel, the character that has had the most significant influence on Chinese religions is Prince Nezha. There are stories depicting the love and hate relationship between Nezha and his father, Li Jing, Tower-holding Heaven Marshal, which subtly indicates tensions in the parent-child relationship in Chinese culture. Interestingly, both Nezha and Li Jing serve as territory protectors in the deity world. By observing various religious cultures from the perspective of material culture, we may learn moral philosophies from the course of nature and penetrate the life experiences of ordinary people through material forms.

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