Zhuxian Town woodblock New Year paintings (HE MINTING)

The traditional Chinese folk art of New Year painting, known as Nianhua in Chinese, dates back to the Northern Song Dynasty (960-1127), when it was customary to create colorful artworks depicting gods and use these to decorate doors during the Chinese Lunisolar New Year—to ward off evil spirits.

The primary technique used in New Year painting, both historically and in contemporary times, is woodblock printing.

The process involves printing the basic outlines of the design in black ink. This is done using a woodblock that has been carved to represent the drawing's lines. Once this base layer is printed, additional woodblocks are used for each color in the final painting. These color blocks are carefully carved and must perfectly align with the black outlines.

After the main colors are printed onto the same sheet of paper using these specific blocks, some parts may have to be colored by hand. This is typically done to enhance small details and lift the painting's visual impact.

One of the most famous styles in the genre is the woodblock New Year painting from Zhuxian Town in Kaifeng, central China's Henan Province.

This design features bold and concise lines, exaggerated forms styled after ancient aesthetics, and bright colors. It originated and flourished in Kaifeng, then the capital of the Northern Song Dynasty and located 20 km from Zhuxian Town.

"The colors of Zhuxian's New Year paintings usually include black, red, yellow, purple and green, extracted from plants, including Chinese medicinal herbs. Prints made with these natural pigments do not fade over time, presenting a design characterized by strong contrasts and rich hues," Zhang Jizhong, President of the Zhuxian Town Woodblock New Year Painting Society, told Beijing Review. 

Zhang is also a provincial-level representative inheritor of the art form and the fifth-generation successor of the Wan Tong Old Shop, a famous woodblock New Year painting workshop in the town.

Separately carved color blocks used in woodblock New Year painting (HE MINTING)

An imprint on time 

In the Northern Song Dynasty, the tradition of pasting New Year paintings onto doors had become very popular in the capital city, according to a book written by the Chinese scholar Meng Yuanlao in 1127, recording life in the capital city at the time. Meng's vivid descriptions of the paintings convey the popularity of the folk art back in the day.

The development of woodblock New Year painting in Zhuxian was related to the progress of carving and printing techniques, as well as the development of the urban economy. The folk art experienced periods of stagnation due to wars and periods of development following the expansion of water transportation in the region.

During the Ming and Qing dynasties (1368-1911), the town thrived due to its convenient transportation and flourishing commerce. Its woodblock New Year painting production quickly expanded, with over 290 shops engaged in this industry and an annual output exceeding 1 million pieces, according to a 2019 article in newspaper Guangming Daily.

The themes of the paintings are classified into three categories: Getting rid of unwanted spirits and conferring blessings; favorable deities and customs; and theatrical and historical legends.

Listed as intangible cultural heritage of China in 2006, the art is now one of China's four representatives of traditional folk paintings for the Chinese New Year, together with Yangliuqing in north China's Tianjin, Taohuawu in Suzhou of east China's Jiangsu Province, and Yangjiabu in Weifang of east China' Shandong Province.

A new fashion 

Many Chinese folk arts with long histories are now protected and revitalized through inheritance and innovation, infusing tradition with contemporary vim and vigor.

In the 1980s, the local government founded the Zhuxian Town Woodblock New Year Painting Society to better protect the cultural heritage. Zhang became its president in 1996 and is well-known for his sharp understanding of the art industry's dynamics.

He, for example, oversaw the publication of related books to enable more people to understand the appearance and history of Zhuxian's woodblock painting. Additionally, he actively sought funding to produce animated films based on the folk art, aiming to better promote it.

In recent years, study tours have become an important way to promote the woodblock paintings. Every year, numerous students and young adults visit Zhuxian's related shops, where they experience the printing process and take home their DIY creations. This interactive experience breaths new life into the New Year paintings, Zhang explained.

The Kaifeng Museum features a permanent exhibition titled Zhuxian Town Woodblock New Year Painting. In addition to showcasing the history and collections of the New Year paintings, the exhibition also includes interactive experiences. For example, visitors can print their own paintings.

The museum receives nearly 1.4 million visitors annually, and this exhibition is among those most appreciated by visitors, according to Zheng Haitao, the museum's deputy director. The institution has been involved in the protection of intangible cultural heritage for 20 years.

"This permanent exhibition is also an exploration and innovation within the museum industry," Zheng told Beijing Review, adding that they have extended the display to schools and communities, a signature activity of the museum. "We will continue to host it and utilize it to deepen the impact of the folk art," Zheng added.

To promote and inherit this traditional craftsmanship, different organizations in Zhuxian Town and Kaifeng are seeking strategies for further development.

For example, the International Print Base in the town has teamed up with universities and artists to create a center integrating international print research, exhibitions, education, creation, production and sales.

Moreover, local organizations have also developed numerous cultural intellectual properties, integrating woodblock New Year paintings into more home decorations and daily life products.

He Minting is a postgraduate student in Chinese folk art at Capital Normal University in Beijing 

（Print Edition Title: A Cultural Canvas） 

Copyedited by Elsbeth van Paridon 

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