Home » Sunday » Now and Then
Yangliuqing New Year Painting
Print Edition
WHEN talking about traditional Chinese painting, people usually think of artworks created either by imperial court painters or by so-called literati painters. But there is another quite distinctive form of painting: the New Year paintings, produced mostly by folk artisans. Like few others, the Yangliuqing New Year Painting exemplifies this genre.
New Year paintings first started almost 2,000 years ago in China. Some say they originated from the “Door God” paintings, which were placed on doors to fend off evil spirits and to protect people’s homes. Later, however, it became a tradition for people to put colorful paintings on their doors, walls, windows or even stoves right before the arrival of the Spring Festival or the Chinese New Year as a means to say goodbye to the old year and usher in the new one.
Still popular in China today, particularly in rural areas, New Year paintings are a combination of block printing and hand painting. The whole process of creating such a painting includes drawing, tracing, block engraving, printing, coloring, painting and finally mounting.
Most of these paintings feature rich and bright colors with sharp contrasts. Figures and other subjects in such paintings are usually exaggerated.
Despite the fact that New Year paintings cover a wide range of themes, they all seem to bring the message of good luck, festival atmosphere, praise of traditional Chinese virtues and worship of gods, especially those of fortune, prosperity and longevity.
But most of all, New Year paintings are always full of symbolism.
One of the most favorite subjects of New Year paintings is the cherubic baby, usually holding a lotus flower in one hand, with a big fish clutched under the other arm.
For centuries, Chinese people have believed that more children will bring more blessings and thus greater happiness, so babies are a popular theme in these paintings. The fish and lotus, of course, also have a meaning. In Chinese, the word “lotus” sounds similar to “consecutive” and fish is a homophone of “surplus” in Chinese, this painting implies a wish for “prosperity in consecutive years.”
Other symbolic subjects include cranes, pines and peaches for longevity; peonies for wealth and social status; plum blossoms for perseverance, loyalty and grace; lotus flowers and crabs for harmony; oxen and roosters for diligence; tigers for valor; elephants for peace; a monkey riding a horse for immediate promotion to a higher position; and dragons and phoenixes for extremely good fortune.
There are a number of famed New Year painting production towns and villages across the country. They include the town of Yangliuqing, which is located close to northern China’s Tianjin metropolis, Zhuxian Town in Kaifeng in central China’s Henan Province, Taohuawu in Suzhou in east China’s Jiangsu Province, Yangjiabu Village, also located in east China’s Shandong Province, as well as Mianzhu in southwest China’s Sichuan Province.
Depsite being produced across the country, Yangliuqing is the one place generally considered the leading producer due to its well-preserved tradition and long history.
Yangliuqing’s tradition of producing New Year paintings dates back more than 600 years to the late Yuan Dynasty (1206-1368).
Located about 20 kilometers to the west of Tianjin today, Yangliuqing Town saw its prime years during the middle and late Qing Dynasty (1644-1911).
Back then, more than 30 villages engaged in the production of New Year paintings which were sold all around the country.
Yangliuqing New Year paintings are known for their vivid colors, dramatic designs, radiant festive vibe, greatly varied themes and exquisite block printings.
Over centuries, Yangliuqing has witnessed many ups and downs in its New Year painting business and development. After the founding of New China in 1949, in order to protect traditional Chinese folk art, the central and local governments have offered great support for the town to continue production of New Year paintings.
In 2006, the State Council, China’s Cabinet, listed Yangliuqing New Year paintings as an intangible cultural heritage.
Brush away the mystery of traditional Chinese painting
Chinese painting, also known as brush painting or ink-wash painting, is one of the oldest art forms in the world. However, the varied styles, techniques, perspectives and symbolism of such paintings are often very different from most Western art works. Also, the tools and media employed by the artists of traditional Chinese painting, such as inksticks, inkstones, rice paper and brushes, are unfamiliar to many Westerners. As a result, Chinese paintings, including many masterpieces, may seem mysterious to our readers.
This column, jointly generated by our columnist Peter Zhang and art editor Chen Jie, aims to explain the aesthetic concepts behind Chinese paintings and tell some interesting stories about their creation and their creators. Zhang and Chen will also explore the often multiple layers of meanings hidden in Chinese paintings and give a better understanding of such works through visual analyses.
We hope this column will prove to be a valuable guide in exploring the fabulous, yet mysterious world of great Chinese paintings.
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 沪ICP证：沪ICP备05050403号-1
- |
- 互联网新闻信息服务许可证：31120180004
- |
- 网络视听许可证：0909346
- |
- 广播电视节目制作许可证：沪字第354号
- |
- 增值电信业务经营许可证：沪B2-20120012
Copyright © 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
