From this year's Shanghai Cooperation Organization Summit at the end of August to the Tianjin Marathon in October, long queues formed at the Yangliuqing woodblock New Year painting experience booths during Tianjin's major events.
Visitors brushed ink onto pear woodblocks, then press Xuan paper (rice paper from Anhui province) on top, and affix a vivid New Year painting doll onto the top layer of paper.
Zhang Hong, a seventh-generation inheritor, feels that the appeal of this heritage stems from its unique charm: "It is both simple and sophisticated, giving people a sense of achievement while also being suitable for taking it home to treasure."
However, this print art is the most basic step in creating a New Year picture. Behind the bustling scene lies Zhang's 28 years of perseverance and her relentless innovation in paving a future path for this ancient craft.
Steadfast dedication
Zhang says, "Touching up the colors is the simplest step in creating a New Year painting. The birth of a complete work requires five core steps — sketching, engraving, overprinting, coloring, and mounting. Each is indispensable."
Among these steps, engraving is a particularly crucial one. The thickness and fluidity of the carved lines determine the aesthetic appeal of a New Year painting. However, mastering engraving is by no means a skill that can be achieved overnight. For decades, Zhang has spent her days holding carving knives and woodblocks. It is only through years of meticulous practice and accumulated experience that she has achieved the level of "wielding the knife as skillfully as a brush".
"But the most complex and energy-intensive step remains the painting," says Zhang. "When you receive a draft, you first need to study its theme, symbolism, and the characters' costumes in order to accurately determine the colors to use.
"The variations in painting techniques are immense. There are likely many I still haven't tried to this day. So, for us, painting is a lifelong process of learning andpractice."
From color mixing to brushstroke techniques, every step is infused with a deep respect for tradition, and every hue reflects a steadfast dedication to craftsmanship.
Yangliuqing woodblock New Year paintings employ a unique "half-printed, half-painted" technique, using colors to convey meaning and breathing life into each piece.
Thanks to this long-standing craftsmanship, the art form was featured at the Forging Ahead in the New Era thematic achievement exhibition in Beijing in October 2022. Classic works, such as Abundance Year After Year and Five Boys Vying for the Lotus, were displayed. The works showcased not only the exquisite "half-printed, half-painted" artistry through clean lines and vibrant colors, but also brought this intangible cultural heritage out of the workshop and onto the national stage.
Born out of love
Zhang's bond with Yangliuqing woodblock New Year paintings began with a sincere relationship. Her father-in-law, Huo Qingshun, is the 6th-generation inheritor of Yucheng Hao, a time-honored Yangliuqing New Year painting workshop.
Her youthful friendship with the classmate who would later become her husband planted the first seed of fascination. The moment she stepped into his home and saw a room full of New Year paintings, she felt an instant pull toward the craft. After graduating, she apprenticed under her father-in-law to hone her skills. This dedication, born out of love, led her family to be hailed as one of "China's Most Beautiful Families", a national honor and a model for the integration of intangible cultural heritage inheritance and family values.
The inheritance of New Year paintings does not require the continuation of a family legacy; it is also driven by a passion that transcends geographical and national boundaries. Today, two young men born in 1998 and 1999 — her son-in-law and her son-in-law'sclassmate, Chen Ye — are mentored by Zhang to learn and preserve the craft. While studying abroad in Australia, the men first discovered Yangliuqing woodblock New Year paintings through Zhang's social media posts and were instantly captivated. After completing his studies in Australia, Chen moved from Shenyang, Liaoning province, to a neighborhood in Tianjin near Zhang's home to focus solely on learning the art of New Year printmaking.
"Yangliuqing woodblock New Year paintings are one of the most representative visual media of the Chinese Spring Festival culture. They are not merely artworks, but also cultural symbols that carry collective emotions, such as blessings for good fortune, family reunions, and auspiciousness," Chen says. "New Year pictures show that Chinese New Year is not just about couplets and dumplings."
The inheritance of Yangliuqing woodblock New Year paintings has evolved from traditional master-apprentice relationships within families to attracting disciples from across the globe. From a humble courtyard in Tianjin to the digital realm, its appeal knows no geographical bounds. Each piece weaves together familial bonds, master-disciple connections, and a passion that transcends borders, vividly illustrating its enduring vitality in bridging vast distances.
Illuminating with joy
"There are some new things I don't understand, but I try and innovate," is a phrase Zhang often repeats, accurately depicting her humble and open attitude toward the future of intangible cultural heritage.
Yangliuqing woodblock New Year paintings have also taken on dazzling new forms. They debuted in the Great Hall of the People as "Lighting Up Happiness" night lights for a Spring Festival celebration, sending warm glimmers of festivity into countless homes.
They have also ventured into the world of gaming, collaborating with characters from the game Path to Nowhere, and introducing this folk art to a younger generation. Furthermore, New Year paintings have found their way onto bubble tea packaging thanks to a collaboration with the trendy brand CHAGEE, allowing young people to savor both their favorite drinks and the charm of this traditional art.
In the realm of digital collectibles, the New Year paintings have broken new ground, showcasing an attempt to empower cultural heritage through technology.
A passionate bond
Zhang's vision has never been confined to China; she is even more eager to help New Year paintings "go global", transforming them into cultural ambassadors that carry Chinese folk traditions to the world.
In March this year, Yangliuqing woodblock New Year paintings represented China's intangible cultural heritage at the World Art Dubai fair; in June, they made a striking appearance at the Carrousel du Louvre in Paris, showcasing the profound depth of traditional Chinese culture to an international audience.
A growing number of international students in China are also visiting Yucheng Hao to experience the process of making New Year pictures. With a sense of fulfillment and their own creations in hand, they gain a deeper understanding of Chinese culture.
"I often say I'm 'playing while working'. One must find what they love to do, so weariness never sets in," Zhang reflects.
It is this passionate bond that has allowed her to refine her skills, with the patience only a decades-long craftsman could possess. In an ever-changing era brimming with new trends, she is embracing the heritage's future.
Zhai Xiaowen contributed to this story.
