Chinese New Year Posters and Peasant Paintings

Chinese New Year Posters represent a long standing and honored tradition within Chinese history.  Their perseverance and popularity in the modern world are due to festive designs and spontaneity of colours within each print.

The tradition of New Year posters can be traced back to the Han Dynasty (206 BC-220 AD) where pictures of historic gods were posted above doors and gates to ward off evil spirits and bring luck to town residents. This tradition gradually grew within China and the pictures above the doors soon found their way on to posters and prints. New Year posters came into circulation in the Tang Dynasty (618-907) when the emperor ordered the artist, Wu Daozi, to create a painting of the famous door god, Zhong Kui. This painting was then copied and distributed throughout China. New Year ink prints had become a much loved tradition by the Ming Dynasty (1368-1644) and colour paintings grew in popularity within the Qing Dynasty (1644-1912).

Many Chinese New Year paintings are linked to Chinese folk stories and customs. The simplicity of the style and vibrant colours retell these ancient tales to the modern world with a stroke of a brush. Other paintings explain the rich and unique culture and customs of centuries long gone. People’s wishes and aspirations for the year ahead are often expressed through the original designs using classic Chinese symbols such as animals, landscapes, gods and goddesses. New Year posters were also used for other festivities throughout the year including weddings, births and good academic results.

New Year prints were predominantly made by rural, peasant artisans. Many artistic peasants passed down their skills and craftsmanship to their descendents. After the 1940’s, scholarly artists began to create New Year Posters which focused on the promotion of the People’s Liberation Army.

There are many forms of Chinese New year paintings including woodblock printing, stone block printing, offset printing and traditional Chinese painting. These techniques all produce powerful and informative images regarding Chinese culture and life. The craft of New Year posters is considered to be an important form of Chinese history and reflects ongoing social and cultural change within China. This joyous type of folk art has gained much praise from the international art world and continues to be acknowledged as an important and relevant Chinese custom.

Chinese New Year posters differ depending on their origin of location within China. Famous towns acknowledged for these paintings include Yangliuqing, Foshan and Weifang. Each Chinese New Year, you are certain to find traditional and new designs placed on doors and walls throughout each province.

Chinese Peasant Paintings focus on the peasant lifestyle and traditions within rural provinces throughout China. They recount the lifestyle of the 800 million peasants currently living in rural provinces. Many view these paintings as pure imagination and a vivid use of colour allows the mind to wander beyond the images into the simplistic world of the countryside.

There are currently more than forty villages, known as “painting villages” which specialize in peasant paintings. These folk paintings were first discovered during the 1950’s when peasants were encouraged to create simplistic and bold paintings to urge the masses to work towards industrialization. Peasant paintings became increasingly popular during the “Great Leap Forward” campaign from 1958 to 1960, which aimed to increase China’s industrial capacity to match western nations. Many paintings included images of hard work such as harvesting and farming. Other paintings pictured the benefits reaped from hard work and cooperation.

Freedom and nature are common themes in modern peasant paintings which display the naivety and peacefulness of the country side. The bold, bright colours and exaggerated art forms distinguish peasant paintings from many other painting styles within the world. Subjects can range from work, animals and festivals to landscapes, village customs and children.

The end of the industrialization campaign saw a rapid decrease in support and interest in peasant paintings. However, rural artisans continued to develop their skills and continued to paint surrealistic and imaginative paintings. They were supported by the Folk Arts and Crafts Commission who encouraged peasant artists to continue their art.

In the 1970’s, there was a major campaign formed which aimed to bring awareness of the unique and exaggerated style of peasant paintings to the art world. The campaign was created by Wu Tongzhang who was the director of the Jinshan Cultural Bureau. Peasant painting centers started to appear in rural towns across many provinces. This allowed rural artisans to extend their skills and for the world to discover the imaginative art works of Chinese peasants

The Chinese Peasant Painting Festival has been held three times since its beginning in 2001. It has helped attract attention to the need to continue supporting rural artisans financially and culturally. Due to urbanization, the simplicity and rural motives of peasant paintings are in danger of becoming forgotten. The essence and culture of peasant life must be protected if this art form is to survive.

Ansai Peasant Paintings

The famous Ansai peasant paintings feature bright and vivid images of the lives and loves of peasants throughout China. The bold and colourful pictures are cherished as a reflective representation of the artistic talents of the Chinese peasant population.

Ansai is a small town within the Shaanxi province. It is well known for its creative and vivid peasant paintings and paper cuttings. It is influenced by many art forms from around the Ansai area including Shanbei paper cuttings, embroidery and cotton-made tigers.

Ansai peasant paintings are renowned for their use of child-like, exaggerated images and simplistic peasantry themes. The paintings emphasize the simplicity of rural life and feature real life scenes from festivals, the working day and family life.

In 1989, Ansai was officially given the title “Nation Wide Modern Folk Painting Town”. Women are the main artisans who seem to have innate skills of creativity and imaginative expression.

The National Art Museum of China has shown many Ansai paintings in recent years and continues to support peasant artisans and their work.

Recently, Ansai was officially recognized as the top “Peasant Painting Village” in 1998 by the State Ministry of Culture. The town has also opened “The Cultural Hall of Ansai County” which is committed to the preservation of traditional folk cultures. Many peasant paintings are on display in the seven exhibition halls.

Ansai peasant paintings are talented representations of the skills of peasants and portray the innocence and joyous nature of peasant life. They are perfect paintings to hang on any wall and regarded as a much loved traditional Chinese folk art.
 

Dongchangfu New Year Poster

Dongchangfu is the ancient name given to the city Liaocheng of the Shandong Province. The stunning New Year woodblock prints still produced in Liaocheng are known as Dongchangfu New Year posters.

Dongchangfu and Yangjiabu in Weifang are both known as the folk painting towns of Shandong and represent the eastern and western systems of woodblock printing in the province.

Originating over three hundred years ago, Dongchangfu New Year posters are made by many craftsmen within the city who embrace the unique local style with traditional elements and motifs involved with New Year posters.

There are two main categories for Dongchangfu New Year posters. Traditional paintings originate from hanging door gods within villages to ward off evil spirit. This category includes ancient fables, folklore and historical legends. The festive and symbolic category captures the joyous essence of New Year celebrations and people’s blessings for the year. Auspicious symbols such as fish, babies, flowers and the colour red are common themes and images.

There are seven main procedures craftsmen must work through to create colourful and exquisite New Year posters. These include sketching the design and transferring it to a woodblock, carving the design into the woodblock and separating it into different colours. The design in then printed onto thin pieces of paper one colour at a time. Up to eight different coloured woodblocks can be used for one single design. Dominant colours include red, pink, yellow, green, blue and black.

Dongchangfu New Year woodblock prints are a symbolic representation of the traditional and cultural lives of the people of Shandong. The detailed and colourful designs have created a place for this style of New Year posters as an important traditional folk art in China.

Foshan New Year Posters

Foshan is famously known as one of the ancient folk art cities dedicated to preserving the tradition of Chinese New Year posters. The posters are classed as one of the “four famous woodblock New Year posters” along with Tianjin’s Yangliuqing, Suzhou’s Taohuawu and Shandong’s Weifang posters.

Situated in the south of China in the Guangdong Province, Foshan has a rich culture in folk arts which it continues to protect and preserve today. It is dedicated to preserving its unique artistic heritage and supports its local artisans in their traditional crafts.

The history of Foshan New Year posters can be traced back to the Song (960-1279) and Yuan (1271-1368) Dynasties when people used to carve images of gods on their door to ward off evil spirits and bring good luck in the year to come. This custom was extremely popular in the Guangdong province and other southern provinces in China.

Over time, the carvings gradually developed into prints and paintings made for the New Year celebrations. It was during the Yongle period (1403-1425) in the Ming Dynasty (1368-1644) that this tradition was adopted by Foshan and New Year posters started to feature on walls, doors and windows throughout the city.

There are three main types of New Year posters available in Foshan. Shouhui are original paintings, muyin are wood printings and Muyintianse incorporates both painting and wood prints.

Themes and subjects of New Year posters in Foshan are wide and limitless. Many posters have images of gods and spirits while others feature historical figures or stories from the local classical opera. All posters include an essence of the local area and represent the area’s culture and heritage.

Foshan New Year posters are distinguished by the simple colours used in most posters. Red, yellow and green dominate the colour palette within Foshan folk art. Orange backgrounds are also a distinguishable feature of Foshan New Year posters. Gold and silver linings are often added to belts, armour and gowns of images to add a touch of sophistication to the playful designs.

There is only one workshop left in Foshan which is dedicated to creating imaginative New Year woodblock posters. Opened by the craftsman Feng Jun, the workshop is called “Feng Jun Ji” and is affectionately known as “door god jun”. Feng Jun Ji was known throughout China as the representative of Foshan woodblock New Year posters during the Republic of China (1912-1949). Feng Jun’s son and grandson continue to create new, innovational New Year posters.

The Foshan Folk Arts Research Association was established in 1956 to research, preserve and promote local folk art. The association has played a vital role in protecting and developing the artistic foundations of Foshan. With their support, hopefully the tradition of New Year posters will be present in Foshan for many Chinese New Years to come.

Gaomi New Year Posters

Gaomi New Year posters are unique representations of the traditional New Year prints made throughout China. Often referred to as Puhui New Year posters, they are only produced in the Gaomi County of the Shandong Province. The villages surrounding the Jiang and Xia towns specialize in this original category of New Year posters.

The materials and procedures in creating these original and creative New Year posters differentiate from the typical Chinese New Year woodblock prints or paintings. Willow branches, known in Chinese as Puhui, are burnt down to ash which is used to sketch the outline of the picture on to a thin piece of paper. The ash outlined paper is then pressed onto a number of other bases to produce several copies of the design. The artisan then paints the face and hands pink and adds other colours to the desired parts of the picture. Gold paint is added to the design for a touch of local flavor. Special oil is then brushed over the artwork to give it an elegant finish. The Gaomi artisans keep the formula of the oil a secret from other New Year woodblock craftsmen to preserve originality.

This new form of creating New Year posters developed in the Chenghua Period (1465-1488) of the Ming Dynasty (1368-1644). Puhui New Year posters were first created by the Wang family from the Gongpomiao village of the Bei County in Gaomi. Along with the four sons of Zhang, the Wang family quickly gained widespread attention for their original designs and alterations on the traditional folk art of New Year posters. During the Qianlong Period (1736-1796) of the Qing Dynasty (1644-1912), the students of the Wang family created their own workshop which became the centre of the thriving Gaomi New Year poster industry. Puhui posters became popular in many parts of China including Yantai, Linyi, Xuzhou, Inner Mongolia and the northeastern provinces.

Gaomi Puhui New Year posters entered a new stage of production in the Jiaqing Period (1796-1821) of the Qing Dynasty (1644-1912). The posters were no longer individually hand painted. They involved half printing and half painting techniques leading to the growth of posters sold annually. However, the production of a single design was still a long process which made the quantity of posters limited.

The Puhui poster industry began to decline in the Guangxu Period (1875-1908) of the Qing Dynasty (1644-1912). Due to social unrest, the Japanese Invasion (1937-1945) and the Cultural Revolution (1966-1976), many original posters and designs were destroyed leaving the traditional folk art in a period of neglect.

Fortunately, Puhui New Year posters were revived with the support of the local government. Both the Folk Arts Research Centre and Puhui New Year Posters Association are committed to retrieving the skills and popularity it experienced before its period of neglect.

In 2006, Gaomi Puhui New Year posters were listed among the first group of folk arts to be included in the National Intangible Cultural Heritage List. The famous Puhui poster craftsman, Lv Zhenli was also listed as one of the 226 representative heirs of the National Intangible Cultural Heritage list.

Puhui New Year paintings are classed as the “strange flower of Folk Arts”. Their original designs have captivated audiences throughout China and the rest of the world. With the local and national government’s support, Gaomi New Year posters will continue to bring joy and amazement for many generations to come.

Huxian Peasant Paintings

Huxian is the birthplace of peasant paintings and remains a prominent town for rising peasant artists. Huxian is located forty minutes southwest of Xian and has a population of fifty thousand people, two thousand of which are classed as professional painters.

Peasant paintings originated in Huxian in 1950 and became dominant modern folk art through the years of the Cultural Revolution (1966-1976). The County Communist Party Committee financially supported the growth of art work by peasants after noticing the artistic potential of workers in Huxian. Peasant workers painted their progress on construction sites to motivate and inspire themselves. Art classes by professional painters were organized in Huxian to improve and nurture the talents of the peasants.

During the Cultural Revolution, inspirational peasant paintings from Huxian were used to show the world the artistic potential of workers. Themes ranged from political affairs to inspiring the masses to support the new reforms. Many paintings were sent abroad as representations of the new emerging art of China.

In modern times, the themes of peasant paintings reflect ordinary life in rural areas. Simplistic subjects are mostly used such as harvesting, festivals, animals, family and myths. Huxian paintings are distinguishable by their use of bright red and green colours and primitive exaggerated images.

In 1976, The Huxian Farmer’s Painting Exhibition Hall was built to exhibit the famous works of the town. It is divided into eight sections according to the subject of the painting. Each year, hundreds of thousands of people flock to Huxian to view the bold and imaginative works of the local peasants.

Huxian peasant paintings have received much praise and admiration from the international artistic world over the past forty years. Approximately 1500 paintings have been published in Chinese national periodicals and four hundred and twenty five paintings have received awards within domestic art exhibitions. Over 4500 peasant paintings have been invited to be displayed in exhibitions in over forty eight different countries. Many foreign tourists and art collectors have contributed to the enduring popularity of these Huxian paintings with over 18,700 paintings sold overseas.

Huxian was named “The County of Painting” by the Ministry of Culture in 1988. The town’s unique primitive painting style has led to it being known throughout China and abroad. More support from the Chinese state is being given to developing the styles and techniques of peasant artists. Peasant paintings are now an enriched part of folk art and its popularity continues to grow.

Huangzhong Peasant Paintings

Huangzhong is a small city in the Haidong prefecture of the Qinghai Province. It is an area rich in folk arts with many of its villagers classed as highly talented artisans. Huangzhong peasants have been creating exaggerated, creative peasant paintings since the Ming (1368-1644) and Qing (1644-1912) Dynasties.

During the 1970’s, Huangzhong peasant paintings emerged with its own artistic style focusing on the Han and Zang cultures and its local traditions and festivities. Paintings focused on the simple aspects of peasant life such as harvesting, celebrations and home life. Peasant artisans from Huangzhong capture the essence and simplicity of rural living through bright contrasting colours and exaggerated forms. Huangzhong peasant paintings focus on the daily lives and traditions of the local peasants.

There are approximately seventy Huangzhong peasant painters who are highly regarded for their use of strong, bold colours and their exaggerated, primitive designs. Their artworks have been highly ranked in many national and international exhibitions.

This treasured folk art was added to the list of Provincial Intangible Cultural Heritages in 2006. The peasants living in Huangzhong continue to create snapshot paintings of their agricultural lifestyles for the world to enjoy.

Lianping New Year Posters

Listed as one of the “Three Treasures” of fine folk arts in the Liangping County, Liangping New Year posters are praised for their vibrant and festive style. Liangping is a culturally diverse County situated in Chongqing.

Sichuan Chuan-style carvings are used to cave amazing designs and exaggerated patterns into the woodblocks. As a type of watermark New Year woodprint, many different coloured wood blocks are used to create joyous and festive prints. Along with these two famous techniques, Liangping New Year posters also incorporate the engraving and chromatography skills of the Hui and Jinling styles. Many posters also feature elements of scenography from western paintings.

There are three types of New Year woodprints in which Liangping craftsmen specialize in. Categorized by their subject, they fall into the styles of door gods, myths and legends and opera stories. Door gods were the first images to be used for New Year posters. The fierce male gods are believed to ward off evil spirits. They were posted on the doors and windows within Chinese villages in ancient times. Posters featuring images from traditional myths and legends are popular motifs of modern times.

Legendary characters and scenes from ancient folk tales are brought to life through striking designs and bright colours. Scenes from famous and much loved Chinese opera stories are also a popular subject for modern New Year posters. The exquisite costumes and powerful facial features of the opera characters are emphasized through contrasting colours and the noticeable exaggerations of the face.

Liangping New Year posters have enjoyed a thriving history of over three hundred years. They started to be exported to other Southeastern Asian countries during the Qing Dynasty (1644-1912). Since the 1930’s, many popular posters have been exhibited in countries such as America and France.

Today, there are few craftsmen left in Liangping who can create the famous ancient New Year woodprint. Initiatives need to be established for the younger generation to continue the legacy of the important traditional folk art.

Shanxi Pingyang New Year Woodblock Posters

Linfen, Fushan and Jiangzhou are the the main regions for woodblock printing production in Shanxi. The creative New Year prints from these counties are known as Pingyang folk prints because the county of Linfen was formally named Pingyang.

Pingyang New Year woodblock prints are classed as the ancestor of Chinese New Year posters. They originated in the Song Dynasty (960-1279) and were quickly distributed through the Shanxi province in the Yuan Dynasty (1271-1368). They become popular throughout the province in the Ming (1368-1644) and Qing (1644-1912) Dynasties with the industry strong in the Linfen, Fushan and Jiangzhou areas. There were more than one hundred workshops producing more than one hundred million New Year prints annually.

Unfortunately during the Japanese invasion, many New Year original posters and prints were destroyed with the folk art on the verge of extinction in areas such as Xiangfen and Xinjiang. After the founding of the People’s Republic of China (1949), Pingyang New Year woodblock posters began to be revived within Linfen and its neighbouring areas.

In 2002, The Pingyang woodblock New Year Posters Museum was opened in Linfen by Mr. Zhao Dayong with the authorization of the Shanxi Bureau of Cultural Relics.

Pingyang New Year woodblock posters combine the skills of carving, painting and printing to produce bold and colourful images and designs appreciated by many. Pingyang New Year woodblock posters remain a cherished tradition during Chinese New Year and can be seen throughout towns and villages in China all year round.

Rizhao Peasant Paintings

Rizhao is a city located in the southeastern Shangdong Province. It is situated on the eastern coastline of the Yellow Sea and acts as a major sea port. It is also known for its historic peasant paintings which have greatly developed through the last decades into a treasured Chinese folk art.

Rizhao peasant paintings were first created in the Donggang district of Rizhao city in the 1960’s. It received support from both the Shandong and national government to build upon the peasants’ artistic skills. The themes central to these paintings include mountains, lakes, ocean, folk customs and new rural changes after the ‘reform and opening up’ policies.

More than one hundred Rizhou peasant paintings are on display at national award-winning exhibitions. Over eighty exquisite peasant paintings are currently included in the national collection of folk paintings.

In 1985, Rizhao peasant artisans established the Rizhao Peasant Painting Association to organize the promotion and marketing of the paintings. The following year the Shandong Institute of Arts and Crafts and the Academy of Arts and Crafts invited sixty five peasant farmers to display their paintings in their exhibitions. The paintings were admired by many from near and far who applauded the peasant artists’ unique and free style.

In 1987, The Chinese Art Gallery held a special exhibition honouring Rizhao peasant paintings. Many national leaders and foreign guests viewed the magnificent art works. The paintings quickly became known as some of the finest folk paintings within China.

Today, there are thousands of Rizhao peasant paintings on display in a number of different cultural museums around the world. They are famous for their historic development and flowing, simplistic designs complemented with bold colours.

Rizhao is classed as one of the three famous towns known for their modern Chinese folk paintings. The peasant paintings have received wide spread acclaim in China and abroad. It was also given the honourable title of “The County of Modern Chinese Folk Paintings” by the Ministry of Culture. This style of Chinese painting continues to grow and has the ability to adapt to modern times. Each year, new designs are developed and new professional techniques are taught to the artists. Rizhou peasant paintings have become an iconic form of art within China.

Fengxiang New Year Posters

Fengxiang County, situated in the Shaanxi Province, is well known for its amazing and vivid New Year Woodprints. Full of vibrant colours and festive designs, Fengxiang New Year posters are popular souvenirs and gifts representing the traditions of the Chinese New Year.

The tradition of printing New Year posters from woodblocks first came to Fengxiang in the Ming Dynasty (1368-1644). It is believed that Fengxiang New Year posters were first made by the Tai family in Nanxiaoli of Fengxiang County. By the Qing Dynasty (1644-1912) there were a large number of workshops within the area specializing in engraving, printing and selling New Year woodprints.

After the Cultural Revolution (1966-1976), Fengxiang New Year posters were on the edge of extinction. In 1978 a third generation of the Shixing Poster Workshop called Tai Yi, created the Feng Yi New Year Posters Society. The society aimed towards reviving the traditional folk art and recreating destroyed posters. With help from the society, Fengxiang New Year Posters have continued to flourish and are still distributed throughout China and in many other countries.

A Research Association was established after the Cultural Revolution which has helped boost the number of people currently skilled in making Fengxiang New Year Posters. Each year, the Fengxiang New Year poster industry produces over ten million posters.

Each Fengxiang New Year woodblock is handmade and features the local styles and flavour of the Fengxiang County. The exaggerated and primitive images on the posters reflect the traditional styles of other folk arts and crafts including paper cutting and Chinese painting. Red, green, yellow and purple are the main bold colours used to create the vivid and striking images.

There are a number of steps which most craftsmen follow when creating Fengxiang New Year posters. The sky and land is first printed. Then all red elements are added to the poster. Then the colours are added in order depending on the brightness of the colour. Lastly, the black outline is placed around the images. Common pictures include door gods, flowers, birds and images of the Chinese New Year festivities.

Fengxiang New Year posters have been exhibited in many museums as examples of Chinese traditional New Year prints. In 2006, Fengxiang New Year posters were listed among the first group of traditional arts and crafts to be added to the National Intangible Cultural Heritage List. Tai Yu and Tai Liping from the Fengxiang and Shaanxi provinces were also listed among the 226 representative heirs of the National Intangible Cultural Heritages.

With support from various organizations and the Shaanxi government, Fengxiang New Year posters have developed into a cherished Chinese traditional folk art which continues to be a thriving industry for the county.

Mianzhu New Year Posters

Mianzhu County, situated in the Southeastern Sichuan Province, is known for its abundance of bamboo resources. Mianzhu New Year woodprints have thrived within this area due to its ability to make high-quality tissue paper from bamboo.

Mianzhu woodprints are classed as one of the four main New Year’s paintings of China along with Yangliuqing, Weifeng and Taohuawu New Year posters. Each region has their own unique style and designs which reflect the local culture.

Mianzhu posters feature pictures of door gods, babies, water, fish and other symbolic images associated with good wishes for the New Year. Each poster represents people’s hopes for happiness, fortune and longevity. Legendary characters such as heavenly officials and the god of wealth are also popular designs. New Year woodprints can come in many forms such as door pictures, square pictures, long horizontal-hanging scrolls and narrow vertical scrolls for screens.

There are four main steps involved in creating a Mianzhu New Year woodprint. The outline of the design is first sketched onto a piece of paper with a pencil. The sketch is then transferred to the printing woodblock through engraving techniques. A print is produced by adding ink to the engraved outline on the woodblock and pressing it onto thin tissue paper. The woodblock poster is then coloured by hand according to the design and artist’s imagination. The same printing block can produce many prints in different colour co-ordinations. This unique step differentiates Mianzhu prints from other woodprint schools in China.

Originating in the Tang Dynasty (618-907), Mianzhu New Year woodprints have a long traditional history. The folk art flourished in the Qing Dynasty (1644-1912) with over one thousand artists producing as many as twelve million woodprints a year in over three hundred Mianzhu workshops. Unfortunately, production gradually decreased towards the end of the Qing Dynasty. The art was severely neglected in the following years with many original woodprints destroyed in the century that followed. In 1980, with support from the central government, the Mianzhu New Year woodprints industry was restored and has continued to grow.

Mianzhu Woodprint posters are one of China’s protected traditional arts. In 2006, it was accepted into the “Intangible Cultural Heritage List” for Chinese tradition fine arts and crafts. With preservation, Mianzhu woodprint posters will continue to bring wishes of good luck and prosperity for the New Year.

Taohuawu New Year Posters

Taohuawu New Year prints are considered to be one of the finest examples of this old traditional custom. New Year prints have been hung from doors and windows for centuries capturing the wishes and beliefs of provinces throughout China. Taohuawu Street was once a thriving production centre for Taohuawhu New Year Prints in Suzhou, Jiangsu Province.

Taohuawu New Year prints evolved from carving and printing arts which were popular during the Song Dynasty (960-1279). Craftsmen saw the potential of turning painted pictures of door and gate gods put up during Chinese New year into bold and colourful carved prints.

It wasn’t until the Ming Dynasty (1368-1644) that Taohuawu New Year prints became well known throughout China. A small street within Suzhou specialized in the creation of New Year prints and soon hundreds of small workshops were in business around this area.

During the Qing Dynasty (1644-1912) craftsmen began assimilating Western designs and techniques with New Year prints. European copper plate printing techniques were dominantly used by Suzhou craftsmen. Images began to look more realistic and many more shades of colours were used. Production of New Year prints peaked in the Yongzheng (1723-1736) and Qianlong (1736-1796) periods of the Qing Dynasty with more than one million sold each year. The Prints were popular throughout China and were often exported to Japan and South-East Asia. Over fifty workshops existed on the streets of Taohuawu with thousands of artisans producing New Year prints. Gradually, Taohuawu New Year prints began to decline leaving the industry in hardship. The folk art was neglected for many years with craftsmen turning to other trades for survival.

After the formation of the People’s Republic of China (1949), Suzhou was given much needed support in restoring New Year prints. Over two hundred New Year draft drawings were printed and distributed to encourage and promote Suzhou traditional art. Unfortunately, many original woodblocks rotted during the Cultural Revolution (1966-1976) leaving barely any original designs from the Ming and Qing Dynasties. 

Taohuawu New Year prints are well known for their storytelling. Many feature numerous images which depict either an historical event or local folktales. Other New Year prints feature pictures of gods, festivals, landscapes and opera dramas.

New Year prints are made from woodblock carvings and feature traditional watermark colours. Many feature beautiful women with distinct oval faces, pointed chins and almond shaped eyes. A sketch is first drawn and then traced onto the wood. The design is carefully carved into the woodblock. Each colour requires a separate carved block.

Sadly, the Taohuawu printing area in Suhzhou no longer exists. There are only ten professional craftsmen who specialize in New Year prints left within the area. As these artists are all over sixty, there is an immense need to recruit younger craftsmen to continue producing this vital traditional art.

Taohuawu New Year prints have a long traditional history which is on the edge of extinction. It is hoped that future generations will be able to enjoy the festive and joyous tradition of New Year prints.

Yangjiabu New Year Posters

The small town of Yangjiabu is situated in the Weifang County of Shandong Province. It has a long history of producing traditional New Year woodblock posters which have been distributed to many parts of China and abroad. Many people travel to the small town each year to purchase the famous posters and watch the woodblock artists transform a coarse woodblock into an amazing New Year print.

The craft of making New Year posters from woodblocks was first introduced to Yangjiabu during the Ming Dynasty (1368-1644). The craft was brought to the town by the talented Yang family who moved from Sichuan Province. The Yang family established a small shop from their home specializing in New Year woodprints which quickly grew into a productive industry. The prints thrived in the Qing Dynasty (1644-1912), when there were over one hundred workshops producing copies of more than one thousand pictures. Almost all households in the village were engaged in the production of New Year posters. Some printing workshops were transporting large amounts of posters to different regions. The new prints had more interesting new subjects, were of better quality and sold for lower prices. Towards the end of the Qing Dynasty, the production of Yangjiabu New Year prints started to decline leading to a harsh period of neglect.

After the Cultural Revolution (1966-1976), Yangjiabu New Year paintings began to be exhibited throughout China and abroad. In 1983, a large number of Yangjiabu posters were shown at the Chinese Art Gallery leading to much interest from overseas collectors. In the same year, the posters were on display in nine other countries including America, Europe and Africa.

In 2002, the New Year woodprint craftsman, Yang Luoshu from Yangjiabu, was awarded the honourary title of “artist of folk arts and crafts’ by UNESCO. Yang Luoshu’s woodblock prints have been displayed in many art shows and exhibitions throughout the world.

Yangjiabu New Year posters are classified as a type of colour plate woodcut poster. The first plate creates the black outline of the design onto the paper. Single coloured plates are then used to fill in the vibrant and stunning colour patterns. Bright colours are printed first on the small sections of the picture. Light colours are then added to the large sections. The main colours used in Yangjiabu New Year posters are different shades of red, yellow, purple, green, blue and black. The talented skills of the craftsmen enable them to print four or five colours on the same poster without the smallest imperfection.

This joyous Chinese folk art embraces the local flavor of Yangjiabu and the simple essence of its people. Its exaggerated images and contrast of colour have helped it achieve success throughout China. Most posters include images associated with fortune, happiness, longevity and good wishes for the New Year. Motifs include flowers, birds, mountains, rivers and characters from traditional operas and fairy tales.

Yangjiabu New Year posters have been sold all over China and exported to more than one hundred countries. Unlike many other traditional New Year posters from other areas in China, there are still many original woodblock prints from the Ming and Qing Dynasties which were untouched during the Japanese Invasion (1937-1945) and the Cultural Revolution. Yangjiabu posters are a much loved Chinese traditional folk art which can conjure a smile from any generation. With a history of over five hundred years, Yangjiabu New Year posters have found a solid place in China’s honoured list of traditional arts and crafts.

Wuqiang New Year Posters

New Year posters have a long tradition in China. The town of Wuqiang in the Hebei province was once famous for its production of New Year prints and paintings. During the twentieth century, Wuqiang was responsible for over one third of the New Year posters printed in China each year. Close to one hundred million posters from Wuqiang were annually distributed mainly to the north of China.

Wuqiang New Year posters originated in the Yongle period (1402-1424) of the Ming Dynasty (1368-1644), due to an increase in migration from the south of China. Many craftsmen specializing in New Year woodblock prints continued their skills in Wuqiang bringing the tradition to the north of China.

It experienced much success throughout the Ming and Qing Dynasties. During the Qing Dynasty (1644-1912), there were one hundred and eighty workshops which focused on creating festive New Year prints. Production reached its peak in the Kangxi (1662-1723) and Jiaqing (1796-1820) period in the Qing Dynasty. One hundred million posters were printed each year and distributed within eighteen provinces. They were still popular in Wuqiang in the early twentieth century.

Many original New Year woodblock prints perished during the period of social unrest and wars after the Qing Dynasty. In 1954, seventeen villages in nine towns continued to create Chinese traditional New Year posters.

Unfortunately, the number of Chinese posters sold decreased dramatically during the Cultural Revolution (1966-1976) and many craftsmen changed their profession to other more popular crafts.

Originally, all New Year posters were hand painted, however, with increasing demand woodblock prints soon started to overtake New Year paintings. Many pictures feature a single bright colour, although the use of primary colours such as red and green feature heavily in a lot of prints and paintings. Colours such as purple, yellow, pink and black add many vibrant finishing touches.

There are many forms of posters including calendar pictures, horizontal scrolls, spring couplets and decorative screens. Many posters feature images of door gods, folk customs, opera stories, festivals and landscapes.

In modern times, Wuqiang New Year posters are considered a novelty rather than a cherished practiced tradition. The state government has established a selection of initiatives to preserve the folk art and encourage future generations to pursue the craft of New Year woodblock printing.

In 1980, “The Wuqiang New Year Posters Publishing House” was established by The Chinese Ministry of Culture and Bureau of Information and Publication. It promotes the artworks of the eighty professional New Year woodblock cutting and printing artists currently residing in Wuqiang. Every two years on the 9th of September, the “Festival of Wuqiang New Years Pictures” is held and is attracting more attention at home and abroad each time.

Wuqiang Posters have received many awards from Chinese exhibitions and art shows. It has received the award for high quality in the Hebei Arts exhibition. Thirty Wuqiang New Year posters have received official recognition within in China and abroad for their stunning imagery.

There is much hope for the resurrection of this ancient, intriguing New Year tradition. It is important that future generations experience the spiritual and entertaining value of New Year prints and paintings which have brought much joy to past generations over the centuries.

Xinji Peasant Paintings

Xinji, located in the Sulu County of Hebei Province, prides itself on its talented craftsmen skilled in paper cutting, embroidery and peasant paintings. Xinji peasant paintings have helped put the town on the list of China’s most recognized places for handicrafts.

Focusing on the simplistic and joyous lives of peasants in Xinji, the paintings are full of bright and contrasting colours. The exaggerated imagery and rough outlines add to the carefree nature of the painting. Most pictures involve peasants engaging in everyday activities including harvesting, fishing, farm work, herding, festivities, village customs and family life.

Xinji peasant paintings have been shown in many museums and exhibitions within China and in many other countries. In 1987, Xinji peasants were first recognized as valued artists when the China Art Gallery exhibited many of their paintings. Their work has been displayed in over thirty countries including Germany, Austria, America, Italy and Sweden. In 1988, Xinji was officially given the title “The County of Chinese Modern Folk Paintings” by the Ministry of Culture.

With its vivid colours and primitive forms, Xinji peasant paintings appeal to all ages. Their easy and refreshing essence reveals the freedoms and joys of the peasant lifestyle. Xinji remains a town dedicated to creating amazing peasant paintings that continue to gain world wide acclaim as a distinct Chinese folk art. 

Yangliuqing New Year Posters

The town of Yangliuqing, situated on the outskirts of Tianjin, is historically known for its amazing and elegant New Year woodprints and artisans. Since the 1700’s, Yangliuqing has been the centre of vivid and imaginative New Year prints.

The New Year tradition came to Yangliuqing when the folk artist, Huo Yutang moved to the town during the Yuan Dynasty (1271-1368) where he sold festive images engraved on jujube tree bark.  The local villagers soon discovered the financial prospects of creating New Year prints and learnt the skills of Huo Yutang. The tradition of New Year woodcuttings grew into a successful market for Yangliuqing as businessmen would come to the town to buy prints to sell across China during the Spring Festival.

New Year Woodcuttings formed into woodprints in the Ming Dynasty (1368-1644). Painting arts emerged during this time due to the abundance of high quality paper and water colour pigments that were shipped from southern China to the north. Popularity of New Year posters peaked throughout the Qing Dynasty (1644-1912). Many Yangliuqing New Year posters were favoured by the imperial family during this time. Hundreds of woodblock craftsmen came to Yangliuqing to set up their workshops and sell their art. By the middle of the Qing Dynasty, hundreds of painting workshops had been built in Yangliuqing with over three thousand craftsmen specializing in New Year woodcuttings and paintings. This was considered the ‘golden era of Yangliuqing’. Most households were involved in the production process of New Year woodprints. Yangliuqing quickly became known as “The Home of the New Year Woodprint”.

The end of the Qing Dynasty saw a sharp decrease in the popularity of New Year posters across China due to social unrest and the Second Opium War (1856-1860).

After many years of neglect, the tradition of New Year posters was reintroduced throughout China after the formation of the People’s Republic of China (1949). In 1958, The Tianjin Yangliuqing Woodprint Workshop was established to help revive the neglected traditional folk art. In the 1960’s, government support and financial help was given to Yangliuqing craftsmen to promote and create New Year posters current to modern ideals and values.

Yangliuqing New year posters combine wood carving, water marking, colour painting and mounting to produce original and stimulating designs and prints. Yangliuqing artisans are especially known for their fine detail of the human face and remarkable skills in calligraphic writing on the New Year prints. Unlike other regional artisans, Yangliuqing artists stand only upright when painting and paint on special door planks. Each painting takes approximately two or three weeks to finish.

Most designs on Yangliuqing New Year posters represent the worker’s good wishes for the New Year and their appreciation for life and art. Themes mainly focus around the activities of the Spring Festival and auspicious topics. The style of Yangliuqing New Year posters originally featured simple backgrounds and followed a strict procedure for designs. In the Jiaqing (1796-1820) and Daoguang (1821-1851) Periods of the Qing Dynasty, the posters began to feature more lively and cheerful images and involved much more colour. There are three main schools for Yangliuqing posters. The Qi School represents posters that are historical in nature while Dai school involves novels and dramas. The Huo school emerged in the late Qing Dynasty and incorporates historical stories with novels and dramas. These three categories became known as the “three powers of Yangliuqing New Year posters”.

Huo Youqing, from the Huo School, is the main Yangliuqing New Year artist who has spent over thirty years reviving the traditional folk art. He established “The Yangliuqing New Year Posters Family Museum” which features many ancient materials and memorabilia of New Year posters including old woodblocks, printing presses and pictures.

The Museum of Yangliuqing New Year Pictures holds a large collection of famous New Year prints from Yangliuqing. It is situated within the courtyard of the Huo family mansion and features many posters created throughout history.

Yangliuqing New Year paintings and woodprints symbolize the essence and joyfulness of the New Year festivities. New images are being combined with old themes to create relevant pictures for modern society. Slowly, the tradition and culture of Chinese New Year posters is being reintroduced to the world of today.

Zhangzhou New Year Posters

Zhangzhou city in Fujian Province is well known for its colourful and vibrant New Year woodprints. The original and imaginative designs have made Zhangzhou New Year posters a famous traditional art.

Zhangzhou New Year woodprints first became popular during the Song Dynasty (960-1279) with many people travelling to the region to buy the exquisite folks arts for the Chinese New Year celebrations. Zhangzhou became one of the most productive towns for New Year woodprints in the Fujian Province after the Yan family moved to the region during the Yongle Period (1403-1425) of the Ming Dynasty (1368-1644). They created a workshop within the town which taught many of the villagers the skills needed to create artistic New Year prints.

Built in the Qing Dynasty (1644-1912), the Yue Harbour led to Zhangzhou posters being exported to many other provinces and countries. A number of large workshops were established during the early twentieth century in Lianzi Street, Hong Kong Road and Taiwan Road.

Many of the workshops were closed down during the Japanese Invasion (1937-1945). Fortunately, the Yan family purchased many original woodblocks from other craftsmen to save the local folk art from facing extinction. However, woodblock printing industry was not revived until 1957 when the craftsman Mr. Yan Jiajing started to print New Year prints from ancient woodblocks. These amazing prints were exhibited in the Fujian Art Fair in 1986 where they received high accolades for their beauty and originality.

Pear wood was the main material used to create the printing plates for New Year posters in Zhangzhou. Images are carved onto the flat woodblock and printed onto thin paper. Water and powder coloured pigments are used to create striking effects and contrasting shades. Zhangzhou New Year posters focus on welcoming the New Year, bringing blessings and warding off evil spirits. They feature images from historic legends and folk tales, auspicious symbols and scenes from the New Year festivities. Printing workshops were generally divided into two different parts. The “red house” specialized in New Year woodprints while the “black house” was for documents and book printing.

Zhangzhou New Year woodprints are a valuable Chinese folk art which capture the essence of the region’s traditions and culture. Hopefully the future generation will embrace the joyous nature of this folk art and more craftsmen will continue to create amazing New Year woodblock prints within Zhangzhou.

Zhuxianzhen New Year Posters

Zhuxianzhen is a small town twenty kilometers from Kiefeng in the He'nan Province. It is classed as one of China’s most beautiful ancient towns. Although there are only a small number of workshops still producing New Year prints, there are still many authentic, original designs created each year from this area.

Zhuxianzhen New Year prints can be traced back to the Northern Song Dynasty (960-1127) when craftsmen in the town decided to adopt the images of gate gods drawn on local doors and windows into art.

More than three hundred workshops existed in Zhuxianzhen in the Ming (1368-1644) and Qing (1644-1912) Dynasties with many artisans pursuing New Year prints as their main trade.

At the end of the Qing Dynasty, many workshops moved from Zhuxianzhen to its neighboring city, Keifeng. By 1940, there were only twenty-three workshops still producing New Year prints.

The formation of the People’s Republic of China (1949) was welcomed by many traditional artisans as it promised the preservation and promotion of endangered traditions within China. Institutions and organizations were established in many towns, including Zhuxianzhen, to develop and protect the production of Chinese prints.

However the Cultural Revolution (1966-1976) saw New Year workshops perish dramatically within Zhuxianzhen. Today, there are only twenty skilled craftsmen dedicated to reestablishing New Year prints into the local Chinese culture.

Unfortunately, many original New Year designs and woodblock prints were lost in the Cultural Revolution. Only twenty-four woodblock prints from the Ming and Qing Dynasties have been recovered from Zhuxianzhen. The town is hoping to start printing these designs again for current and future generations to enjoy.

Zhuxianzhen is known for its exquisite woodblock and engraving designs. Black and white New Year prints were extremely popular in Zhuxianzhen in past dynasties. Today, bright and bold colours add a modern touch to traditional designs. Chinese Herbs were originally used to create paint with most craftsmen preferring to continue with this traditional paint. Woodblock printing involves drawing and tracing, block engraving, printing and finally painting.

The preservation and promotion of Chinese New Year prints is now extremely important to both the town of Zhuxianzhen and the He'nan State Government. Both are determined on establishing new initiatives and schemes to increase the production of New Year prints within Zhuxianzhen.

Yuncheng Carved Lacquer Ware

The city of Yuncheng is regarded as one of the oldest birthplaces of the Chinese nation. Situated in Southwestern Shanxi, it is home to the famous “Yun Diao” lacquer ware which is often referred to as cloud carving. It is one of the rarest styles in the Chinese lacquer ware culture. The Japanese lacquer ware style “Guri” is based on the Chinese yun diao carving techniques. It is widely appreciated in Japan and has developed into a treasured traditional craft.

Dio is a special type of deep carving technique used to create cloud and ruyi shaped patterns in lacquered objects. The ruyi is a wish granting pattern that symbolizes power and great fortune. It features a long S-shaped body with the top fashioned as a fist, cloud or mushroom. The two different coloured lacquers used are distinct elements of Yuncheng lacquer ware. Cinnabar powder is added to the first layer of lacquer to create different shades of red. Gold powder can be substituted for the cinnabar to produce yellow pigments. The body is then coated in black lacquer. The red can be seen in the carved patterns. The carvings are usually cut into v shapes resembling clouds. The vivid contrast between the two colours emphasizes the detailed designs and smooth lacquer.

Yuncheng lacquer ware developed into a recognized craft during the Tang Dynasty (618-907) and flourished during the Ming (1368-1644) and Qing (1644-1912) Dynasties. Lacquer ware featuring yun diao carving techniques were mainly designed for nobles and the imperial court. Due to its rarity, the price for Yuncheng lacquer ware was among the highest of all lacquer ware products during this time. By the end of the Qing Dynasty, many workshops were abandoned within Beijing. Due to their flourishing economies, Yuncheng and Xinjiang were the favoured choices for yun diao craftsmen to open new workshops specializing in the rare lacquer style. By the 1930’s, yun diao lacquer ware was closely associated with Yuncheng. More than ten highly regarded yun diao workshops were established within Xinjiang. In 1958, the local government of Xinjiang recruited former imperial craftsmen to help establish the Xinjiang Fine Art Factory. The factory was created to revive yun diao lacquer ware and recover the unique techniques of the imperial craftsmen neglected over time. Modern research has helped the craftsmen combine new chemical knowledge with traditional techniques and materials to form new and unique lacquer wares. Recently, the factory created a new form of yun diao style which combines the techniques of yun diao with bodiless lacquer ware.

This rare and unique lacquer ware has become a cherished part of Chinese traditional arts and crafts. Yun diao lacquer ware is now being revived and modernized while still retaining its traditional character and charm. It has quickly evolved into a respected form of lacquer ware admired throughout the world.

Yichun Bodiless Lacquer Ware

Yichun is situated in the north-west of the Jiangxi Province and is famous for its bodiless lacquer ware. Through the centuries, it has become a centre of production for bodiless lacquer ware distributed throughout China and overseas.

Bodiless lacquer ware is considered one of the three famous folk treasures along with Jingdezhen porcelain and Beijing cloisonné. Bodiless lacquer ware is light, durable and resistant to moisture, corrosion, alkaline and fading. A mould made from wood, clay or plastic is needed as the base of the lacquer ware. Thick raw lacquer is used as glue to create the body. It is then wrapped in ramie or silk to dry. After it has completely dried, the body is removed and polished. Lacquer ware made in Yichun include vases, cigarette cases, tea pots, bowls and ink pads.

Bodiless lacquer ware first started to be used in Yichun during the Ming Dynasty (1368-1644). It became one of the leading lacquer ware techniques in Yichun in the Qing Dynasty (1644-1912). By the formation of the People’s Republic of China (1949), more than twenty bodiless lacquer ware workshops had been set up in Yichun with over one hundred employees specializing in the craft. Chonggui Road and Zhongshan Road in Yichun were both filled with famous lacquer workshops including Zouhuatong, Yirongtai, Wangchuntai and Wanhuali.

Yichun has won many awards for its amazing lacquer techniques. Yichun bodiless lacquer ware was awarded the silver medal in the Nanyang Match during the Qing Dynasty. After the founding of the People’s Republic of China (1949) it received another twenty national and provincial class awards for its designs and amazing crafting skills. It has been exported to over twenty countries and received world wide acclaim for its original handcrafted designs.

Yangjiang Lacquer Ware

Yangjiang lacquer ware is a fine example of China’s many famous lacquers. Its smooth finish and brilliant craftsmanship classes it among the most exquisite Chinese folk crafts. Yangjiang is situated in the southwestern Guangdong province.

There are many categories of Yangjiang lacquer ware arranged in accordance to their materials. Popular categories include leather-roughcast lacquer ware, wood-roughcast lacquer ware, hemp-cloth roughcast lacquer ware, metal-roughcast lacquer ware, plastic-roughcast lacquer ware, paper-roughcast lacquer ware and porcelain-roughcast lacquer ware.

Leather rough-cast lacquer ware is the most sought after type of Yangjiang lacquer ware. It is highly regarded for its original style and aesthetic appeal. Yangjiang lacquered leather boxes and lacquered leather pillows are popular artistic items which are famous for their elaborately painted designs. Many feature additional decorations made from gold, silver, copper and tin. Other techniques used to create the exquisite designs seen on Yangjiang lacquer wares include external colour inlay, mother-of-pearl inlay, shell inlay, gold drawing, embossed lacquer and pattern printing.

Yangjiang lacquer ware is famous for its strong local colours, perfected craftsmanship and rich local flavor. It is one of China’s treasured and loved folk crafts which continues to produce exquisite craftworks admired by the rest of the world.

Yangzhou Lacquer Ware

Yangzhou Lacquer ware is famous throughout the world for its skilled craftsmanship and awe-inspiring designs. For centuries, it has been considered one of China’s traditional and cultural icons.

Yangzhou lacquer ware can be traced back to 2300 years ago. Lacquered plates have been found in Yangzhou tombs from the Warring States Period (475-221 BC). This form of lacquer ware became used extensively throughout the Han Dynasty (206 BC-220 AD). Over ten thousand artifacts from this era have been discovered on the outskirts of Yangzhou. From these relics, it is evident lacquer ware within the region had matured into a fine craft surpassing many other countries.

The refined techniques and styles seen in Yangzhou lacquer ware can be traced back to the Tang Dynasty (618-907 AD) where lacquer ware reached its maturity. It was featured as one of the twenty four kinds of folk arts and crafts inlcuded in the tribute list to the emperor. The spectacular art designs found on many Yangzhou lacquered objects were developed later in the Ming (1368-1644) and Qing (1644-1912) Dynasties.

Due to social and economic problems occurring after the Qing Dynasty, Yangzhou lacquer ware was in dangered of becoming extinct. After the formation of the People’s Republic of China (1949), craftsmen within Yangzhou were encouraged to build upon the skills of their ancestors and Yangzhou lacquer ware came back into circulation within mainland China.

Yangzhou craftsmen use flat black lacquer to create a shimmering base. The lacquer is made of over eight hundred materials including coral, jade, silver and gold. Ancient lacquered artifacts from Yangzhou are known for their stylistic calligraphy and shallow carvings. Many artifacts also feature colourful drawings of “the 8 eccentrics of Yangzhou”.

In modern times, new design techniques have helped create a flowing market for Yangzhou lacquer ware. Patterns now often feature mother-of-pearl, gold and silver inlay and colour fillings. Bone and stone inlaying is also popular within Yangzhou lacquer ware. The combination of ancient lacquer ware tehcniques and new design methods has turned the heads of many art collectors around the world. Yangzhou lacquer ware has represented China as one of its treasured traditional crafts in many overseas exhibits.

Yangzhou lacquer ware continues to gain worldwide attention with its exquisite forms of Chinese art works. Its modern designs have created a new market for the ancient skills of lacquer ware. This art form is steadily being recognized as an important part of China’s heritage.  

Pingyao Polished Lacquer Ware

Pingyao polished lacquer ware is classed as having one of the most original lacquer techniques within China. Its palm rubbing technique and attention to detail makes it intriguing and attractive to many throughout the world.

Pingyao polished lacquer ware first started to emerge during the Warring States Period (475-221 BC) and became a well known trade in the Tang Dynasty (618-907 AD). The original techniques from Pingyao were quickly introduced to the north of China where it became known as one of the four famous Chinese lacquer wares. It was heavily exported to Mongolia, Russia and Southeast Asia. During the Ming (1368-1644) and Qing (1644-1912) Dynasties, Pingyao Lacquer ware was exhibited in many western countries and was praised by craftsmen as one of the finest lacquer wares.

Throughout the centuries, craftsmen have perfected the intricate designs and techniques needed to create astounding polished lacquer ware. Many different craftsmen are usually needed to finish off a Pingyao craftware as each step requires a different skill. There are five main steps involved in Pingyao polished lacquer ware.

The first step is to create the base. Wood, bamboo and ceramics are commonly used for this. Carvings are added at this step as well. Some popular forms of polished lacquer ware are jewelry boxes, wardrobes, screens, vases, bowls and plates.

To create a smooth surface, the base is then covered with hemp and coated with a strong first coat of lacquer. This is essential for the long durability of the lacquer ware and stops the pattern from eroding.

The next step uses palm rubbing to produce a jade like texture which helps create the detailed painted designs. Craftsmen first rub the item with wet sandpaper. Next, the palm of the hand is then used to rub the surface for a polished finish. It is then lacquered to create a thick coat of varnish. This process is repeated between five and eight times. Many craftsmen will rub over the object a thousand times to produce the smooth and sleek aesthetic design common to Pingyao lacquer ware. Women are often used for this part of the process as their palms are seen as more sensitive and suitable to produce the desired effect.

A pattern or painting is then added onto the craftwork. Painters must have at least four years of experience before they are able to work with Pingyao lacquer ware. Most paintings involve fictitious characters from local myths and legends. The last step involves adding coloured stones, ivory, shells and other decorations to the lacquer ware. This last step is a recent addition to the process and is quite popular on souvenirs for tourists. Gold lines, mother of pearl inlay and raised carvings are common designs adding beauty and elegance to Pingyao lacquer ware.

Pingyao polished lacquer ware is regarded as a unique and original form of Chinese lacquer ware. The region produces some of the finest and detailed art works within China. It is an iconic traditional art form which will be admired for many generations to come. 
 

Zhejiang Ningbo Golden Painted Lacquer Ware

Ningbo is often referred to as the “Home of Culture” due to its rich artistic heritage. Located to the South of Yangtze River Delta, Ningbo is one of China’s major ports for foreign trade. It’s stunning variety of traditional arts and crafts have been transported throughout the world with great success.

Ningbo golden painted lacquer ware consists of Chinese raw lacquer and gold foil. There are three different procedures which can be used in Ningbo lacquer ware. Duini involves creating lacquer mud through mixing raw lacquer with tile-ash. The object is first covered in basic lacquer. Different patterns are then painted on the body with the lacquer mud through stack carving. Gold foil or paintings are then added to the patterns.

Lifen refers to the technique which uses a paste mixture and glue water to form three dimensional patterns on the body of the lacquered object. The two ingredients are placed in a tube with a closed bottom and small hole on the top to control the shape of the patterns. Gold foil is placed on the raised images before the glue is dried.

Nijin is mainly used for decoration rather than as a lacquer. Gold pigments are placed on the carved patterns of the lacquer ware. The gold pigments are made from gold powder, glue and lacquer.

The three main carving techniques used to create exquisite and detailed designs on the gold painted lacquer ware are embossed pattern, flush pattern and sunk pattern. Each technique has adopted the local Ningbo style with variations depending on the craftsman.

Ningbo golden lacquer techniques are used to create many products including folding screens, trunks, cabinets, sculptures of legendary characters and historic figures, Buddha figures, animal sculptures and coloured lamps.

The history of using gold within lacquer ware can be traced back to the Neolithic Period (10000-2000 BC) where a vermillion painted bowl was found at the seven thousand year old Hemudu Cultural Ruins.

Ningbo golden painted lacquer ware continues to be popular within China and overseas. Its elegant designs and artistic techniques have elevated this traditional folk craft to become one of the most famous lacquer wares in China.

Guizhou Dafang Lacquer Ware

Dafang lacquer ware has been classed as one of the five famous lacquer wares in China. Dafang is situated in Guizhou Province in the South of China. The famous “Three Guizhou Treasures” include Dafang lacquer, Baijiu Maotai liquor and Duyun Maojian tea leaves.

Dafang lacquer ware was first created in the Hongwu period (1368-1399) of the Ming Dynasty (1368-1644) and quickly became a favourite provincial tribute to the emperor. It became increasingly popular in the Daoguang period (1821-1851) of the Qing Dynasty (1644-1912). During this time, almost all the villagers in Dafang were skilled in the crafting of Dafang lacquer ware and it became known as the “lacquer city”.

Guizhou is known for its abundance of natural lacquer resources. Its annual output of raw lacquer is approximately one hundred tons. Dafang County has a long history of planting lacquer trees and is now one of the main areas for lacquer production. Dafang lacquer is known for its durableness and heat resistance.

The main processes involved in creating Dafang lacquer ware include background lacquer painting and colour painting. There are one hundred different kinds of decoration techniques which feature shallow relief patterns, deep relief patterns and flat patterns.

With a history of over three hundred years, Dafang lacquer has been perfected into an exquisite Chinese folk craft respected and loved by many throughout the world. Its place has been sealed as a valued part of China’s folk culture.

Tianshui Lacquer Ware

The realistic and elegant designs featured on Tianshui lacquer ware make this ancient folk art one of the most popular in Gansu province. The stunning patterns and quality of lacquer leave many stunned who witness the making of Tianshui lacquer ware.

Tianshui lacquer ware is famous for its polished wood style and inlaid designs which involve coral, agate, pearl, shell and other precious materials. Images are created through traditional engraving and filling techniques. It often features realistic images such as legendary and historical figures, flowers, birds and animals. The lacquer ware is mostly sooty in colour and is known for its resistance to erosion and alkaline.

With a history spanning over two thousand years, Tianshui lacquer ware has been perfected into an ancient and respected trade. In 1956, a coffin made from early Tianshui lacquer ware techniques was excavated from a tomb in the Gansu Province. The coffin is believed to be dated from the Warring States Period (475-221 BC) and is defined as the origin of Tianshui lacquer ware.

There are many pieces of Tianshui lacquer ware from the Han Dynasty (206 BC-220 AD) which have been uncovered and display the advanced skills of craftsmen for this time in history. During the Song Dynasty (960-1279), it was transported to many countries as Tianshui was the first trading stop on the Silk Road leading into Europe.

Up until the Qing Dynasty (1644-1912), furniture was the main form of lacquer ware created from Tianshui. Boxes, bowls, brush pots and other products started to appear late within the Qing Dynasty (1644-1912). Carvings, paintings and fillings made from Tianshui became popular during the early twentieth century. Filling techqniues involved filling carved patterns with coloured powder on an unpolished background. Lacquer was then added to stop the design from eroding. This style has become a very popular craft in Tianshui.

Fujian Bodiless Lacquer Ware

Famous for many crafts, Fujian is world renowned for its skilled assortment of bodiless lacquer ware. Bodiless lacquer ware is considered one of the “three treasures of traditional Chinese handicrafts” along with Jingdezhen’s porcelain and Beijing’s cloisonné.

Bodiless lacquer ware involves creating an ornament with lacquer rather than using a base such as wood or ceramics. Clay, wood or plastic is used as a mould for the design. Raw lacquer is then used as an adhesive to add layers of material such as silk or grass cloth. The newly created body is removed from the mould. The ornament is then polished, lacquered and can also be painted. Bodiless lacquer ware is light, durable and resistant to moisture, corrosion, alkaline and fading. Teapots are mainly constructed today from this form of lacquer work.

Fujian bodiless lacquer ware was created in the Qing Dynasty (1644-1912) by Shen Shao’an. Already a skilled craftsman in lacquer ware, Shen Shao’an used an assortment of varnishes to coat a clay model. Once dry, he put the varnished model in water which dissolved the clay leaving the first piece of bodiless lacquer ware. Fujian bodiless lacquer ware is commonly referred to as “Shen’s bodiless lacquer ware” in Fujian.

A famous piece of bodiless lacquer ware created by Shen Shao’an was a tea cup in the shape of a chrysanthemum flower petal which is now in the Imperial Palace Museum. The cup was as thin as paper and is admired by many as an exquisite piece of Chinese art.

This form of lacquer ware was often given to royalty, government officials and foreign guests and regarded as a prestigious craftsmanship. Fujian bodiless lacquer ware was also highly favoured overseas as many ornaments were sent through the Silk Road to Europe.

Fujian bodiless lacquer ware has been very successful within as well as out of China. In 1898, the Commodity Exhibition in Paris acknowledged the work of Shen Shao’an and awarded his skills with a gold medal. Between 1898 and 1912, Fujian bodiless lacquer ware received much attention and accolades from overseas exhibitions. The Empress Dowager Ci Xi also approved highly of Fujian bodiless lacquer ware and had many pieces made for both the Summer Palace and Forbidden City. Many different colours were experimented with during the 1920’s including gold, silver, azure, verdant and bronze.

Due to its durability and light frame, Fujian bodiless lacquer ware is known worldwide as a traditional Chinese folk art and is seen as an attractive art work for anyone interested in Chinese arts and crafts.

Chengdu Lacquer Ware

Chengdu lacquer ware is famous for its durability against corrosion and aging. The colourful and vibrant designs featured on many pieces are applauded throughout the world. Most lacquer works produced within Sichuan are created in Chengdu. The reflective and smooth finishing of the lacquer has helped create a name for Chengdu lacquer in the international arts and crafts community. It has been rightfully acclaimed as one of the unique traditional and cultural heritages of China.

Chengdu lacquer ware has been perfect by local craftsmen for approximately three thousand years. It first originated in the Warring States Period (475-221 BC) when Sichuan was classed as the centre of lacquer ware production. Chengdu was given the honoured title “the capital of Chinese lacquer”.

It became widely used for household items and luxurious furniture in the Qin (221-206 BC)  and Han (206 BC-220 AD) Dynasties and the skills to produce Chengdu lacquer were far more advanced than in many other areas within the world.

During the Ming (1368-1644) and Qing (1644-1912) Dynasties, Chengdu was regarded as the main place for carved lacquer ware featuring the decorative technique of colour filling. Streets such as Kejia lane and Xiaokejia lane specialized in the production of Chengdu lacquer ware and had many workshops dominating the thriving area.. Many other lacquer ware styles within China have been influenced by the techniques of Chengdu lacquer ware.

The techniques and designs used in Chengdu lacquer ware are quite different compared to many other provinces. Bases can be made from wood, paper or bamboo. Blue and Green bricks are grated into a powder and added to water to create a protective lacquer for the base. A design is sketched onto the base and then carved out by the craftsman and filled with coloured lacquer. An ox horn knife is the main tool used for paint filling. Many layers of halogen lacquer are then added. The finished product is polished by hair or cotton with vegetable oil.

Patterns and decorations reflect the traditions and beliefs of the Chengdu region and feature images such as animals, plants and supernatural beings. The varnish protects the decorations for many years leaving images as fresh and vibrant as the day they were created. Chengdu lacquer ware has recently been uncovered in pristine condition from two thousand year old tombs from the Warring States Period (221-206 BC) proving the veracity and durability of Chengdu lacquer.

The transparent and reflective nature of the lacquer illuminates the bright and joyous colours used on lacquered vases, screen doors, jewelry boxes and many more ornaments. Many foreign tourists travel to Chengdu each year to purchase the famous craft.

Chengdu craftsmen are admired throughout the world for their professional and elaborate talents in lacquer ware. It is becoming increasingly popular to view Chengdu lacquer ware in homes throughout the world as many people are becoming aware of the cultural and aesthetic value of this type of craft.

Beijing Gold Inlaid Lacquer Ware

Beijing gold inlaid lacquer ware combines the intricate skills of carving, filling, whetting, inlaying and painting. It features a gold lacquered surface inlaid with various gems and other exotic materials.

Gold inlaid lacquer ware has a prominent three thousand year old history. It was first introduced to Beijing in the Yuan Dynasty (1271-1368) and flourished in the Ming (1368-1644) and Qing (1644-1912) Dynasties. During the Ming Dynasty, the imperial palace was decorated with gold inlaid lacquer ware. Qing emperors also favoured the designs and styles of Beijing gold inlaid lacquer ware and ordered many plates, boxes, tables, beds and other furniture to be created for their personal use.

The wooden surface used for Beijing gold inlaid lacquer ware is lacquered with a gold glaze. The lacquer ware is then inlaid with different materials including bone, jade, gold and silver fillings. Engravings, gold tracing and pattern drawings are also used to create amazing patterns and designs.

The two main techniques used to produce stunning decorations and designs on Beijing gold inlaid lacquer ware are gold engraving and fill-in techniques. Gold engraving involves applying an adhesive of lacquer to fine lines incised on the lacquered surface. Gold foil or powdered gold is then pressed into the grooves where the lacquer is placed. Fill-in techniques involve another coloured lacquer being inlaid over the original lacquer. The first method of fill-in decorations involves inlaying the gold lacquer into carvings cut into the hardened lacquer. The other method requires the craftsman to apply many layers of thin lacquer to build up a pattern in certain areas. The rest of the lacquer ware is then filled with gold lacquer. The object is polished down to reveal the colour variations.


Beijing gold inlaid lacquer ware is one of the exquisite treasures of Beijing and is regarded as a magnificent Chinese folk art. It can be viewed in many museums around the world and is included in many prestigious art collections.

Beijing Carved Lacquer Ware

Known as one of the “three treasures of Chinese arts and crafts” along with Hu’nan embroidery and Jiangxi Jingdezhen porcelain, Beijing carved lacquer ware is famous throughout the world for its unique techniques and detailed carvings.

Carved lacquer ware was developed during the Tang Dynasty (618-907) in the south of China. It originated from the provinces of Yunnan and Sichuan where it gained wide spread attention during the Song Dynasty (960-1279) with many craftsmen choosing carved lacquer ware as their specialized trade.

It wasn’t until the Yuan Dynasty (1271-1368) that carved lacquer ware was introduced to Beijing. Many skilled craftsmen specializing in carved lacquer ware migrated to Beijing when it was proclaimed the capital of China. Their skills developed within the capital and Beijing carved lacquer ware became a treasured style of the popular craft.

During the Ming Dynasty (1368-1644), the first carved lacquer ware workshop was opened in Beijing. Known as “The Orchard Factory”, its main role was to create furniture for the imperial palaces within Beijing. In the Qing Dynasty (1644-1912), an imperial workshop was established to keep up with the demand of furniture needed for the Forbidden City. In 1904, the first commercial workshop specializing in Beijing carved lacquer ware was established by Xiao Le’an and Li Maolong. It was known as “Ji Gu Zhai” which symbolizes the inherent legacies of ancient carved lacquer ware workshops.


The production of Beijing carved lacquer ware began to decrease at the end of Qing Dynasty with a shortage of skilled craftsmen threatening the continuation of the unique craft. It was neglected for many years until the formation of the People’s Republic of China in 1949.

The Beijing government organized a Beijing carved lacquer factory to be opened by the heirs of Xiao Le’an and Li Maolong who were also skilled craftsmen. This factory continues to produce high quality lacquer ware in all its magnificent forms.

One authentic piece of Beijing carved lacquer ware usually takes between six and eight months to finish. Several to hundreds of layers of lacquer are painted onto a wooden or bronze mold. The lacquer should be between fifteen to twenty-five millimeters thick. A design is then carved out from the body of the lacquer. The lacquer ware is finished once it has been polished over with another layer of protective lacquer.

The most famous of Beijing carved lacquer ware is cinnabar lacquer ware.

Affectionately known as China red, it is considered to be the must have souvenir of Beijing. The various reddish colours produced by the cinnabar powder attract the eye of many art collectors.

Using cinnabar to change the colour of the lacquer became popular within the Ming Dynasty. It also experienced notoriety during the Qing Dynasty with many cinnabar lacquered jewelry boxes and vases made within this era.

The crushed paste of the mineral cinnabar is mixed with the sap from a lac tree to produce the red pigment. Cinnabar is scientifically known as red mercury sulfide and is the common ore of mercury. It is currently found near volcanoes and hot springs. Cinnabar is concentrated within Guizhou which has a high mercury presence.

There are many carved designs etched on Beijing carved lacquer ware including mountains, rivers, flowers, historical figures and legendary characters and creatures. Carving is the main technique during the lacquer ware process and requires a delicate touch and the utmost skill and patience to produce realistic and vivid images.

True cinnabar mineral is rarely used anymore due to the harmful mercury within the powder. However, a substitute dye is now used to imitate the exact reddish colours seen within cinnabar lacquer making the exquisite crafts available to all. Although true cinnabar lacquer is no longer used, this form of lacquered art is still highly demanded throughout the world.

Today, Beijing carved lacquer ware is in high demand, however, there are only twenty skilled craftsmen left within Beijing. The government is currently working on an initiative to encourage young craftsmen to learn the techniques to create beautiful and detailed Beijing carved lacquer ware. Beijing carved lacquer ware would make a wonderful addition to any home.

Chinese lacquer ware

Chinese lacquer ware is renowned throughout the world for its smooth and professional style. Using natural elements for coating and featuring rich designs, Chinese woodcraft is highly sought after by many throughout the world. It is regarded as a true symbol of Chinese culture and is forever imprinted in the Chinese heritage.

There are many different and unique styles of varnished ornaments and woodcraft within China from provinces such as Yangzhou and Fuzhou to the capital, Beijing. Each province has a unique style of carving and many pieces of lacquer ware can be easily distinguished by their aesthetic appearance.

Throughout the numerous centuries, Chinese craftsmen have perfected lacquer ware into a well regarded form of art. Many woodcrafts feature elaborate designs and carvings which are protected from harm and erosion by the unique variations of lacquer used in Chinese lacquer ware.

Chinese woodcraft uses natural varnish created from the sap of the native lacquer tree which is abundant in the south regions of China. It is known for its strong resistance to water, acid, heat and alkaline corrosion. Many thin layers are added by hand to create the protective coat needed for quality woodcraft. Each layer must air dry before the next can be added creating a smooth, polished finish. This allows the craftsmen to carefully create intricate and beautifully carved designs on the wood. There are also many different decorative techniques unique to different parts of China including gold and silver inlays, mother-of-pearl inlays and paint fillings.

Chinese lacquer ware was created over 7000 years ago in the Neolithic Period (10000 – 2000 BC). In 1978, a small red lacquered bowl was discovered in Yuyao, Zhejiang Province making it the oldest varnished ornament in the world.
It wasn’t until the Han Dynasty (206 BC- 220 AD), that lacquer ware started replacing bronze and was used for everyday utensils and furniture. Techniques such as gold and silver inlay and carved designs were increasingly popular from the Han Dynasty (206 BC-220 AD) and on wards. However, due to the emergence of ceramics, lacquer ware started to disappear from everyday life and valued more for its artistic qualities.

Within the Song Dynasty (960-1279), single-coloured lacquer ware was prevalent within China. The simplicity of single colour lacquer ware allowed craftsmen to focus on the design and smooth texture needed to create rich and unique woodcraft similar to popular designs created today. In the Ming (1368-1644) and Qing (1644-1912) Dynasties, lacquer ware was primarily used for decoration rather than for practical purposes. Lacquer ware entered a new age for architecture and design.

Chinese lacquer ware is mainly used within art and woodcraft in modern times. The most popular forms of Chinese lacquer wares include boxes, bowls, furniture and souvenirs. There are many different varieties and shapes which are only restricted by the craftsman’s imagination.

Chinese Lacquer ware can be viewed in many art galleries around the world as a leading example of fine craftsmanship. This form of art has been circulated around the globe for centuries and has a large economic market in the international community. It is regarded as one of China’s most recognized crafts which has influenced the styles and techniques used by many craftsmen throughout the world today.