{"id":6081,"date":"2019-11-16T09:48:54","date_gmt":"2019-11-16T09:48:54","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/mianzhu-new-year-wood-block-prints-mian-zhu-mu-ban-nian-hua\/"},"modified":"2019-11-16T09:48:54","modified_gmt":"2019-11-16T09:48:54","slug":"mianzhu-new-year-wood-block-prints-mian-zhu-mu-ban-nian-hua","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/vi\/mianzhu-new-year-wood-block-prints-mian-zhu-mu-ban-nian-hua\/","title":{"rendered":"Mianzhu New Year Wood-block Prints \u7ef5\u7af9\u6728\u7248\u5e74\u753b"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
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Category: Folk Art
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Region: Sichuan Province
\u7f16\u53f7\uff1a\u2166-11
Ref. No.: \u2166-11
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Nominating unit[s]: Deyang city, Sichuan Province
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Located in the northwest edge of the Sichuan Basin, Mianzhu City is rich in bamboo, and amo<\/em>ngst other materials, the famous Mianzhu bamboo is perfect for making paper. Mianzhu New Year wood-block prints are mainly produced in Jiannan Town in the urban area, and Go<\/em>ngxing Town, Qingdao Town, Xinshi Town and Xiaode Town in the north of Mianzhu City.
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The middle section of Lo<\/em>ngmen Mountains in Mianzhu is co<\/em>nnected with the north of Chengdu Plain, which has been the natio<\/em>nal center of wood-block printing since the Tang Dynasty. Thanks to having such a geographical advantage, it is said that Mianzhu began to produce New Year wood-block pictures as early as the Song Dynasty. According to an oral des<\/em>cription, during the reigns of Emperor Qianlong and Emperor Jiaqing in the Qing Dynasty, over nine hundred people were engaged in this business in Mianzhu. Furthermore, more than three hundred workshops emerged in varying sizes, with an annual production count of twelve million copies of door-god pictures, square scrolls, hanging scrolls without axis, miscellaneous scrolls, rubbings and shrine pictures sold to Yunnan, Guizhou, Shaanxi, Qinghai, Tibet, Hubei, Hunan, and Sichuan. In addition to the traditio<\/em>nal door gods, themes of Mianzhu New Year wood-block prints also include dramatic stories, landscapes and bird and flowers, drawings from nature, current events, auspicious patterns, and so on. Painting production in Mianzhu is highly professio<\/em>nalized with a clear division of labor. The urban area is mainly engaged in rubbings, miscellaneous articles, square scrolls, shrine pictures and door-god paintings; Qingdao Town specializes in the colored Qingshui Gown; and Zundao Town excels at beauties and playing children. In the golden era of Mianzhu New Year wood-block prints, a guild named "Fuxi Hui" was formed to provide peer review on the New Year pictures. In the early 20th century, Mianzhu wood-block prints began to decline, and have struggled to survive ever since, with many practitio<\/em>ners quitting to their job.
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Mianzhu New Year wood-block prints are closely l<\/em>inked with the local customs. There are even special rules and taboos for how a picture should be posted. Various images in the painting have different symbols and indications, which are reflected or presented in a variety of folk rituals. In the Ming and Qing dynasties, in addition to Buddha and other gods, dramatic stories also appeared frequently in the Mianzhu pictures. Artists in Mianzhu drew White Dogs Fighting for the Phoenix, Five Sons Indicting Their Mother and many other New Year picture works inspired by episodes of the Sichuan opera. In terms of genre, Mianzhu New Year wood-block prints are divided into "red prints" and "black prints". "Red prints" refer to colored paintings, while "black prints" refer to wood-block rubbings copied with soot ink or vermilion.
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The production process of Mianzhu New Year wood-block prints includes drafting, block engraving, ink printing, color printing, gaihua and other processes. They have several unique artistic features, including the colored hand-drawing, which may lead to different effects in prints made with the same engraving, along with symmetry composition, and the matching of hue and color, gold in particular (e.g. different gilding skills), and above all, Tian Shuijiao (referring to smearing the picture with remaining pigment).
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Since the reign of Emperor Qianlong in the Qing Dynasty, masters of Mianzhu prints co<\/em>ntinued to flourish for generations. Nowadays, Li Fangfu and Chen Xingcai are the o<\/em>nly representative inheritors of this traditio<\/em>nal art. In the 1950s, the art of Mianzhu New Year wood-block prints was devastated in a number of political campaigns, with many artists deprived of the rights of painting, and numerous ancient engravings sabotaged. Production of New Year pictures has resumed in the past 20 years, but the market has shrunk. As a result, some inheritors have simply chosen to sell their engravings and quit their career altogether to start a different life.
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