Anyang Woodblock New Year Prints

Originating from Hua County in Anyang, Henan Province, Anyang woodblock New Year prints are among the most iconic forms of traditional Chinese folk art. Dating back to the Ming dynasty, these prints are created from intricately carved wooden blocks and finished with hand-applied colour. Depicting door gods, wealth deities, opera scenes, folk legends, and auspicious motifs, they are displayed on doors, windows, and walls during the Lunar New Year as symbols of hope for peace, prosperity, and a bountiful harvest. In 2008, Hua County woodblock New Year prints were inscribed on the National Intangible Cultural Heritage list. Today, local artisans continue to practise and innovate this centuries-old craft, sharing the charm of Anyang’s folk art with audiences around the world.

Exhibited Works

1. Door Gods: Ran Deng and Gongming Zhao

Gongming Zhao and Ran Deng are both legendary figures from the classic novel Investiture of the Gods. Ran Deng served under Jiang Ziya in support of King Wu of Zhou, while Gongming Zhao fought on behalf of the Shang dynasty. According to the tale, Gongming Zhao once defeated Ran Deng with his magical pearls and golden scissors, yet Ran Deng later struck back with his cosmic ruler. When the gods were finally invested, Gongming Zhao was appointed the “True Lord of the Black Altar,” guardian of wealth — which is why he is shown holding a gold ingot in this print. In Anyang’s woodblock tradition, these two figures are the most popular choice for door gods.

2. Lotus Blossoms

This print features lotus flowers as its central subject, accented by magnolia, chrysanthemum, and peony. The composition symbolises harmony, prosperity, and noble elegance.

3. Elephant with Precious Vase & Lion with Precious Vase

These are classic auspicious motifs in Chinese art. Both the elephant and the lion are regarded as sacred animals representing majesty and good fortune. The word for “vase” (píng) is a homophone for “peace” (píng’ān), so the two prints together convey the blessings “peace reigns under heaven” and “peace through all generations.” They are traditionally hung as decorative art in living rooms and on partition screens.

4. Mother Tiger and Cub

Tiger imagery holds a special place in Chinese culture. The tiger is a symbol of strength, courage, and protection — a sacred beast believed to ward off evil and attract good fortune. As king of all animals, it also represents authority and honour. In New Year prints the tiger is affectionately called the “Fortune Tiger.” Tiger prints serve not only as decoration but also as talismans for driving away misfortune and welcoming blessings into the home.

5. Kui Zhong Slaying Demons

Kui Zhong, the demon slayer, is one of the most enduring subjects in Anyang’s woodblock tradition. According to Tang dynasty legend, Kui Zhong was a scholar of fierce integrity whose imposing appearance cost him his civil service rank. In despair he took his own life on the palace steps, vowing after death to rid the world of every evil spirit. When Emperor Xuanzong of Tang dreamed of Kui Zhong vanquishing demons, he ordered the scholar’s likeness painted and displayed in the palace — a custom that soon spread among the people. In traditional prints Kui Zhong originally wore a blue robe, later changed to a lucky red robe. He is shown brandishing a sword with blazing eyes, often accompanied by bat motifs — since “bat” (fú) sounds the same as “fortune” (fú) — embodying both the power to banish evil and the promise of good luck.

6. Flower-Basket Child

The Flower-Basket Child is one of the liveliest and most beloved motifs in Anyang’s woodblock prints. At its centre is a chubby, cheerful child cradling a basket overflowing with peonies, lotuses, chrysanthemums, and other seasonal flowers. The bright colours and full composition radiate festive joy. The child represents the wish for many descendants, while the bountiful basket signifies year-round peace and prosperity. Lotus and peony together evoke harmony and wealth. This is a quintessential New Year print for decorating the home and praying for family harmony.

7. Floral-Script Couplet

Composing Chinese characters out of birds and flowers is a distinctive feature of Anyang’s print tradition. Up close the viewer sees blossoms and birds; from a distance, the characters emerge. This particular couplet reads: “In stillness, always reflect on your own faults; in idle talk, never gossip about others.” It is as much a piece of folk philosophy as it is a striking decoration.

8. Portrait of Guan Gong

Guan Gong — the historical general Yu Guan — is revered as the “Martial Saint” for his legendary loyalty, righteousness, and valour. In Chinese folk belief he is a guardian of safety, a patron of wealth, and the embodiment of integrity. Anyang’s woodblock renderings typically show him in full majesty: a deep-red face, phoenix eyes, silkworm-brow eyebrows, wielding his famed Green Dragon Crescent Blade or serenely stroking his long beard. The bold lines and dignified composition reflect the robust artistic style of the Yellow River region. These prints are traditionally displayed in family halls and shops alike — households seek his protection, while merchants honour him as the God of Wealth, hoping for thriving business and ever-flowing fortune.

9. The Character “Fu” (Fortune)

The character fú (福, fortune) is the most representative blessing motif in Anyang’s woodblock prints and an indispensable symbol of the Lunar New Year. Its origins can be traced to oracle-bone inscriptions, where it originally meant “to offer food and wine to the gods in prayer for well-being.” Over time it became shorthand for all the good things in life. The custom of posting fú characters became widespread during the Song dynasty and has been a Spring Festival staple ever since the Ming dynasty. Anyang’s woodblock fú characters are typically printed on bright red paper in bold, full strokes, often embellished with auspicious clouds, bats, and peony motifs. There is a traditional protocol for hanging them: on the front door and in the main hall, the character must be displayed upright, signifying “welcoming fortune with dignity.” On storage containers such as rice bins and wardrobes, it is hung upside down — because “upside down” (dào) sounds the same as “arrived” (dào), expressing the wish that “fortune has arrived.” In classical Chinese thought, fú encompasses not just wealth but the “Five Blessings”: longevity, prosperity, health, virtue, and a peaceful end. A single woodblock fú print carries within it the deep-rooted Chinese aspiration for family happiness and a life of peace.