From 2003–2011, China Post marked each Lunar New Year by issuing a set of Special Stamps featuring Nianhua (New Year Woodblock Prints).
Woodblock printing as a technique for reproducing text, images and patterns originated in China in ancient times and was widely used throughout East Asia as a method of printing on textiles and later paper. Chinese printers used woodblocks to reproduce text centuries before the technique first appeared in Europe.
Woodblock printing was first utilized to reproduce Buddhist religious texts. It was common to commission the printing and distribution of religious texts in return for blessings. The earliest existing samples of this kind of woodblock printing date from the seventh and eighth century. And the earliest existing printed book is the Diamond Sutra 
of 868 (left). That book, in the form of a scroll nearly 20 feet (six meters) long, consists of a pictorial frontispiece followed by the text of the sutra. At the end of the sutra, the colophon reads: “Reverently made for universal free distribution by Wang Jie on behalf of his parents on the 15th day of the 4th moon of the 9th year of Xiantong (11 May 868).”1 The quality of printing of both the calligraphy and frontispiece shows that exceptional mastery of the printing process had been achieved in China by the ninth century.
Thus far the woodblock printing referred to was single color (black ink) printing. Multicolor work developed later. In China the first known example is a Diamond Sutra of 1341 printed in black and red at the Zifu Temple in modern day Hubei Province.2
Creating woodblock prints is a multi-step process: creating the initial drawing, splitting the block/s, engraving the block/s, printing each color separately, and sometimes additional detail is added by painting. Historically, rubbing was the most common method of transferring the inked image to paper in Eastern woodblock printing. The block was placed face side up on a flat surface with the paper or fabric laid on top of the inked block, and the back of the paper was rubbed with a burnisher. A separate block was cut and printed for each color. It is only in relatively recent times that presses have been used.
In East Asia, woodblock printing proved to be more enduring than in Europe, continuing well into the 19th century as the major form of printing texts, especially in China, even after the introduction of the European printing press.
Themes
Nianhua were a form of multicolor Chinese woodblock prints featuring decorative imagery related to the Chinese New Year. It was common practice in Chinese homes to replace old New Year prints with new ones on the eve of Spring Festival, the most important in China. The intent was to give blessings to family and friends
for the upcoming year. The earliest extant specimen of a New Year print dates from the twelfth century, but the ephemeral nature of the prints resulted in relatively few surviving from before the late Ming (1368–1644) and early Qing (1644–1911) dynasties.
The themes of the prints, such as blessing, harvest, peace, popular opera and the protective door god (right) were produced in endless variety and often very large quantity–the intent being to bring good fortune and to avoid bad luck and evil spirits. Subjects were often adapted from historic stories and opera costumes.
Printing Centers and Styles
Stamp sets and souvenir sheets from the first five years in this series (2003–2007) represent China’s original five major New Year Woodblock Print production centers: Yangliuqing, Taohuawu, Yangjiabu, Wuqiang, and Mianzhu. Many other printing centers followed these original sites, and millions of prints were eventually produced and sold throughout China and beyond.
Following is a brief description of the woodblock print styles highlighted by the annual Chinese stamp issues:
2003 — Yangliuqing New Year Woodblock Prints (Northern China) originated during the late Ming Dynasty in Yangliuqing, a market town west of Tianjin. These prints generally have joyful themes and often convey blessings and happiness. Their balanced composition and vivid colors contributed to their popularity. Over time the printing process was often supplemented with hand painted highlights, skillfully blending the two techniques. The stamp shown here was issued in 2003 (one of a set of four) and its theme is “The Wealth in Jade Hall.”
2004 — Taohuawu New Year Woodblock Prints originated in Jiangsu Province during the late Ming Dynasty. Taohuawu was one of the most widespread folk New Year picture schools in southern China. In its early stage, this style featured ladies, landscapes and flowers, usually in a traditional composition with a graceful style. Later, the subject matter included images of people’s daily life and work. Most of the pictures expressed wishes for good fortune, or showed opera stories, current events and customs. The pictures were decorative, and popular for their use of exaggeration, bright colors, and rich and lively content. The stamp shown here, issued in 2004, is one of a set of four and features Liu Hai Playing with a Golden Toad.
2005 — Yangjiabu New Year Woodblock Prints originated in Yangjiabu Village, northeast of Weifang, Shandong Province at the end of the Ming Dynasty. Almost all households in the village were eventually engaged in woodblock print production. These prints were mainly produced in red, green, yellow and purple. Yangjiabu images combine the lively and simple style of northern art and the elegance of southern art. Their subject range varies widely: from images of immortals to flowers, and from birds and operas to the everyday life of the people. The prints have been popular among the Chinese for over 400 years because of their unaffected portraits, festive colors, local flavor, and meaningful messages. The stamp shown here is one of a set of four and conveys a wish for Good News on New Year’s Day.
2006 — Wuqiang New Year Woodblock Prints were first produced in Wuqiang County, Hebei Province during the Ming Dynasty (1368–1644) and reached their zenith during the reigns of Emperors Qianlong (1736–1796) and Jiaqing (1796–1821) of the Qing Dynasty. Wuqiang Woodcut New Year Prints have bright colors, bold lines, sophisticated composition and strong country atmosphere and folk hues. Their source materials come from traditional Chinese dramas, historical legends and storybooks popular among the people in Hebei Province. Wuqiang New Year Woodcuts inherited Chinese traditional carving and printing techniques. Lines are vigorous and neat. The style of color used with the black and white designs give the pictures a succinct and antique look. These woodcuts usually portray the front of characters, focusing on their head and eyes. They are true to life. The stamp shown here is one of a set of four and features a Lion Rolling an Embroidered Ball.
In 1992, China’s first museum of New Year pictures was set up in Wuqiang County. In December 1993, the Ministry of Culture officially designated Wuqiang as “home to folk New Year woodcuts.” In 2006, New Year Woodcuts of Wuqiang, and that of Tianjin’s Yangliuqing, Shandong’s Weifang, Jiangsu’s Taohuawu and Sichuan’s Mianzhu were listed in the first group of national non-material cultural heritages.
2007 — Mianzhu Woodblock New Year Prints were originally produced in Mianzhu, Sichuan Province. The style became popular during the late Qing Dynasty. The prints sold well in northwest and southwest China, India, Japan, and other southeast nations. The topics in Mianzhu Woodblock Prints are diverse, including figures and characters from Chinese mythology and fairytales, local cultures and customs, opera and drama, and historic figures. The imagery is generally well designed and polished, but the figures are purposely depicted in disproportionate sizes to emphasize the artist’s message. The lines are usually simple, but classic and elegant, and colors are bright and upbeat. The stamp shown here features Zhang Xian She Gou, and is one of a set of four.
2008 — Zhuxian Town, near Kaifeng, Henan Province, began production of New Year Woodblock Prints during the Tang Dynasty (618–907) and reached its prime in the middle of the Ming Dynasty (1368–1644). These pictures exhibit succinct and refined engraving skills, a simple and bold style, and well-rounded composition. The multi-color block printing, dominated by warm hues, features intense artistic contrast between red and brown, and yellow and purple. Zhuxian Town’s woodblocks are representative of the folk art in the Central Plains. The stamp featured here is one of a set of four and is a representation of the Gate Guardian.
2009 — Zhangzhou Woodblock New Year Prints originated during the Ming Dynasty, became popular in the Qing Dynasty, and sales peaked at the early 1900s. Zhangzhou Prints were mainly sold in the southern regions of Fujian and in Taiwan, Hong Kong, southeast Asian nations, and Japan. The overall design of these prints is clean and simple with broad strokes while maintaining fine detail. The figures are exaggerated. The drawing lines are old-fashioned and forceful, often supported with bright red color in the background. Their unique style and strong bright colors make these prints easily recognizable. The stamp illustrated here shows a Lion Holding a Sword in Its Mouth and is one of a set of four.
2010 — Lianping Woodblock New Year Prints were originally produced in Lianping, Chongqiang Province. Woodblock prints are one of three unique art forms produced in Lianping; the other two are bamboo screens and artistic (opera) lanterns. The woodblock prints use romantic expression to achieve artistic goals. The styles and forms are traditional, but lively. Designs are solid, but simple. Figures are exaggerated and disproportionate, and colors are contrasting and intense. Shown here is one of a set of four stamps, and illustrates Exiting the Pass with a Stolen Token.
2011 — Fengxiang New Year Woodblock Prints are representative of the style of the Northwestern region of China. They are named after their original production site, Fengxiang, Shaanxi Province. They originated during the Ming Dynasty and became very popular during the Qing Dynasty. The topics of these prints are diverse, and the formats varied. Colors are vivid, and figures and shapes are not in proportion, but are exaggerated for emphasis. The stamp shown here illustrates Fortune Flower Vase and is one of a set of four.
Conclusion
Nianhua is only one kind of Chinese Woodblock Printing. The Chinese stamps honoring that tradition are an invitation to further explore the deep and rich tradition of Chinese Woodblock Printing as a whole. Information about the history of Chinese printing is readily available—so enjoy.
Footnotes:
1. The British Museum Book of Chinese Art, p121.
2. http://en.wikipedia.org/wiki/Woodblock_printing
References:
Text from the annual souvenir stamp sheets.
Clunas, Craig, Art in China (Second Edition), ©2009, Oxford University Press Inc., New York.
Shubao, Luo, A Concise Illustrated History of Chinese Printing, ©2011, Homa & Sekey Books, Paramus NJ.
The British Museum Book of Chinese Art, Edited by Jessica Rawson. c1992, ©Thames and Hudson Inc, NY.
Thanks to:
Dr. Yulong Chen for help with translating Chinese and explaining Chinese tradition.
Dr. James A. Flath for knowledge of Chinese New Year Woodblock prints. His website http://history.uwo.ca/nianhua/ is recommended.
I barely scratched the surface of the knowledge of these men. And any mistakes I’ve made in presenting this topic are my own. Feedback is welcome using the Comment link below.
This post is an adaptation of an article I wrote for the January 2015 issue of Philateli-Graphics, the journal of the Graphics Philately Association.
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