Complete Collection of Woodblock Line Drawings of Yangjiafu New Year Paintings (Volume 1 and 2)

Author: Editorial Committee of the Complete Collection of Yangjiafu New Year Woodcuts
Publisher:
Publishing Date: 2003-09-01
Features: ★16-inch boxed set, published by Xiyuan Press. Chinese Weifang Yangjiafu New Year woodcuts, in the long process of formation, development, and circulation, have always been an extremely important part of works themed on folk beliefs. From the Wencaishen (Literary) of the Ming Dynasty to the Shenma (Divine Horse) of the late Republic of China, they vividly recorded folk customs and beliefs. It is undeniable that these special-themed woodcuts hold great value for the study of folk beliefs in northern China and even the entire Han ethnic group. The tradition of worshipping "divine spirits" in Chinese folk beliefs has a long history. From prehistoric altar ruins and fragmented statues of gods to the imperial sacrifices to heaven in the Qing Dynasty, over thousands of years, from emperors to commoners, almost everyone worshipped divine spirits. Whether it was daily life, marriage, or funerals, there were customs of sacrificing to divine spirits for blessings and safety. Folk beliefs encompass a vast array of divine spirits, often referred to as "worship of all spirits," but they are primarily centered around gods, Buddhas, immortals, and saints. From the perspective of Yangjiafu woodcuts, works themed on Caishen (God of Wealth) are the most numerous, indicating that Caishen was the most widely worshipped deity in folk belief. It is commonly believed that Caishen originated in the Ming Dynasty, with Zhao Gongming being the legendary "Divine Spirit of Wealth and Prosperity." In reality, the Lishi Xiangguan (Divine Official of Profit and Prosperity) has already existed since the Song Dynasty, specializing in wealth and prosperity. However, the Caishen depicted in Yangjiafu woodcuts are mostly the Wuchen Caishen (Martial God of Wealth) Guan Yu and the Wencaishen (Literary God of Wealth) Bi Gan. The Wuchen Caishen not only grants wealth and blessings but is also revered as the ultimate deity in some regions. In the old days, during brotherhood ceremonies, exorcising evil spirits, battles, or sea voyages, people would burn incense and make offerings to him for protection. Even today, in some coastal fishing villages in northern Weifang, rituals to worship the Wuchen Caishen are still held when they set sail in spring. According to records, Guan Yu, a general of the Shu Han state during the Three Kingdoms period, sworn brotherhood with Liu Bei and Zhang Fei in the Peach Garden, vowing to support the Han Dynasty. The transformation of Guan Yu from a mortal to a deity is a fictional tale in folk legends, further embellished by operas and novels. However, what matters is that since the Sui and Tang dynasties, Buddhism first honored Guan Yu as a Guardian Bodhisattva, while Taoism promoted his ability to exorcise evil spirits. Over the centuries, emperors continuously bestowed upon him, elevating him to the status of a king, a sage, and an emperor. As Guan Yu's status rose, almost every village built a temple dedicated to him. Even today, in the lunar sixth month on the twenty-fourth day, rural communities burn incense, burn paper money, and set off firecrackers to celebrate Guan Yu's birthday. Woodcuts are created by folk artists, thus reflecting folk customs and beliefs. As scholars have noted, Chinese folk woodcuts are an encyclopedia of folk customs and beliefs. The Zao Wang (Kitchen God), also known as the Kitchen Spirit, is one of the most widely printed and sold woodcuts. Currently, the annual production of Zao Wang woodcuts in Weifang Yangjiafu alone exceeds one million. It is said that the worship of the Zao Wang began in the Song Dynasty, as recorded in Dream of the Eastern Capital. As for the identity of the Zao Wang, there are differing beliefs. The Huainanzi states, "Huangdi created the stove and became the Kitchen Spirit after his death." However, folk beliefs generally attribute the Zao Wang to the story of Zhang Lang and his wife Ding Xiang. Zhang Lang's first wife, Ding Xiang, was virtuous and beautiful, but Zhang La Yue, fond of novelty and weary of old, fell in love with Wang Hai Tang and divorced Ding Xiang to marry her. Later, the Zhang family fell into poverty, and Zhang Lang had to beg at Ding Xiang's door. Ding Xiang warmly welcomed him, and Zhang La Yue, filled with shame, died by smashing his head against the stove. Soon after, Ding Xiang had an artist paint Zhang Lang's portrait and place it on the stove. To this day, the folk saying goes: "Ding Xiang divorced from the back door, married Wang Hai Tang at the front. Though Zhang Lang made lifelong mistakes, he became the eternal Kitchen Spirit." Woodcuts themed on "Fulu Shixi" (Blessings, Wealth, Longevity, and Joy) are also quite numerous. Scholars categorize them as "folk gods." The Fushen (Blessing Star), also known as the Fuxing (Star of Blessings), is associated with the auspicious phrase "Fuxing Gaozhao" (Blessings shining brightly). In Taoism, there are three divine officials: the Tian Guan (Heavenly Official), Di Guan (Earthly Official), and Shui Guan (Water Official). Legend has it that the Tian Guan bestows blessings, the Di Guan forgives sins, and the Shui Guan alleviates misfortunes. Over time, people shifted from worshipping the Tian Guan to the Fushen, viewing "Fu" as a symbol of auspiciousness. This is also why households paste the character "Fu" during the Chinese New Year. The Fushen, Lushen (Wealth Star), Shoushen (Longevity Star), and Xishen (Joy Star) respectively govern wealth, longevity, and joy. In the Eastern Han Dynasty, Buddhism was introduced from ancient India to China, leading to a surge in folk Buddhist beliefs. Yangjiafu woodcuts also feature many Buddhist-themed works, such as "Seding Guanyin" (Sending-off Guanyin) and "Nanhai Pusa" (Bodhisattva of the South Sea). Guanyin, also known as Guanshiyin, was shortened to Guanyin to avoid the taboo name of Emperor Li Shimin of the Tang Dynasty. Buddhism describes Guanyin as a Bodhisattva who widely benefits sentient beings, with 33 manifestations, compassionate and all-powerful, able to alleviate suffering and hardship. It is said that the Guanyin images carved in Yangjiafu were highly sought after in Jiaodong because of a story. A businessman returning home one night overheard his wife whispering about missing him, which he mistakenly took as a sign of betrayal and intended to kill her. Fortunately, the wife's pendant, a Guanyin statue, blocked the blade, saving her from death. To repay Guanyin, the husband hired an artist from Yangjiafu to carve an image, which he hung at home and worshipped daily. In addition to worshipping gods, folk beliefs also place great importance on immortals. People believe that gods and immortals can ward off evil and disasters, as well as bring blessings and good fortune. However, there is a significant difference between gods and immortals in the process of deification. Gods are born after death, while immortals achieve enlightenment during their lifetime. Folk beliefs about immortals originate from Taoism, which stems from traditional Chinese folk culture, making the worship of immortals a crucial aspect of folk beliefs. Yangjiafu woodcuts feature vivid and diverse depictions of the Eight Immortals, reflecting the widespread reverence for them. The foundation of folk belief in the Eight Immortals lies in their being real people with complete and moving stories, as well as their typical immortal characteristics, which lend credibility to their worship. The process of the Eight Immortals achieving immortality is based on folk legends attached to their original figures. The reason why folk art depicting the Eight Immortals is hung in the main hall year-round, sometimes with continuous incense offerings like those to Guanyin, is that in the old days, people endured hardships and hoped for immortals like the Eight Immortals who understood their suffering, could liberate them from the suffering of the mortal world, and achieve immortality. The variety of Eight Immortal images in Yangjiafu woodcuts fully illustrates this phenomenon. Woodcuts themed on Zhang Xian shooting dogs are also highly valued in folk culture. Zhang Xian, also known as Zhang Yuanxiao, was a man from Meishan, Sichuan, during the Five Dynasties period, skilled in shooting birds and rabbits with a bowstring. Legend has it that an old man with two pupils held a bamboo bow and three iron pellets to trade with Zhang Xian for 30,000 coins, telling him that mastering this skill could ward off evil and disasters. Later, the old man further guided Zhang Xian in spiritual cultivation, after which Zhang Xian could use pellets to expel evil spirits. It is said that the "Heavenly Dog" (Tian Gou) descends to the mortal world to harm children, devouring them. Zhang Xian, however, could drive it away with his pellets. As a result, families with children would hang Zhang Xian images at home, offer incense, and pray for protection from the Heavenly Dog. In the old days, the date for posting these woodcuts was often the fifteenth day of the twelfth lunar month. During offerings, elders would bow and burn incense, while children under the age of sixteen would kneel behind them, with elders reciting prayers like, "Drive away the Heavenly Dog, protect our children." In folk culture, the worship of immortals falls into two categories: one is to pray for protection from evil and disasters, and to bring auspiciousness; the other is to seek liberation from the "sea of suffering" and achieve an immortal life free from the mortal world. However, the latter has faded in folk beliefs. Woodcuts themed on "Qilin Sending a Child" and "Canggu Palace" depict folk beliefs about animal and plant deities. The custom of worshipping animal and plant deities can be traced back to ancient texts like the Shanhaijing (Classic of Mountains and Seas) and the Huainanzi. Folk culture regards the Qilin, dragon, phoenix, and turtle as the "Four Spirits," with the Qilin being the most revered. This "auspicious beast," with deer-like body, horse-like legs, ox-like hooves, scales covering its body, and a single horn on its head, not only appears in times of peace but also brings a son to virtuous childless families. It is said that the birth of Confucius was brought by a Qilin. This legend has spread widely in folk culture. It is believed that childless families would make a Qilin with their own hands and carry it around the courtyard, followed by burning incense and paper offerings. In plant worship, people particularly venerate grain deities. Ancient people, living a life of farming and weaving, held wheat and rice in high regard. Thus, they deified them, believing that every plant had its own deity. During festivals, offerings were made to the gods to ensure good harvests. The third day of the first lunar month after the New Year is the day to worship the Canggu (Silkworm) Goddess. The worship is primarily led by housewives, with offerings to various animal and plant deities made daily from the first to the thirteenth: one chicken, two dogs, three silkworms, four wheat, five horses, six sheep, seven people, eight grains, nine fruits, ten vegetables, eleven cotton, twelve melons, and thirteen beans. It is said that on the eighth day of the twelfth lunar month, in addition to the grand sacrifice to Sakyamuni, offerings were also made to the "Hundred Grain God." The family would kneel and worship together, followed by eating Laba Porridge, symbolizing gratitude to the gods of various grains. Another notable work in Yangjiafu woodcuts is the "Fire-Avoiding Chart." This painting, also known as a "scroll painting," is sold rolled up and depicts erotic scenes. It is placed at the bottom of the wedding chest before a daughter's marriage, believed to ward off fires. The origin of this belief is difficult to trace. According to elderly folk artists, the painting is rolled up and tied with red rope, placed in the upper altar of the kitchen. Only prayers are made without burning incense. Some scholars believe that the erotic scenes are effective in warding off fire because men are considered yang, and women are yin, with yang being fire and yin being water, meaning water can extinguish fire. Others argue that sexual acts are considered impure in traditional culture, and the fire god avoids the "impure" aura, thus staying away. The themes of Yangjiafu woodcuts, passed down from folk beliefs, primarily revolve around divine spirits, immortals, and folk gods. People paste woodcuts during the New Year, and woodcut artists create works based on folk customs and beliefs, reflecting what people love. This creates a deep connection between woodcuts, folk culture, and beliefs. To some extent, folk culture and beliefs influence the themes of woodcut creation. Conversely, these woodcuts, created with "divine spirit" themes, also vividly depict folk beliefs of that era. From the Qing Dynasty's woodcuts themed on divine spirits, it can be seen that folk beliefs were diverse but generally centered on the worship of all spirits, aiming to seek blessings and good fortune from them. Ancient laborers were the primary victims of natural and human disasters, constantly seeking help and concerned with their own interests. When their needs were not met or they faced irresistible natural disasters, they would devoutly bow and burn incense, seeking assistance from the gods. The belief in "divine spirits" has been prevalent throughout human social development, as an ideological form of folk belief, it emerged early, lasted long, and even persists today. Therefore, Yangjiafu woodcuts, created with folk beliefs as their theme, should not be viewed merely as folk art. They deserve to be explored and studied from a broader cultural perspective.