Mianzhu New Year Paintings are one of the four major Chinese New Year paintings. They are a kind of folk painting art. The paper used is made from bamboos from Mianzhu. There are many varieties of bamboos produced in Mianzhu, which are fine and long. Du Fu praised them in a poem: "The fine bamboos will be tall and straight in the future. There is no such thing in front of the house on the river, but it is lucky to share the greenery and waves." The booming papermaking industry in Mianzhu during the Ming and Qing Dynasties provided favorable conditions for the production of New Year paintings. The Mianzhu County Chronicles during the Xianfeng period of the Qing Dynasty said: "The profits from bamboo paper are still not enough to support tens of thousands of families, so they are printed into books, made into peach charms, and painted into colorful Shentu Yulei to embellish the New Year." During the Jiaqing period of the Qing Dynasty, due to the economic prosperity, Mianzhu New Year paintings entered their heyday, and a New Year painting guild was established accordingly, named "Fuxi Association", with more than 900 professional practitioners and more than 300 workshops. The painting dealers were even more numerous, buying and selling, hoarding and trafficking, which became the business content of those engaged in the paper industry. During its heyday, the Mianzhu New Year painting workshops were mainly distributed in the urban area of Mianzhu and the southwestern rural areas, with different styles. For example, the Qingdao workshop focused on colorful Qingshui robes; the Zundao workshop focused on beauties, doll plays, and stories; the urban New Year paintings focused on rubbings, miscellaneous strips, squares, cases, or combined paintings. Mianzhu New Year paintings have diverse contents and novel themes, some festive and some humorous, and many treasures, such as "The Mouse Marrying a Daughter" and "Welcoming the Spring". "Welcoming the Spring" is a realistic painting carefully created by a painter in the Qing Dynasty, vividly depicting the traditional folk customs of Sichuan in the Qing Dynasty. The author used the Mianzhu County of the Qing Dynasty as the background, and realistically and vividly reproduced more than 460 characters of different ages, genders, identities, and different dresses, showing colorful folk music, dance, opera, juggling and other celebrations. "Welcoming the Spring" provides valuable information for the study of folk art and folk customs in modern Sichuan. Mianzhu New Year paintings have a long history. When did it originate? It is still a mystery. According to the Shanhaijing and other records, it is said that there is a big peach tree on the Dushuo Mountain in the East China Sea that is bent and stretched for 3,000 miles. Its branches extend all the way to the ghost gate in the southeast. The ghosts and gods in the cave have to go in and out from here. There are two gods guarding under the tree. They are brothers named Shentu (pronounced Shenshu) and Yulei (pronounced Yulu). When they find evil ghosts that harm people, they tie them up with reed ropes and feed them to tigers, so that people can live and work in peace. (This ancient legend may be the origin of "good luck in the southeast" and the idiom "bring them to justice".) Since the Zhou Dynasty, every New Year's Day, people have painted the images of the two gods on peach wood boards (six inches wide and one foot and two long) and hung them on both sides of the gate or bedroom door to suppress evil spirits and exorcise ghosts and pray for blessings and good luck (this may be the first pair of door gods in Chinese New Year paintings). Later, in the Tang Dynasty, the images of Qin Qiong and Yuchi Gong, who can suppress evil spirits and bring good luck, appeared. After that, there were more and more door gods. The Records of Chengdu Past and Present written by Zhao Yan, the censor of the Northern Song Dynasty, wrote about several markets in Chengdu at that time: "Lantern Market in the first month, Wine Market in the tenth month, Plum Market in the eleventh month, Peach Charm Market in the twelfth month". The "Peach Charm Market" is the common name of the New Year picture market. Volume 6 of Dongjing Menghualu written by Meng Yuanlao of the Southern Song Dynasty: "New Year's Day is approaching, mat shops sell general merchandise, painted peach charms on doors, and welcome spring signs, and paper horse shops print Zhong Kui, wealth horses, and returning horses as gifts to customers." There is also a saying that "changing door gods, hanging Zhong Kui, and nailing peach charms on New Year's Eve". From this, we can know that there was a New Year picture market in Chengdu in the Song Dynasty. Most of the New Year pictures in Chengdu's "Peach Charm Market" were provided by New Year picture workshops in nearby counties such as Mianzhu and Jiajiang. Therefore, Mianzhu New Year pictures were quite famous as early as the Song Dynasty. According to the "Continued Annals of Mianzhu County", Mianzhu New Year paintings had already achieved considerable success in the Ming Dynasty. During the Qianlong and Jiaqing periods of the Qing Dynasty, the production scale of Mianzhu New Year paintings was already quite large. According to incomplete statistics, there were more than 300 New Year painting workshops, more than 1,000 New Year painting artists, and more than 10,000 employees. New Year paintings are sold to Shaanxi, Gansu, Qinghai, Yunnan, Guizhou, Hunan, Guangdong, Guangxi, Xinjiang, Hong Kong and Macao, and even exported to India, Japan and Southeast Asia. Mianzhu Hand-painted Traditional New Year Paintings-Zhao Gongzhenzhai Mianzhu New Year paintings are highly pictorial. In terms of painting style, they not only inherit the production style of hand-painted New Year paintings before the Tang Dynasty, but also inherit the style of woodblock printing New Year paintings after the Tang Dynasty. Mianzhu New Year paintings, like other Chinese New Year paintings, must first be engraved into line plates, but line plates only play the role of outlines in Mianzhu New Year paintings, which are all manually painted and never produced in color. Different styles are presented through the hands of different artists, and different paintings by the same artist will also produce different interests. This is one of the main features that distinguishes Mianzhu New Year paintings from other New Year paintings, and it is also the wonderful part of Mianzhu New Year paintings. In the process of painting, artists call it one black (referring to the black line version), two white (referring to the base color of the characters' hands and faces and the white soles of the boots), three golden yellow (referring to the orange-yellow color of clothes and Taoist opera), and colorful clothes (referring to magenta, pink, yellow ochre, Buddhist blue, royal blue, royal green, etc.). In addition, it is supplemented by the "bright display and bright hanging" technique, with the help of the depth changes of similar colors, to enhance the rhythm and decorative interest of the picture. Mianzhu Traditional New Year Painting Female General Mu Guiying Mianzhu New Year Painting is bright and lively. New Year painting artists use the most gorgeous colors possible in their works without restraint: pink, Buddhist blue (similar to the original color of blue), scarlet, grass green, golden red, bright green, lively, exciting, full of vitality and vigor. However, in the strong contrast, it also pays attention to comfort and harmony. They often use a small amount of complex colors: "Ermenzi gray", or gold, silver, black, white and other lines and surfaces interspersed between the contrasting colors to coordinate the color tone of the picture. The artists summed up their color matching experience in practice for many years and summed it up in a simple way, which contains profound aesthetic principles: "Dark with light, strong (referring to concentration) with light, and deep and light should be alternated." The colors of Mianzhu New Year paintings are mostly mineral colors and civilian dyes. Different compositions of glue and alum are added during production according to different seasons to make the works bright, sun-resistant and rain-resistant, and long-lasting. Mianzhu New Year paintings are one of the four major New Year paintings in China and a folk painting art. The paper is made from the bamboo of Mianzhu. Mianzhu produces a variety of bamboo varieties with fine and long texture. Du Fu praised it in a poem: "Huaxian, when it arrives in the next year, Mianzhu will stand tall and tall in the county. There is no such thing in front of the house on the river, fortunately, it will be green and brush the waves." The booming papermaking industry in Mianzhu during the Ming and Qing Dynasties provided favorable conditions for the production of New Year paintings. The Mianzhu County Chronicles during the Xianfeng Period of the Qing Dynasty said: "The profits from bamboo paper are still not enough to support tens of thousands of families, so they print books, make peach charms, and paint colorful Shentu Yulei to embellish the New Year." During the Jiaqing Period of the Qing Dynasty, due to the economic prosperity, Mianzhu New Year paintings entered their heyday, and a New Year painting guild was established accordingly, named "Fuxi Association", with more than 900 professional practitioners and more than 300 workshops. The painting dealers were even more numerous, buying and selling, hoarding and trafficking, which became the business content of the paper industry. During the heyday, Mianzhu New Year painting workshops were mainly distributed in Mianzhu City and southwest rural areas, and their styles were also different. For example, the Qingdao workshop focused on colorful Qingshui robes; the Zundao workshop focused on beauties, doll plays, and stories; the urban New Year paintings focused on rubbings, miscellaneous strips, squares, cases, or combined paintings. Mianzhu New Year paintings have diverse contents, novel themes, or festive or humorous, and many treasures, such as "The Mouse Marrying a Daughter" and "Welcome to Spring". "Welcoming the Spring Festival" is a realistic painting carefully created by a Qing Dynasty painter, which vividly depicts the traditional folk customs of Sichuan in the Qing Dynasty. The author uses the Qing Dynasty Mianzhu County as the background, and realistically and vividly reproduces more than 460 characters of different ages, genders, identities, and different dresses, showing colorful folk music, dance, opera, juggling and other celebrations. "Welcoming the Spring Festival" provides valuable information for the study of modern Sichuan folk art and folk customs.