The Historical Origin of High-density Pratt & Whitney New Year Pictures

Ash-throwing New Year pictures are an ancient folk New Year pictures in China, which first appeared in Chenghua period of Ming Dynasty (1465- 1487) and prevailed in Qing Dynasty. According to the available data, this kind of New Year pictures only exists in Gaomi, Shandong Province, and is mainly produced in more than 30 villages such as Jiangzhuang and xia zhuang in Gaomi North Township.

At the beginning of Puhui New Year painting, a folk painter copied the temple murals for sale. Because copying requires a large number of manuscripts, the Pratt & Whitney rubbing method is formed on the basis of the traditional powder rubbing method of folk mural manuscripts. The biggest difference between inkjet and inkjet is not the use of materials, but the use of ready-made chalk books (that is, samples), while inkjet needs to copy the original work first. Print directly after pulverization, print once, and print many times after pulverization. Due to the process of copying, Pratt & Whitney New Year pictures are very good at absorbing various painting factors and modeling styles in the development process to adapt to people's aesthetic taste. Ash-throwing New Year pictures originated in the early Ming Dynasty and have a history of more than 500 years. It is said that its founder is the Wang Xing family in Gongpomiao Village, Beixiang, Gaomi. There is no information about his name, and we can only infer his situation by some folk rumors.

At first, in order to make a living, they copied some literati paintings and temple murals and sold them in the market. Slowly, they borrowed and innovated on the basis of literati paintings and temple murals, thus producing the most beautiful New Year pictures. The early ash-throwing New Year pictures were mostly based on gods and ink screen flowers. By the middle of the Ming Dynasty, Eclipta prostrata had been sold in the market.

The period from Qianlong to Xianfeng in Qing Dynasty (1736- 1860) was the mature period for the development of Gaomi Pratt & Whitney New Year pictures. In the fifteenth year of Qianlong, the Wangs of the in-laws temple took the four sons of the Zhang family as disciples (according to the genealogy of the in-laws Zhang family). Later, forced by life, Zhang's fourth brother imitated the master and made ink screen flowers to sell in the market to make up for the poor harvest of farmland. Thus, it greatly embodies the commercialization of ash-throwing New Year pictures, expands its market scope and influence among the people, and promotes the rise and spread of Gaomi folk New Year pictures. At the end of Qianlong period, Hu Yuxian in Gaomi Li Jiazhuang, Zhao Dalun in Zhaojiaquan and Dajuan in Dujiaguanzhuang, etc. They all went to the in-laws temple to learn from their teachers. The three artists returned home, ran workshops openly, took apprentices and opened painting shops. The pie was bigger than the master.

The birth and opening of three studios, Hu, Zhao and Du, soon attracted a large number of foreign painters. Ash-throwing New Year pictures are also sold from near to far to Yantai, Linyi, Xuzhou, eastern Yangliuqing, Inner Mongolia, Northeast China and other places. Huji, Evonne and Duji have objectively stimulated the development of New Year pictures. Hu Yuxian's descendants also have a rejuvenation official fruit tree at home, which is said to have been brought to the old gentleman by a foreign art dealer. It has a history of more than 170 years, and it has become an ancestral treasure tree that Hu family is proud of, and it is also the best witness to the development history of Hu Jichen's New Year pictures.

It can be said that in the long-term creative process, Hu, Zhao and Du have their own emphases and strengths. Hu Yuxian likes to draw dusty New Year pictures with the themes of Eight Immortals, Three Fairys and Fat Dolls. Zhao Dalun made a fortune by painting ink screen beauty strips (large hanging paintings), and once bought 160 mu of land in one breath, becoming a rich boy of Zhao Jiaquan. So the neighborhood sent him a jingle in an envious tone, and he was very talented. I came to Wandu of Dujia Guanzhuang with my family photo, and I am good at drawing figures of swords and horses, such as Three Kingdoms, Yang Jiajiang, Yue Fei, etc. At the same time, I also draw big paintings, such as all the best, especially whales and gifts.

The opening of the painting shop prompted them to make efforts to expand the sales of new year pictures of ashes. In this case, the expansion of the theme is undoubtedly a very important work. Thanks to the efforts of Hu Yuxian, Zhao Dalun, Du Wan and their apprentices, the gray-throwing New Year pictures got rid of the simple interest of painting with flowers and ink, and took a decisive step towards the figure paintings that reflected the theme of real life. They have been living among working people and have a clear understanding of people's pursuit, yearning, likes and dislikes. Therefore, when creating and making New Year pictures, whether based on fairy tales, drama stories or folklore, they are closely related to real life, and always express their feelings for the people at the bottom of life through works.

Folk painters, represented by Hu, Zhao and Du, reversed the disadvantages of literati painting at that time, thinking what farmers think and loving what farmers love, integrating the theme of joy into dusty New Year pictures, and moving their favorite characters and stories into the performance category of dusty New Year pictures, which greatly expanded the theme of New Year pictures. It can be said that at this time, Yangjiabu, wei county, in the north, had woodcut New Year pictures, and the New Year pictures production bureau of high-density ash-throwing New Year pictures in the south had been formed. About 18 10 year, that is, during the ten years of Jiaqing in Qing Dynasty, Gaomi Pratt & Whitney New Year pictures entered a new development period, that is, the period of half printing and half painting. At that time, Hu San, who was doing printmaking in Tianjin Yangliuqing Painting Shop, was not appreciated by his boss. Forced to make a living, he came to Gaomi Li Jiazhuang from Yangliuqing and went to Hu Yuxian's house to settle down. After Hu Yuxian, Hu Sanshi quickly applied the advantages of Yangliuqing woodcut New Year pictures to dusty New Year pictures, thus gradually developing dusty New Year pictures into half-printed and half-painted New Year pictures. The production technology of half-printed and half-painted New Year pictures, which is characterized by engraving, line printing and hand painting, has got rid of the shackles of hand painting to a certain extent, greatly improved the production efficiency of New Year pictures, enhanced the life flavor of works and enriched the varieties of New Year pictures, thus pushing the production of Gaomi folk New Year pictures to a new stage.

During Daoguang period of Qing Dynasty, Gaomi Pratt & Whitney New Year pictures entered its heyday. Influenced by sister art, Gaomi Pratt & Whitney New Year pictures in this period developed into two schools, and a large number of painting masters emerged, and a hundred flowers blossomed. However, for the ash-throwing New Year pictures, from the end of Qing Dynasty, that is, Guangxu period, they entered menopause helplessly and showed signs of aging. At the beginning of the 20th century, although the popularity flourished for a period of time, it was only the prosperity of printing and sales, but in terms of theme and artistic characteristics, Chen lost innovation and vitality.