EDITOR’S note:

The ancient arts and crafts of China, for centuries, have attracted international attention for their intricacy and subtlety. From porcelain to jade, furniture, paintings and screens and scrolls, they embody the essence of Chinese history and culture. This series explores some of the best examples of Chinese antiques.

Taohuawu (literally “peach blossom dock”) in Suzhou, Jiangsu Province, is a leading producer of nianhua, or New Year’s pictures, a colored woodblock print art form. Thriving in the early Qing Dynasty (1644-1911), it embodies good luck and was once an indispensable part of Chinese New Year tradition.

“Taohuawu woodblock print is the only one of its kind that originates in the city rather than rural areas. It is a down-to-earth art form expressing the ideal life that Chinese long for,” says Qiao Mai, one of the best-known Taohuawu nianhua artists. “In my eyes, the value of this joyful art mainly lies in its positive connotation. No matter how tough life is, Chinese people always have hopes and wishes and embrace and love life.”

Taohuawu nianhua was not only influenced by Chinese aesthetics but also European copper plate printing, which is another distinct feature.

Portraying Chinese myths, deities, everyday life and landscapes, Taohuawu nianhua is not only art but also a window to the past, reflecting the history of Chinese society, beliefs, customs and life.

Unlike today’s artworks, ancient Taohuawu nianhua were characterized by fine lines, delicate pastel colors and deep morals beneath the works. Many of them are so exquisite that it's difficult to distinguish them from literati paintings.

“In the early and middle Qing Dynasty, Taohuawu nianhua were mainly sold to the middle-class and depicted bustling Suzhou, a city then known for industry and commerce in China,” says Qiao. “Since the First Opium War (1840-42), the style of such nianhua shifted from being elegant to lively, and the colors became brighter. Featuring folk customs, traditional Chinese operas and historical stories, the woodcut prints were mainly purchased by farmers.”

Traditionally, every family would hang the woodcut image of door gods inside their homes or on doors to ward off evil spirits and usher in good luck during the Chinese New Year along with other jovial images, like children holding peaches and goldfish and a full-figured woman holding a scroll with an idiom meaning maintaining harmony.

The tradition has faded over the years. There were 40 to 50 woodcut studios in Taohuawu during the Qing Dynasty.

On the brink of decline, Taohuawu nianhua was revived in the 1980s due to the reestablishment of the Taohuawu Woodblock Print Club and the founding of a research institute, giving young talent such as Qiao access to the culture.

Thanks to her family, Qiao has been exposed to ancient Chinese arts since childhood. She studied decorative art at Suzhou Art & Design Technology Institute where her relationship with Taohuawu nianhua began in 2001. It became the love of her life.

“Visiting a Taohuawu nianhua exhibition held by the school, I fell in love with the art form at first sight. Just like a girl meeting her Prince Charming, I had a crush on it at the very start,” says Qiao.

Doing research on Taohuawu nianhua, Qiao tried to know more about what she called her Mr Right.

Qiao got a chance to deepen her connection with her love when, in 2002, she was selected as one of four trainees in the first Taohuawu nianhua workshop organized by her school. They were guided by the masters Fang Zhida and Wang Zude.

However, Qiao admits that there were challenges back then. The carving techniques that only took the teachers several minutes to demonstrate took her months of practice.

“Master Fang required us to print hundreds of pictures every day. We were not allowed to leave workbenches unless going to restroom or eating,” says Qiao.

The strict training was a tremendous pressure for Qiao, along with the low salary. Nevertheless, love conquers all, and Qiao is now dedicated to the art of Taohuawu nianhua.

“I intend to express my emotion and perspective on the world through my artworks instead of just imitating traditional pieces,” says Qiao.

Creation is now the largest challenge Qiao faces. Always carrying a small notebook, she writes down all the ideas inspired by her life. For example, a dandelion growing in a concrete jungle.

“Excitement, frustration, anxiety, surprise and cheerfulness — my mood swings during the creation process are visualized as an electrocardiogram,” says Qiao.

Taohuawu nianhua was designated China’s national intangible cultural heritage in 2006. However, in Qiao’s eyes, that implies the art form is in danger of dying out. Therefore, her studio has developed an array of creative products which are sold at the Suzhou Eslite Bookstore, aiming to attract younger generation to pay attention to the traditional art form.

“I had been always asked by my friends what on earth I was doing. I felt very depressed because even the people around me didn’t know Taohuawu nianhua, let alone the public. Therefore, I decided to taking the responsibility of promoting it,” says Qiao.

Scarves, postcards, handbags and wallets — a variety of products printed with Taohuawu nianhua patterns are commercially successful. However, according to Qiao, selling the products isn’t the ultimate purpose.

“The creative products somehow can be regarded as a medium through which customers would ask me what the art form is and the meaning of the designs. The products serve as an opportunity for me to introduce Taohuawu nianhua to the general public,” she says.

Workshops are also held in her studio.

Zheng Meiyu, who is her early 20s, is one of Qiao’s apprentices. She graduated from Suzhou University’s business school but, like Qiao, she was deeply captivated by Taohuawu nianhua.

“Even the sound of carving wooden boards fascinates me,” says Zheng.

Regardless of her mentor’s advice to find a stable job, she chose to pursue her passion. Both Qiao’s and Zheng’s determination and persistence are forces behind the development of the ancient art form.

“I don’t feel lonely when I do woodblock printing, as the pictures, the knife, the wooden boards and the tools all communicate with me,” says Qiao. “They are waiting for me in the studio now. And I can’t wait to see them.”

Go to www.shine.cn to watch a video of Taohuawu woodblock prints and artist Qiao Mai’s “love story” with it.