Szilágyi András (szerk.): Ars Decorativa 23. (Budapest, 2004)
Mária FERENCZY: Door Gods. Art and Craftsmanship in the various styles of Chinese New Year Pictures
In most pictures, there are elements that may have a function of their own and increase the good-wishes and blessings, thus occupying an intermediate position between pictures attached on outer and inner doors. In pictures intended for inner doors, protective function is thrust into the background by the intention to invite of good fortune. And what was considered as greatest fortune? The birth of many offspring was very important for all families so that sons could help the elderly, the family would continue in existence and the sons could perform offerings and thus keep the ancestors alive. Another usual wish is prosperity and riches. In the families of literate people, promotion, that is, high status and successful performance at the official state examinations was also wished for. Owing to lack of space we are in the position to show but two examples: 39 Deities sending sons and ensuring promotion in office. Sichuan™ (pictures No. 19 a-b) - The bright colours were painted with hand to fill in contours printed on peach-coloured paper. The two round-faced young men are wearing simple robes and official's headgear. The one on the right is holding a magic sceptre (ruyi) in his right hand and a flag in his left. The young man on the left side is holding the flag in his right hand (as for the jewel in his left, I did not recognise it). Their saddle animals are mythical qilins. 41 That is, the pictures promise offspring, more specifically, the birth of boys. The inscription on the standards repeats the blessing conveyed by the picture: 'The qilin brings a son who 'will perform eminently at the imperial examination'.* 1 Deities ensuring fortune and promotion in office. Sichuan 4 * (pictures No. 20/a-b) - The two elderly, fat, jovial officials are holding wishfulfilling magic sceptres (ruyi). Their headgear indicates their high status, their age signifies reputation, while their corpulence is a sign of health and wealth. This is what the pictures promise to those who fix it them their doors. The figures grow gigantic, as at their feet there are an elephant and a lion crouching like puppies. The elephant is indigenous in China, while the lion is not. The latter, however, has long been a part of the tradition: being a symbol of strength, it guards doors. As for the elephant, it stands for morality, stability and perseverance. 44 Remarkably, the two animals delineated together remind us two popular and often-depicted figures of Mahayana Buddhism: the saddle animal of the bodhisattva Samantabhadra is a white elephant, while that of the bodhisattva Manjushri is a lion. The makers of the pictures probably "supplemented" the content of the picture with the bodhisattvas' protection. Among the pictures that display the way of transformation and modernization there are depictions of door gods as well as "descendants" of pairs of pictures that send wealth and prosperity. Finally, let me give two examples for this type: Yan Han: 45 Pair of Pictures for two-winged doors (menhua): Warriors of the War of Liberation of 1944* 6 (pictures No. 21/a-b) - In the pictures of strictly symmetric design, instead of mythical or theatrical figures, there are two warriors of the war against Japan, on horseback. The figure on the left is a soldier; the one on the right is a peasant militiaman. With regard to numerous details, the two figures are reflections of each other, yet their headgear (a cap and a head shawl), footwear and main weapon (a gun and a spear) set them apart. Although they are raising theatrical swords above their heads, their equipments (hand-grenades and tools) are elements of reality. Both of them are sitting on decoratively harnessed horses, which elevates the depiction above the level of everyday reality. "The cooperation of the army and the people will secure the victory of the war of resistance."* 1 This political programme - and prophecy - will eventually appear on real New Year pictures. Dragon boy and phoenix girl. Sichuan, 1950s** (pictures No. 22/a-b) - The pair of pictures convey traditional good wishes and blessings with traditional means; at the same time, however, objects and relation of a new way of life in the process of formation appear. In picture 22/b there is a young townsman
