Qingyang peasant painting art is different from the peasant paintings of Huxian County, Shaanxi, Jinshan County, Shanghai, and Xiaoxian County, Anhui. It is a unique painting art that has gradually developed on the basis of accepting the folk arts of ancient brick carving, stone carving, wood carving, paper cutting, wall decoration painting, etc. in Qingyang County and surrounding areas. It has the characteristics of complementarity between literati painting and peasant painting. Qingyang peasant painting takes people and things around as the main themes, with strong characteristics of the times and a strong breath of life; it is famous for its rich colors, delicate lines, and unique composition. Qingyang is located on the south bank of the middle and lower reaches of the Yangtze River, and is the tourist hinterland of Anhui's "two mountains and one lake" (Huangshan, Jiuhua Mountain, and Taiping Lake). Since ancient times, literati and poets have lingered here, singing and responding, and splashing ink. The cultural accumulation is profound, and it has been known as "the land of poetry and prose, the hometown of calligraphy and painting". According to the "Qingyang County Chronicles", during the Ming and Qing Dynasties, Lin Hengshan and other people from the county made friends through painting, which was very enthusiastic. In the Qing Dynasty, there were groups of calligraphy and painting enthusiasts in the countryside. During the Tongzhi period, Zhang Jiashun and other villagers organized folk painting societies, made friends with scholars, and learned calligraphy and painting. Villagers also came one after another to ask for paintings. In the 1970s, a group of peasant calligraphers and painters emerged in the county: such as Zhang Pingan, Wu Xiuyu, Luo Guoliang, Li Bashou, Xu Zhengqiang, etc. Their paintings were not only loved by local people, but also began to be accepted by the public. Many of their works won awards in city, provincial and national exhibitions. In May 1982, a provincial rural art work symposium was held in Qingyang, which promoted the development of Qingyang peasant paintings. In the 1983 National Peasant Painting Exhibition, "Fish Farming in the Mountain Village" created by Qingyang farmer Zhang Pingan won the third prize, and Wu Xiuyu's "Year of the Flood" won the second prize. After that, there were more than a hundred peasant calligraphy and painting enthusiasts in the county, and their works were sometimes published in city, provincial and national newspapers and magazines, with influences both inside and outside the province. Due to various reasons, since the early 1990s, the folk painting and calligraphy teams, works, and brushes have all shown a trend of decline. Not only are there very few young people imitating, but even some famous old authors have put their brushes and inks aside or "changed their careers." Qingyang peasant paintings have gradually declined.