Zhangzhou woodblock New Year paintings are mainly circulated in Xiangcheng District, southern Fujian and Lingnan of Zhangzhou, and are exported to Taiwan, Hong Kong and Southeast Asia. The book engraving industry in Fujian began to flourish in the Song Dynasty, which quickly led to the development of folk printmaking technology. In the Ming and Qing Dynasties, Zhangzhou woodblock New Year paintings began to become popular, and the rise of Yuegang in Zhangzhou brought favorable conditions for the export of woodblock New Year paintings. At the beginning of the 20th century, a large number of New Year painting shops were concentrated in Lianzi Street, Hong Kong Road and Taiwan Road in Zhangzhou, and there were still eight or nine shops in existence until the 1950s. The numerous folk customs activities are the basis for the survival and development of Zhangzhou woodblock New Year painting industry. The main themes of Zhangzhou folk woodblock New Year paintings include warding off evil spirits and disasters, praying for good luck, historical drama stories and decorative patterns. Most of Zhangzhou New Year paintings are door paintings, which are divided into rough and young gods and literary and martial gods. Coarse God refers to door paintings printed on red or vermilion paper; Young God refers to New Year paintings printed directly on natural paper, with the background of the characters overprinted in light red; Wen Shen refers to New Year paintings where the characters do not ride horses or hold flags; Wu Shen New Year paintings are the opposite of Wen Shen, with the characters on the pictures generally riding horses or holding flags. Zhangzhou woodblock New Year paintings first engrave the draft on a wooden plate (color separation plate and ink line plate), and then overprint it on paper using the short plate method. There are two types of woodblocks: positive and negative. The plate for printing the background color (red) of the "young god" character is the negative plate, and the engraving and use of this negative plate is unique in the country. The edges of all lines and color blocks on the woodblock are tilted outward, which is convenient for adjusting the moisture during printing. When printing, the plate is overprinted, first the color plate and then the black line plate, and the picture effect is very clear. The wood blocks are mostly made of pear wood, but also acacia wood, red kermes wood, pomegranate wood, etc. The paper used is all from western Fujian, such as Fushu paper from Longyan, Yukou paper from Changting, Shanghang, and Gutian, and tinfoil from Qingliu. Zhangzhou woodblock New Year picture workshops are divided into "red rooms" and "black rooms". "Black rooms" refer specifically to workshops that print text books, while "red rooms" refer specifically to workshops that print New Year pictures. The workshop owner usually takes on both the drawing and engraving work, or one of the two, and also hires workers to do odd jobs. In the process of merging small workshops, the Yan's workshop in the late Qing Dynasty gathered a large number of old versions of the previous generation and new versions of the same generation, and various versions were relatively complete. In 1957, Yan Jingming, a descendant of the Yan family, donated all the workshops and store properties to the government and changed his profession to practice medicine. As social changes deepen, traditional consciousness gradually disappears, and folk customs change accordingly. The appreciation of Zhangzhou woodblock New Year paintings, which rely on local folk customs, increases, while their practicality of seeking good fortune and warding off evil weakens, which leads to the depression of the New Year painting market. With the shrinkage of the original folk New Year painting market, the number of people engaged in the production of Zhangzhou woodblock New Year paintings has greatly decreased. If specific measures are not formulated as soon as possible to rescue and protect them, the production skills of Zhangzhou woodblock New Year paintings will inevitably die out.