Stove paintings are one of the traditional folk arts of Jiaxing City, Zhejiang Province, China. This unique rural art involves local artisans hand-painting various patterns and images on stove walls using pigments. The stove serves as both a functional and decorative element in rural households, and these paintings express the farmers' good wishes and hopes for life. For hundreds of years, Jiaxing’s kitchens have been home to countless stories of daily life, which have given rise to rich customs and traditions. Today, stove painting has been recognized as one of China's intangible cultural heritages.
History of Stove Painting
Jiaxing has long been celebrated as the "Land of Fish and Rice" and the "Capital of Silk." Over 7,000 years ago, the ancestors of the Majiabang culture planted rice fields in this fertile land of Jiangnan. For over 2,500 years, the ancient Grand Canal has nurtured the water-town culture unique to this region.
As the saying goes, "Food is the first necessity of the people, and stoves are the foundation of cooking." The stove is an essential part of rural homes, a symbol of food culture, and a foundation of life. Stove painting, which emerged from the tradition of stove construction, showcases the ingenuity and artistry of Jiaxing craftsmen. In rural Jiaxing, families building new houses would always include a stove for cooking meals. Whether the stove was basket-shaped, round-barrel-shaped, or rectangular, and whether it had one, two, or even four fire openings, it was adorned with intricate patterns, symbols, and auspicious words. Once built by masons, stoves would be hand-painted with black ink or colorful pigments, blending artistry and daily life. This unique form of rural art preserves local customs and traditions, passed down through generations.
Stoves have long been central to human survival as one of the oldest and most widely used cooking tools. Stove painting emerged as a form of expression once stoves became commonplace. Though the exact origin of stove painting remains unknown, according to Zhao Xiangsong, the eighth-generation stove painter in Jiaxing, this art form dates back to at least the mid-Qing Dynasty, with a history spanning over 200 years. Early stove paintings often featured black ink made from soot scraped from cooking pots, mixed with water for use as a pigment. By the 1980s, artisans began using watercolors, poster paints, and other commercial pigments, adjusting them with alcohol to ensure vivid colors that adhered well to the damp stove walls. This technique of mixing pigments with alcohol allowed for bright, long-lasting colors that would not drip or fade over time.
"Every Home Has a Stove, and Every Stove Has a Painting"
A Jiaxing stove is typically composed of several parts, including the base, body, stove top, smoke box, stove wall (or "stove mountain"), deity shrine, and ash panel. The stove wall is particularly significant, built as a barrier to prevent ash and smoke from falling into pots or dishes during cooking.
Stove designs in Jiaxing vary but are generally classified into three main types: basket-shaped stoves, rectangular stoves, and round-barrel stoves. Basket-shaped stoves, known locally as "flower basket stoves," resemble hexagonal baskets. Rectangular stoves, or "small square stoves," are shaped like square or rectangular tables. Round-barrel stoves, or "wooden barrel stoves," have a semi-circular design resembling traditional barrels.
Stove painting follows a meticulous process involving three main techniques: drawing on the stove structure, mixing pigments with alcohol, and painting on damp surfaces. Artisans treat the stove as an independent canvas, dividing the composition into upper and lower sections. The upper section emphasizes contrast—large versus small, vertical versus horizontal, and square versus round—while the lower section often features horizontal arrangements or intricate full-width designs. A fully painted stove might include 10 to 20 distinct images, covering an area of 4 to 6 square meters.
During the Ming and Qing dynasties, stove paintings were often monochromatic, primarily using black ink due to the scarcity of pigments. Artisans improvised with soot collected from cooking pots, which was mixed with water to create ink. By the late 20th century, brightly colored pigments became widely available, enhancing the artistry and vibrancy of stove paintings.
Style and Characteristics
Jiaxing stove paintings are a unique form of "wet fresco" art, closely resembling the "wet wall technique" popular during the European Renaissance. This method involves painting on damp walls, allowing pigments to seep into the plaster. Over time, as the stove dries and is heated during cooking, the paintings become more durable, retaining their colors for decades without fading or peeling.
The subjects of Jiaxing stove paintings are diverse and include depictions of gods, historical stories, landscapes, animals, auspicious phrases, ornamental patterns, and plants. Popular themes include "Magpies on Plum Blossoms," "Deer and Cranes in Spring," "Pine and Crane for Longevity," and "A Hundred Years of Harmony." Geometric motifs such as swastikas, flowing lines, and grids often adorn the edges of stoves.
The Decline and Preservation of Stove Painting
In recent decades, the rise of modern kitchen designs and the use of ceramic tiles have led to the gradual decline of traditional stove painting. With the changing lifestyles of rural families, the art of stove painting has faced the risk of disappearing.
Despite this, stove paintings remain a vital part of Jiaxing's rural culture, blending practicality with artistry. Kitchens adorned with painted stoves have nourished generations of families, embodying warmth, hope, and beauty. By the end of 2009, over 2,000 stove painters were still active in Jiaxing’s villages, preserving and passing down this centuries-old craft. Through their dedication, this unique folk art continues to thrive as a testament to Jiaxing's rich cultural heritage.
