| As everyone knows, Mianzhu New Year Pictures have a long history and they are an important component of Ba-Shu Culture like like Sichuan Cuisines and Sichuan Operas. Mianzhu New Year Pictures, together with Yangliuqing New Year Pictures in Tianjin, Taohuawu New Year Pictures in Jiangsu, Weifang New Year Pictures in Shandong, are hailed as China's four New Year Pictures. Mianzhu New Year Pictures are not simply the paintings, but a condensed time and space of cultural symbols, affecting dramas, sculptures, and even folk customs. Sichuan New Year Pictures once were very popular, but now we only have Mianzhu New Year Pictures, because the early Jiajiang, Chengdu and Jianyang New Year Pictures have disappeared for a long time. Only Mianzhu New Year Pictures have absorbed advantages of different New Year Pictures, forming a unique artistic style and aesthetic characteristics. Mianzhu New Year Pictures rooted in civil society are the most prosperous whether during the Ming and Qing dynasties or the period of warlords'fighting. But they are, without exception, based on the lowest practical products, and have never risen to the height of art. Accordingly, there are very few theoretical researches on Mianzhu New Year Pictures, and most of which are contemporary works. So this paper will attempt to analyze the following three aspects of the unique charm of Mianzhu New Year Pictures:First, to analyze the characteristics of its unique aesthetic from the content, type and composition, performance techniques, colors and other aspects. Second, to discuss the possible issues affecting the formation of the unique aesthetic characteristics of traditional Mianzhu New Year Pictures through the investigation and analysis of Sichuan Operas, Sichuan folk customs, religious temples surrounding Mianzhu and Sichuan brick stone portraits. Third, to discuss how to create new aesthetic features in line with the development and progress of the times while retaining the essence of traditional aesthetics.
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