Sacred stories meet modern art

For centuries, people living along Fujian province's eastern coastline have created a rich tapestry of folk beliefs and customs. In addition to worshiping figures from Buddhism, Confucianism and Taoism, communities also venerate deities — some imagined, others associated with historical figures such as Mazu, the widely revered sea goddess, and Baosheng Dadi, honored for his healing powers.

Paying respect to these deities has become integrated into daily life. It is particularly evident in Quanzhou, a city in the southern part of Fujian, usually referred to as the Minnan area. Historically known to international traders as Zayton, it was a leading port along the Maritime Silk Road, reaching the height of its significance during the Yuan Dynasty (1271-1368).

Its prosperity in ancient times and cultural radiance lend Quanzhou both earthy vibrancy and spiritual tranquility. Now, Wen Na, an artist from Beijing, has added more shine with modern sensibilities to the city's folk art tradition by creating new celestial figures that are painted with radiant colors and unbridled imagination.

Over four years, she transformed a vintage residential estate in Quanzhou — a traditional dacuo, or large courtyard house unique to the Minnan region — into an immersive space for celestial storytelling. The 400-square-meter project features a long mural and dozens of wood sculptures created in collaboration with veteran local engraver Chen Zenghuang.

She has named the place Canghaicuo (The Hidden Sea Harbor), weaving together deities and folktales she has learned about in Quanzhou into a reinvented narrative.

The story is inspired by Fujian's maritime and migration histories. It retells the journeys of people who left home by sea in search of better lives, carrying with them blessings sought from deities — blessings that, alongside homesickness, became a belief that sustained their journeys.

"There is a sea deep in the hearts of these people," Wen Na says. "Canghaicuo tells a different epic about Minnan, a romantic representation of its people's worldview that illuminates the private sea within them."

The deities of Canghaicuo assume different roles and responsibilities. For example, Zhaohai, a deity created by Wen Na and inspired by folktales, is the project's central figure and stands about 3 meters tall, including its pedestal. Depicted as a sea guardian surrounded by waves, the figure holds two circular mirrors in its hands — one reflecting the sea to ensure calm waters, the other reflecting people so they remain composed at sea — symbolizing safe journeys guided by clarity of mind.

Drawing deities was not originally part of Wen Na's artistic practice. A graduate of the Academy of Arts and Design at Tsinghua University in Beijing, she began exploring the theme around 2008 when a friend commissioned her to create a military god painting to decorate his stand at a creativity fair. "I wasn't very satisfied with the work, but it seemed to awaken something that had been overlooked," she recalls.

She went on to create more such drawings, primarily for fun. Her inspiration comes from classical literature, folklore, opera characters, Buddhist and Taoist statues, and the handicrafts she encountered at temple fairs during childhood.

In 2010, she completed her first wall paintings in Jingdezhen, Jiangxi province, a time-honored center of ceramics production and trade. Working without sketches, she allowed spontaneity and intuition to guide the imagery — an approach she continues today.

As one wall followed another, her unconventional depictions of deities — characterized by clean lines, animated expressions and a contemporary color palette — drew attention from visitors, including international audiences. She later received commissions to bring her celestial imagery to art spaces in Italy, France and the Netherlands. These experiences expanded and enriched her creative repertoire.

Some say her works show an influence from the temple murals; others see parallels with the Japanese ukiyo-e woodblocks.

"What I'm doing is not graffiti at all. When I stand before the wall, I naturally pick up brush pens," she says.

While working, she develops a visual vocabulary that is rooted in tradition, yet is responsive to the aesthetics and sensibilities of contemporary audiences.

At the end of 2019, she began to create one of her largest works, The Gods Go to Work, which was unveiled months later on a 4-meter-high wall at the busy Guomao subway interchange in Beijing. Infused with humor, everyday insights and empathy shaped by her experience as a former office worker, the mural offered commuters a moment to pause, smile and recharge.

The term shenxian, or deity, also implies someone extraordinarily capable in certain areas in Chinese pop culture. In the painting, Wen Na portrays more than 60 such figures within a modern workplace rather than a celestial realm — including patrons of delivery workers, protectors of subway security staff, and figures who bless people to meet deadlines and leave work on time.

She says in a bustling commercial area like Beijing's Guomao, everyone has their goals and ideals. The spirit of modern individuals — independent, self-reliant and hardworking — somewhat mirrors the independence and resilience associated with deities. Viewers can find resonance in The Gods Go to Work and recognize themselves as their own supporters.

To celebrate the Year of the Horse, she recently completed Clouds Burst Apart, Fortune Gallops In, an art project in collaboration with global luxury group Kering.

Since 2019, Kering has collaborated with contemporary Chinese artists, including Xu Bing, Wen Qiwen, Xu Jing, Peng Wei, Chen Ke, and Jiang Miao, to celebrate Chinese New Year through a series of special artworks.

This year's project features Wen Na's signature airy brushstrokes and dynamic colors, with animated versions circulating online. Auspicious motifs — noble steeds, swallows and revolving lanterns — convey an exuberant, festive mood.

"I often feel as if I'm walking on thin ice when I paint. At the same time, I feel fortunate that this gift allows me to make a living," she says.

"True creativity isn't a brief flash of brilliance. It is a force that can be felt and carried forward from one generation to the next."