Chinese New Year paintings (nianhua) were the most ordinary type of folk art that was seen during the Chinese New Year. This artwork was full of diverse styles and vivid colors. An art form which may seem geared toward ordinary people, these paintings actually contained deep cultural contexts. This paper focuses on the origin of roosters that were found in such paintings. Textual research shows that the rooster was a symbol that represented stabilization of home life. Pre-Qin books state that the rooster was commonly used as a sacrificial offering and was closely related to the sun in ancient times. Thus the rooster took on a certain level of sacredness. Later, sacrifice of roosters transformed gradually to Chinese New Year paintings of roosters. Merged with other folklore regarding Chinese New Year, these paintings have formed an important part of the folk system. Roosters were immune to poisonous air, and were the natural enemy of any toxic creatures. Therefore, roosters eating poisonous insects has become a common theme. In addition to substantially avoiding hazards, the pronunciation of the word 'chicken' is similar with the word 'auspicious' in Chinese. Consequently, such paintings also carry with them a sense of well-wishing. This connection also enriched the content of this genre of paintings. For such a large cultural phenomenon, the author surveyed ancient books and relevant historical records, using anthropologic and religious points of view, to discover its cultural context. The argument of this paper is that a transformation took place from rooster sacrifice to rooster dismemberment, then to rooster New Year paintings. These are used to explain the old Chinese saying 'The rooster king stabilizes the home' and its influence in Chinese culture