開封朱仙鎮與安陽滑縣為河南省二大木版年畫產地，前者歷經宋代至清代的興衰變革，發展出構圖飽滿、造型比例誇張、線條粗獷剛勁、色彩濃重強烈的獨特年畫風格；後者見證華夏悠久歷史的遞嬗，孕育中原農耕文明，其創作的年畫所展現的農村生活基調，不僅反映在古樸的造型風格上，更體現在物與人在日常生活的互動與實踐中。本文通過人類學的視點來觀照河南木版年畫的文化性，闡述朱仙鎮年畫的門畫類與神禡類作品在主題上所蘊含的巫術性格，並討論滑縣年畫作為記憶載體，通過圖像的視角延續歷史文化，進而建構地域的集體意識，傳續人群的文化記憶。此外，也從「物」的向度思考滑縣木版年畫，說明其如何藉由神明畫、祖宗軸信仰習俗的實踐，建構對家族、神明與祖先的想像，以及空間、時間與宇宙的文化觀。

The Zhuxian Township in Kaifeng and the Hua County in Anyang are both important places of production for the New Year woodblock prints in Henan. The former type, evolved from the Song Dynasty to the Qing Dynasty, is characterized by its replete composition, exaggerated proportion, rough-hewn lines, and opulent colors. The latter type, forged in the geographic center of Chinese history and agricultural civilization, is characterized by primitive forms and agricultural themes. This paper addresses the culturality of New Year woodblock prints from Henan, focusing on the magic characters of the Zhuxian prints and on the transmission of cultural memory and the construction of collective consciousness in the Hua prints. The paper also reflects on the“objectivity”of the Hua woodblock prints, describing how these images, through the practice of deity painting and ancestor worship, construct an imagination of family, deity, and ancestor and a culturality of time, space, and universe.