Through analysis and comparison of the absorption and reconstruction of Taohuawu woodeut new year paintings by the calendar design in the early Republic of China, this article aims to explore the way to build a new image language based on Tao-huawu woodcut new year pictures during calendar design, and deeply understand the influences of era background on inheritance and tradition of traditional folk art. Through literature research, image science, casc comparison analysis and other methods, the in-heritance and innovation of Taohuawu woodcut new year paintings were analyzod and explained in combination with the calendar. It is concluded that the calendar, which is in a special political, ecoomic, and cultural background, is bom fom the traditional new year paintings. It has the characteristics of localization, commercialization and diversification. Carying on inberitance and innowa tion, the new form derived is very popular and quickly radiates the whole country, becoming one of the most representative artistic symbols during the Republic of China era. Its sucessful experience provides inspiration and reference for realization for the conten-porary inheritance and design innowation of Chinese traditional art.