Wenfang Sibao inherited the situation of contemporary production

The depletion of raw materials and the declining quality are a major dilemma for Wenfang Sibao. Take writing brush as an example. Wu Jingsheng, director of the Beijing Jinghua Brush Painting Factory, introduced that in the production of the brush, some breeds need to add some bristles in order to increase their flexibility. In the past, domestic pigs were slaughtered only once a year. Now feed-feeding pigs are slaughtered for half a year. The shortening of the feeding cycle makes the flexibility of piglets significantly reduced. In addition, due to environmental changes and aquatic grass pollution, goats and rabbits have much lower coats, which will inevitably lead to a decline in the quality of writing brushes.

Wenfang Sibao’s cultural identity also encountered challenges. Talking about the current status of ink production, Jin Zijun, an ink maker in Tunxi, Anhui Province, has some helplessness: “The ink developed is rich in ink and has a layered feel. It does not resemble ink and glue, and it does not fluctuate in shades. It adds preservatives to paper. Harmful, but many painters now only use ink.” Zhou Tongxiang said that some of the current systemists lacked a profound understanding of the Shu culture, blindly pursued materials and novelty, and made it a huge body, combining wood carving and stone carving. The ornaments are completely out of the original concept of the Taiwan and Taiwan, making the form and customs unbearable.

Zhou Tongxiang, curator of the Beijing Handian Art Museum, which is quite rich in Tibetan and Qiang people, said that in the four famous names, the old stone pits in Duanyuan have long been mined and depleted, and the Qianlongwei Mountain stone is also becoming scarce. In the water, the production process of Chengye Loach is also difficult to restore to ancient levels. He asked: "Today, the quality of vermiculite materials is different from ancient ones. Can it still be the same quality?" Li Liping, general manager of Wenzhou Shuguang Leather Paper Factory, also said that although the production process has not changed, the quality of pulp is different from before, "now Wenzhou Paper Compared with the old paper 20 years ago, the fibers became shorter and the toughness decreased."

Ye Jinyang small size calligraphy "Buddha"

Because many of the procedures in the production of the four treasures were made by hand, the technical process was hard to learn and the return was not high. The lack of successors also became a major problem that hindered the development of the four treasures. However, it is gratifying that, along with the heat of Chinese studies and the heat of collecting, traditional culture is returning with unprecedented heat. Many people realize that traditional painting and calligraphy are irreplaceable in the cultivation of temperament and enhanced cultivation. Development opportunities.

In 2011, the Ministry of Education issued a notice requesting that primary and secondary schools carry out calligraphic education through relevant courses. "Students must write scripts in brushstrokes to copy everyone," which objectively promotes the community's demand for four treasures.

Some of the four treasures of Wenfang also received a warm pursuit. Huang Feisong, deputy director of the Xuan Paper Research Institute of China Xuan Paper Group, analyzed that due to the large number of rice paper consumers, such as the artists of the Chinese Calligraphers Association and the Artists Association, students of art colleges, and painting and calligraphy lovers around the country, plus some high-grade Document files, souvenirs, and the use of rice paper for increasing cultural content, it is expected that the demand for rice paper will continue to grow in the future.