User:Kong Xiangya

I am Kong Xiangya, a postgraduate of Hunan Normal University. I major in English translation and I will study for three years in this university. I come from Anhui province and I start my university life in Qingdao city, Shandong province. I have learned several courses about translation and I really enjoy the courses and life here in Hunan province.

Final Exam Paper

The Four Treasures of the Study

Brief Introduction of the Four Treasures of the Study

The name of "study" can be dated back to the Northern and Southern Dynasties of China, particularly referring to the scholar's study. Writing brush, ink, paper and ink stone comprise of "The Four Treasures of the Study", which are unique tools for calligraphy and painting only in China. Most ancient Chinese scholars are proficient in calligraphy, painting or both, so it has played a crucial role in their creation. In addition to these four major treasures, there are still pertinent study tools, including brush pot, brush holder, brush washer, seal, and paperweight and the like. It closely connects with people's daily and social life, enjoys long development history and deep cultural deposit, and embodies the Chinese culture. Its most famous place of origin is Xuancheng city, Anhui province. Xuancheng has been a famous city in Jiangnan area since ancient times, which is the birthplace of Xuan paper, Xuan writing brush, Hui ink, and Xuan inkstone. In 2004, it was awarded the title of "Hometown of China's Four Treasures of the Study" by the China Association of Four Treasures of the Study.

Origin and Development of the Four Treasures of the Study

Writing Brush

The origin of Chinese writing brush is quite early. Judging from the uncut oracle bone script, primitive writing brush might appeared in Xia and Shang Dynasties. And judegd from the pattern of painted pottery from the Neolithic Period, its appearance can even date back 5000 years early. In the Spring and Autumn and the Warring States period, people of every countries started to produce and apply writing brush. And it had different names："bulv" in Wu State, "fu" in Yan State, "xing" in Chu State, and "bi" in Qin State. (Mu Xin, 2022, 04)

After Emperor Qin Shi Huang unified the whole country, the name "bi" became the general name and has been used until now. Legend had it that the brush used today was invented by Meng Tian, a general of the Qin state during the Warring States period. The tip of the writing brush is made of animal fur and the tube is made of bamboo. It is a traditional writing tool and gradually turns into painting tool. Writing brush is also called hao, which can be divided into three types: soft hao, hard hao and mixed hao. The soft hao is made of goat fur, soft and rounded with poor elasticity. The hard hao is made of rabbit spine fur and weasel tail fur, which is elastic but has poor water absorption. And mixed hao combines the soft and hard hao, achieving a balance of suppleness and firmness. And Hu writing brush is regarded as "the crown of all writing brushes". Legend has it that Meng Tian, a renowned general of the Qin State, once lived in Shanlian County, Huzhou, where he refined the brush-making techniques. His creation became known as the "Huzhou writing brush" in later generations. (Yi Dou, 2022, 05)

Ink

Natural ink or nearly natural ink were the main pigment for writing before the invention of man-made ink. The trace of primitive ink can be found in many items, like prehistoric painted pottery patterns, oracle bone inscriptions from the Shang and Zhou dynasties, bamboo and wooden slips. And the Han dynasty witnessed the birth of man-made ink. This ink, with high quality, is taken from turpentine smoke and was initially kneaded by hand and later made in mold. It involved several procedures in the whole production process, especially a molding process. Carving a mold is a crucial step and also an artistic and creative process. The shapes of ink generally include square, rectangular, circular, elliptical, irregular. And the ink mold usually includes six facets: front, back, top, bottom, left and right. And the following steps are putting the refined ink into ink mold, beating the mold to compact it and finally producing a regular shape and tight texture ink. The inscription is mostly engraved on the side for easy replacement when reusing the ink mold.

The most famous ink is Hui ink and is mainly manufactured in ancient Huizhou area, and the production history can date back to Tang dynasty. Hui ink is a special pigment mainly used for traditional calligraphy and painting, made from turpentine smoke, China wood oil smoke, lacquer smoke, and glue as the main raw materials. There are eight processes in ancient ink making, and nine processes in modern ink making. The pine soot ink, which is made from the ash of pine trees that have been burned to remove the rosin, is suitable for writing; The ink made from the smoke of animal or plant oil is mostly used in Chinese painting. When writing in the paper, the ink looks like paint. Besides, the black ink can remain unfading for long time. It is also featured by rich fragrance and smooth texture. Hui ink was successfully granted the title of national geographical indication protection products in December 2015.

Paper

Paper is one of the four great inventions in ancient China. In the Eastern Han dynasty, Cailun refined the papermaking craft and successfully made both light and cheap paper, and he summarized a relatively complete set of papermaking methods. The most noted paper was Xuan paper initially made in Jing county, Xuanzhou in the Tang dynasty, so it was named Xuan paper. It can be divided into raw and cooked Xuan paper due to different production methods. Unprocessed raw Xuan paper has extremely strong water absorption capacity, causing blurry ink, so it is more suitable for the cursive script and running script in calligraphy. However, the addition of potassium alum in the production process of cooked Xuan paper results in a harder texture and reduced water absorption, so it is more prone to tear. It is this character that makes it more suitable for traditional Chinese realistic painting rather than freehand brush work, and suitable for neat and rigorous small regular script, seal script and clerical script. (Wang Jianfei, He Chunlian, 2024, 03)

Besides, its raw material is closely connected with local geographical environment, and the major material is the bark from local common elm tree Qingtan. It is known as the "king of paper" and "paper with a thousand years of life" due to the characteristics of pure white color and dense texture, smooth and tough texture, not rotting and not easily fading, anti-aging and long lifespan. It also shows a special permeability that the ink marks remain clear when one finishes writing, so it becomes a unique handicraft of China. In 2006, the craft of making Xuan paper was listed as the first batch of national intangible cultural heritage representative work. On September 30, 2009, UNESCO announced the art of making Xuan paper as a representative work of the intangible cultural heritage of humanity.

Inkstone

The inkstone was revered by ancient people as "the foremost of the Four Treasures of the Study." Ink needs to be rubbed with water before using and the right tool involved in this processing is inkstone. The origin of inkstones dates back to early times, probably in the Yin and Shang dynasties. During that period, bronze ware was highly developed and pottery and stone were readily available. Inkstones gradually got popular with the application of ink. During the Sui and Tang dynasties, pottery inkstones were popular across the country, and the most famous was produced in Guozhou. Later, various stones that suitable for making inkstone were discovered in many areas, so stones had become the major source for inkstones. The most famous Chinese four inkstones are Tao inkstone, Duan inkstone, She inkstone and Chengni inkstone, which are made form Tao river stone, Duan stone, She stone and Chengni stone respectively. They both have delicate texture, show smoothness with pure luster, and are wasy to rub ink without absorbing water. There are two special procedures during rubing ink:xia mo and fa mo, which refer to the process that ink blocks are ground into ink in a fast speed, and the process that ink fuse in the water fast and form stable structure respectively. And the focus of the first process is moderate speed, and moderate thickness for the second. In this way, the ink and the inkstone will shine brightly. But often those who are quickly in "xia mo" producing thicker ink, while those who are well in "fa mo" producing ink slowly. So, inkstones with excellent "xia mo" and "fa mo" quality are extremely precious. Duan Yan and She Yan were selected as the first batch of national intangible cultural heritage in 2006, and Chengni Yan was selected as a representative project of national intangible cultural heritage in 2008.

Influence and Value

The "Four Treasures of the Study" are not only study items with profound practical value, but also works of art that integrate painting, calligraphy, sculpture, decoration and so on. In 2007, the Institute of the History of Science and Technology of the Chinese Academy of Sciences and the China Four Treasures of the Study Association applied the Four Treasures of the Study to UNESCO as world-class intangible cultural heritage. They come together to form a unique traditional calligraphy art with individual function and emphasis. So they are not only appreciated by national people but also win foreigner's heart. (Mu Xin, 2022, 04)

They also symbolize human quality. The sharp writing brush tip symbolizes the literati's alertness and observation of the world; The neat and regular nib symbolize a gentleman's strict self-disciple and grand aspiration; The round and solid brush symbolizes people's loyalty and honesty. Ink embodies fine talent and quality, keeps silent exterior but has interior judgement, and influences people silently, which are all the reflection of the integrity of gentlemen. The square and flexible paper not only represents words and paintings, but also spreads aspirations and achievements, which just like the great land that embraces and develops everything. This is a praise for the paper's virtues of being flexible, implicit and explicit. And ink stone with excellent texture, lasting reputation reflects the cultural tradition of the harmony between man and nature, and therefore is praised by the literati. (Dong Xiuxiu, Yang Jian, 2022, 24)

The literati not only collect the Four Treasures of the Study, but also pass them down to their descendants. This is not only a way to inherit the family's cultural beliefs, but also highlights their reverence for culture. After all, "the rulers understand the role of culture in maintaining national stability, and the common people realize that culture can bring prosperity to their families"，"Passing down writing tools to the family is, in essence, passing down culture to the family"。 Even in some areas, the study tools such as brush, ink, paper and inkstone are used as dowry for daughters. (Huang Peng, 2013)

Writing brush, ink, paper, and ink stone are not only cultural symbols and artistic carriers in contemporary times, but also continue to convey the wisdom and aesthetics of Chinese civilization through education, innovation, and the reconstruction of lifestyles, becoming an important support for the spiritual world of modern people. They not only impart calligraphy skills, but also cultivate aesthetic character and a sense of cultural identity. At the same time, traditional writing activities promote intergenerational communication and cultural transmission, allowing ancient art to flourish in modern society.

Terms and Expressions

The Four Treasures of Study 文房四宝

Hu writing brush 湖笔

Hui ink stick 徽墨

Xuan paper 宣纸

Tao inkstone 洮砚

Duan inkstone 端砚

She inkstone 歙砚

Chengni inkstone 澄泥砚

turpentine smoke 松烟

China wood oil smoke 桐油烟

the process that ink blocks are ground into ink in a fast speed 下墨

the process that ink fuse in the water fast and form stable structure 发墨

ink mold 墨模

Reference

1. Mu Xin 木心.（2022） 文房四宝:挥毫游走处，沁满那笔墨人间 [The Four Treasures of the Study: With a brush and brush, one can immerse oneself in the world of calligraphy and painting]. 中国制笔 Chinese writing brush mading,(04)41-45.

2. Yi Dou 伊兜.（2022） 说说文房四宝 [On the Four Treasures of the Study]. 新少年 New Youth,(05):4-7.

3. Wang Jianfei, He Chunlian 王剑飞,何春莲.（2024）论中国墨在印刷出版史上的精神标识价值 [On the Spiritual Significance of China Ink in the History of Printing and Publishing]. 印刷文化（中英文）Printing Culture (Chinese and English),(03):53-65.

4. Dong Xiuxiu, Yang Jian 董秀秀,杨健.（2022）唐宋文学中文房四宝的文化意蕴及社会风貌 [The Cultural Implications and Social Landscape of the Four Treasures of the Study in Tang and Song Literature]. 滁州学院学报 Journal of Chuzhou University,24(03):46-50.

5. Huang Peng 黄鹏．（2013）书斋的瑰宝：笔墨纸砚［The Treasures of the Study: Brush, Ink, Paper, and Inkstone］．北京：文津出版社 Beijing: Wenjin Publishing House，p22．

Questions

1.When does the name of the Four Treasures of the Study appear?

2.How many kinds of writing brush?

3.Who invited the writing brushes?

4.What are the two procedures of grinding ink?

5.How many kinds of Hui ink?

6.Which are the four famous inkstones?

Answers

1.Northern and Southern Dynasties.

2.Three.

3.Meng Tian.

4.Fa mo and xia mo.

5.There are two kinds.

6.Tao inkstone, Duan inkstone, She inkstone, Chengni inkstone.

期末论文

笔墨纸砚

1.文房四宝概述

“文房”之名，起于中国历史上南北朝时期，专指文人书房而言。笔、墨、纸、砚合称“文房四宝”，是中国独有的书法绘画工具。中国古代文人基本上都是或能书，或能画，或既能书又能画的，因此它们在古代文人的创作过程中发挥着至关重要的作用。文房用具除四宝之外，还有笔筒，笔架，笔洗，印章，印泥，镇纸等等必备用品。文房四宝历史悠久，文化底蕴深厚，与人们的日常生活及社会生活息息相关，是中国文化的代表。其最著名的产地是安徽宣城。宣城自古是江南名郡，是宣纸、宣笔、徽墨、宣砚的原产地，2004年被中国文房四宝协会授予“中国文房四宝之乡”称号。

2.文房四宝的起源与发展

2.1 笔

中国的书写用笔起源很早。根据未经刀刻过的甲骨文字判断，夏商时期就已经有原始的笔了。如果再从新石器时期彩陶上面的花纹图案来看，笔的产生还可以追溯到五千多年以前。到春秋战国时期，各国都已经制作和使用书写用笔了。那时笔的名称繁多：吴国叫“不律”，燕国叫“弗”，楚国叫“幸”，秦国叫“笔”。（木心.2022,04）

秦始皇统一全国以后，“笔”就成了定名，一直沿用至今。传说，现在所用的毛笔是由战国时期的秦国大将蒙恬发明的。毛笔的笔头是用兽毛做的，笔管用竹子等制成，它是传统的书写工具，后来又慢慢成为绘画工具。笔亦称毫，有软毫、硬毫和兼毫。软毫主要用山羊毛所制，柔软圆润，弹性较差；硬毫则用兔脊毛和黄鼠狼尾毛等制成，有弹性，吸水性较差；软毫和硬毫杂在一起，不软不硬、刚柔并济的就是兼毫了。湖笔被誉为“笔中之冠”。据说秦朝大将蒙恬曾居于湖州的善琏县改良毛笔，制成后人所说的“湖笔”。（伊兜,2022,05）

2.2 墨

在人工制墨发明之前，一般利用天然墨或半天然墨来做为书写材料。史前的彩陶纹饰、商周的甲骨文、竹木简牍等到处留下了原始用墨的遗痕。至汉代，终于开始出现了人工墨品。这种墨原料取自松烟，最初是用手捏合而成，后来用模制，墨质坚实。从制成烟料到最后完成出品，其中还要经过多道工序，并有一个模压成形的过程。墨模的雕刻就是一项重要的工序，也是一个艺术性的创造过程。墨之造型大致有方、长方、圆、椭圆、不规则形等。墨模一般是由正、背、上、下、左、右六块组成。内置墨剂，合紧锤砸成品。款识大多刻于侧面，以便于重复使用墨模时，容易更换。最著名的墨是徽墨，产地集中在古徽州地区，其生产可溯源至唐代末期。徽墨是以松烟、桐油烟、漆烟、胶为主要原料制作而成的一种主要供传统书法、绘画使用的特种颜料，古代制墨有八道工序，现代制墨有九道工序。以去掉松香的松树烧出的烟灰作为原料的松烟墨，适合用来书写；以动物或植物油等取烟制成的油烟墨，多用于绘制中国画。徽墨有落纸如漆，色泽黑润，经久不褪，纸笔不胶，香味浓郁，丰肌腻理等特点。2015年12月，徽墨成功获批国家地理标志保护产品称号。

2.3 纸

纸是中国古代四大发明之一。东汉时期，蔡伦改进造纸术，成功地制造了一种轻便又经济的纸张，并总结出一套较为完善的造纸方法。最著名的纸是宣纸，原产于唐代宣州所辖泾县，故名宣纸。宣纸因制作方法不同，可分为生宣、熟宣。未经特殊加工的生宣吸水能力极强，导致其上的墨水模糊，更适宜书法中的草书、行书等字体。然而，熟宣在生产过程中加入了钾明矾，导致质地更硬，吸水能力降低，这意味着它更容易撕裂。这一特点使得熟宣更适合工笔画而非写意画，更适宜小楷、篆隶等工整严谨的字体。（王剑飞,何春莲,2024,03）。

宣纸所用的材料与泾县的地理环境息息相关。该地区常见的榆树青檀的树皮被用作制作宣纸的主要材料。宣纸具有洁白稠密、质地绵韧、不蛀不腐、不易变色等特性，又耐老化、寿命长，所以有“纸中之王”、“纸寿千年”的美誉。宣纸有独特的渗透性能，一笔落成，墨韵清晰，属于中国独特的手工艺品。2006年，宣纸制作技艺成为首批国家级非物质文化遗产代表作。2009年9月30日，联合国教科文组织公布宣纸制作技艺为人类非物质文化遗产代表作。

2.4 砚

砚被古人誉为“文房四宝之首”。因为墨须加水发磨才能调用，而发墨之石刑则是砚。砚的起源甚早，大概在殷商初期就已见雏形。殷商时，青铜器十分发达，且陶石随手可得，砚就随着墨的使用而逐渐成形。隋唐时期，天下陶砚盛行，而其中又以虢州所产最负盛名，并且各地相继发现适合制砚的石料，开始了以石为主的砚台制作。最著名的是四大名砚，即洮砚、端砚、歙砚、澄泥砚，采用甘肃脂洮的洮河石、广东端州的端石、安徽歙县的歙石、山西新绛的澄泥石制作而成。它们的普遍特点是质细地腻、润泽净纯、晶莹平滑、纹理色秀、易发墨而不吸水。墨锭在砚石上研磨构成了独特的艺术过程，被称为“下墨”与“发墨”。下墨讲求快慢得宜，发墨讲究粗细适中。这样，墨色才能如油般光泽，砚中生光发艳。但往往下墨快的发墨粗，发墨好的下墨慢。所以，下墨发墨均佳的砚极其珍贵。端砚和歙砚于2006年入选第一批国家级非物质文化遗产名录，澄泥砚于2008年入选国家级非物质文化遗产代表项目目录。

3.影响和价值

“文房四宝”不仅是具有极强的实用价值的文具用品，也是融绘画、书法、雕刻、装饰等为一体的艺术品。在2007年，中国科学院科技史所、中国文房四宝协会，向联合国教科文组织申报笔墨纸砚为世界级“非物质文化遗产”。笔、墨、纸、砚，各有各的用途，各有各的讲究，合起来是整个一套，再写出的文字，综合成为独特的传统书法艺术。它不但为中国自我欣赏，而且深得世界各国人们的瞩目与珍爱。（木心，2022,04）

文房四宝同样也是品德的象征。毛笔笔尖锐利，象征着文人要保持敏锐，善意观察万物；笔头整齐均匀，象征君子严于律己，立志高远；笔毫圆实，象征为人忠厚老实；墨含章蕴藻，知白守黑，润万物无声，便是一种君子风骨的体现。纸方正柔韧，承载文字书画，流传志向功勋，犹如包揽万物的大地，厚德载物。这是对纸能舒能卷，能隐能显的品德的赞扬。至于砚，玉德金声，流芳万世，体现出天人合一的文化传统，因而受到文人的歌颂。（董秀秀,杨健,2022,24）

文人不仅收藏文房四宝，甚至将其传给子孙后代，这不仅是传承家族文化信仰，更凸显对文化的崇敬，因为“统治者知道文化对于安邦之国的作用，老百姓明白文化可以使家族发达”，“以书具传家，就是以文化传家”。甚至在一些地区将笔墨纸砚等文房用具作为女儿的嫁妆。（黄鹏，2013）

笔墨纸砚在当代不仅是文化符号与艺术载体，更通过教育、创新和生活方式的重构，持续传递着中华文明的智慧与审美，成为现代人精神世界的重要支撑。它们不仅传授书法技艺，更培养了审美品格与文明认同感。同时传统书写活动促进了代际交流与文化传递，让古老艺术在现代社会绽放活力。