Chinese Xuan Paper, a Thousand-year Legend
In 2006, the State Council of the People's Republic of China issued the first batch of National Intangible Cultural Heritage lists. Among them, the "Xuan paper making skills" of Jingxian, Anhui Province, were listed, making this traditional handmade craft officially recognized as a national protected object. On September 30, 2009, the "Xuan paper-making skills" of China were affirmed by UNESCO and included in the List of Intangible Cultural Heritage of Humanity.
Having been a famous paper used for classical Chinese paintings and calligraphy, Xuan paper is one of the traditional Chinese papermaking crafts. Because Xuan paper is
easy to store, durable, and long-lasting, it earns the reputation of "paper longevity for thousands of years." The texture of Xuan paper is soft but tough, smooth and clean like jade, and rot and insect resistant. Used for paintings and calligraphy, the layers and strokes on Xuan paper are clear and distinct, bold and vigorous, saturated but not muddy, and light but not lackluster. Words and paintings are brilliant and vivid on paper.
According to the " History of the Early Tang Dynasty," paper and writing brush already appeared in the tribute presented by Xuancheng County to Chang'an during the reign of Tang Tianbao. The comprehensive and systematic use of green sandalwood bark to make Xuan paper began from the Cao family, represented by Cao Dasan, the ancestor of Xiaoling in Jingxian, in the late Song Dynasty and early Yuan Dynasty.
Why can Xuan's paper only come from Jingxian? How many magical legends are there in that place? Our original intention is to go into the introduction of "the mountain, the water, the people" with all those legends, and such is our purpose of passing on the well-documented history and mythology to future generations so that they reveal the truth through these historical facts.
Mr. Pang Hui, born in Changzhou, Jiangsu, China, has researched and collected Chinese artworks for 35 years. He has a broad interest covering calligraphy, paintings, Buddha statues, porcelain, furniture, bamboo carvings, wood carvings, and stone carvings, emphasizing the study of Jinling Style paintings, Six-Dynasty Buddha statues of China, and other artworks of ancient Jinling Capital. In particular, he is fond of collecting old rosewood and yellow rosewood furniture. He is now a consultant for Jiangsu International Culture Exchange Center and North American Chinese Collection Association vice president. Mr. Pang Hui has committed himself to Chinese cultural exchange. He has planned to publish a series of books on the intangible cultural heritage of China. Among them, two books have been published in the United States. One is "Modern Tracings of Oracle Bone and Bronze Age Inscription-Qin Shiwei Oracle Seal Carving and Calligraphy Art Collection," and the other is "Zhi Zui Jing Mi-Those Things about Xuan Paper."
