Shouyi, located in the bustling commercial district of Shantou City, Guangdong Province, boasts one of the few small shops selling intangible cultural heritage paintings in the province. The small shop is filled with sparkling glass products. Amidst the hustle and bustle of people, Lai Sijia, the provincial-level inheritor of intangible cultural heritage in Guangdong, sits quietly in the shop, painting and occasionally responding to inquiries from tourists. In front of him was a vast world, but his gaze was only on an inch of space - a curved paintbrush with a few strands of wolf hair as its pen core, inserted into a glass bottle with a mouth as big as beans and a body as small as a palm, moved slightly, and dropped a stroke as thin as a hair. Sometimes take a deep breath until the stroke is settled before daring to relax Lai Sijia said that the strokes of the inner painting must be precisely controlled, which can be described as "a tiny mistake, a thousand miles apart". Inner painting, also known as bottle painting, evolved from the technique of painting murals inside snuff bottles. The pots painted in Guangdong are mostly round bottles, with the smallest being only 5 centimeters high and 2.5 centimeters in diameter. It is difficult to incorporate complex scenes such as mountains, waters, birds, animals, ancient and modern characters into such a small space. Halfway through the painting, the pattern becomes increasingly complex and the pen tip is blocked more and more. When drawing, the naked eye can no longer see it, and it's all about feeling to draw Reiska said. The harder the craft, the harder it is to maintain it. Lai Sijia watched her father create interior paintings from a young age, and after graduating from university, she officially began to learn this skill. Even with long-term exposure, learning skills is still difficult. Firstly, one must lay a solid foundation in traditional Chinese painting on paper and learn to replicate large-scale works on frosted glass that is less than the size of a mobile phone, in order to qualify for painting inside a bottle; Afterwards, we will face various challenges such as controlling the brush and ink, conceptualizing drafts, reverse stroke, and painting on the inner wall. It takes a year of practice to get a stable pen! "He sighed. In today's fast-paced world, internal painting that cannot be done quickly is inevitably difficult and lacking. According to information from the official website of Guangdong Provincial Museum of Culture, the inheritance of Guangdong's domestic painting art is facing challenges due to the difficulty, high requirements, and long learning period of the skills, and practical and effective protection measures urgently need to be taken. How to pass on this "technique with Chinese characteristics"? Lai Sijia's attempt is to cater to the market and create for a wide range of consumers. Formally, he expanded the collection function of bottle paintings to daily necessities, cultural and creative peripherals, and created products with low consumption thresholds such as pendants and necklaces; In terms of subject matter, it is no longer limited to repetitive themes such as landscapes, flowers and birds, and ladies, but has added fresh elements such as street blocks and cute pet portraits. Like this' cat bottle ', the art style leans more towards the cute aesthetic of young people, and I don't think the masters have ever painted it before. How to use traditional painting techniques to make cats cuter is my challenge During the conversation, Lai Sijia showcased a recent work that she was quite satisfied with, which featured two cats with delicate fur. The essence is its fur - the fur of a pet cat, unlike a wildcat that has no layers, so I painted it with a fluffy texture like being blown by a hair dryer Lai Sijia introduced that he used three types of brushes to depict hair of different thicknesses, highlighting the adorable and silly side of cats, which won the favor of clients. After expanding the commercial scene, Laisijia often receives various demands from tourists, and he does not reject them, just to make the interior painting crafts more recognized by consumers. My idea is simple, having it is the best way to promote it! "He said. Chuanyi turned the podium into a stage for inheritance. "Everything can be seen in the flying room of red paper. Paper Cuttings is to create gorgeous art with simple materials." In class, Yang Lilin, a young teacher at Yucai Primary School in Tongnan District, Chongqing, described Paper Cuttings art to students like this. Tongnan Paper Cuttings was formed at the end of the Qing Dynasty and the beginning of the Republic of China, integrating the Paper Cuttings skills of the southern and northern schools. It has both the exquisite carving of southern Paper Cuttings and the bold and unconstrained style of northern Paper Cuttings. It is characterized by simple tools, rich types and diverse techniques. In 2018, Yang Lilin became a teacher and learned Paper Cuttings with Chen Youyin, the inheritor of Tongnan Paper Cuttings. Yang Lilin compares herself to an "amplifier" - "learning something from the teacher and then passing it on to the students in the classroom". In class, from simple lines to complex patterns, from imitative tailoring to innovative design, Yang Lilin led the students to explore the mystery of Paper Cuttings. The podium has become a stage for her to inherit Paper Cuttings art. "Paper Cuttings can be simple but complex. Some techniques are difficult for elementary school students to master In the long-term teaching process, Yang Lilin found that in order to keep students enthusiastic about learning, it is necessary to find ways to reduce their fear of difficulties. In class, she transformed the complicated tiger patterns into several simple geometric figures, and the students followed her to cut and unconsciously completed a lifelike tiger Paper Cuttings work. Yang Lilin often discusses her experience in Paper Cuttings teaching with her teacher, and Chen Youyin encourages her to simplify, "start with simple content and take it slowly". Yang Lilin knows that learning Paper Cuttings is not urgent, and teaching Paper Cuttings is even more urgent. She hopes that through her teaching design, students can "unlock" a new skill in every Paper Cuttings class, and then accumulate into greater progress. Yang Lilin's goal is not to train every student to be a Paper Cuttings artist, but to "cultivate students' familiarity with Paper Cuttings art, and let them know that Paper Cuttings can be a way of expressing their feelings". Yang Lilin expressed her love for her students in Paper Cuttings. She created a chromatic Paper Cuttings work, Childhood Like Flowers, with the students' cute smiling faces as the main element. This creation made her deeply understand that Paper Cuttings is an art full of life, which can explore the unique creativity of each learner and express the pure emotion of the creator. Therefore, Yang Lilin also encourages students to record moments of happiness in their lives during teaching, and to draw these moments in their own way and find ways to cut them out. She believes that "as long as the love for life continues, the vitality of Paper Cuttings art will always be strong". Chuangyi was imaginative and down-to-earth. When he first arrived in Hanzhong, Shaanxi, in a small courtyard in Huangguan Town, the "mountains" made of rattan chairs really shocked Wang Wenchao, a student from the Department of Arts and Crafts at Xi'an Academy of Fine Arts. "Several old craftsmen sit in the yard and concentrate on knitting, and the 'hills' are coming from them. When I approached them, they didn't even realize that someone was coming." Wang Wenchao said that the picture was the first mock examination as the production scene of traditional handicrafts in her imagination. It is precisely because of the small workshop style production and inheritance that good craftsmanship is "nurtured in the unknown". From then on, Wang Wenchao and his team attempted to integrate modern art design concepts into this traditional art form. They believe that rattan, as a craft material, has natural properties and strong tension, which is in line with modern aesthetic trends. Based on this thinking, she and her team designed a set of modern art style rattan furniture. This furniture is inspired by the unique scenery of caves and sinkholes. Wang Wenchao believes that the flexibility and plasticity of rattan make rattan weaving the best choice for making this furniture. Design can be imaginative, but production must be down-to-earth. During the production process, Wang Wenchao discovered that the structure of the work is complex, and the material of the internal framework needs to have a certain degree of toughness and be strong enough. Under the guidance of the mentor, the team continuously tried and made mistakes, and ultimately chose to use rust resistant iron wire to make the internal framework. Iron wire is both easy to shape and not easily deformed. The iron wire frame can support the shape of the entire work and also facilitate the attachment and weaving of rattan. With this experience, Wang Wenchao realized that "a good rattan creator needs solid learning and a lot of practice to turn bold and avant-garde designs into reality. In 2021, Hanzhong rattan weaving was selected as a national intangible cultural heritage. The news has come that those who are interested in this ancient craft are very excited, which means that Hanzhong rattan weaving has been widely recognized. At the same time, more efforts are needed to participate in protecting and inheriting this cultural treasure. Many craftsmen spend their entire lives only focusing on the issue of rattan weaving. Their craftsmanship is exquisite, but they may not necessarily know that innovation can unleash more potential in rattan weaving Chen Yan, a teacher from Shaanxi University of Technology, led a team to build a digital weaving technique archive and create a virtual collaborative design interaction platform through modern multidimensional digital technology. He hopes to address practical issues such as insufficient systematic transmission of rattan weaving skills, lack of innovative products, and ineffective promotion through digital means. During an exchange with Chen Liangshun, a representative inheritor of Hanzhong rattan weaving at the national level, Chen Yan learned that in the late 1980s, skilled craftsmen attempted to innovate by using iron as the internal skeleton to create the shapes of peacocks and butterflies, and then wrapping them with rattan to create peacock chairs and butterfly chairs. The innovative product was once popular, but due to the easy rusting and heavy weight of the iron frame, the sales of the product were not high. This attempt was unsuccessful. Later, Chen Yan collected materials from various sources for simulation and experimentation, found a suitable substitute - Baiteng, and recorded the data in a digital archive. Chen is very excited, as if he has regained the innovative spirit of his youth Chen Yan told reporters that there are still many stories like this. In the process of digitizing Hanzhong rattan weaving, many ideas and practices have emerged, and everyone has brainstormed to form a joint force for protecting inheritance and innovative development. We young people should take the lead in doing such things Chen Yan hopes that through their efforts, the ancient craft of Hanzhong rattan weaving can have more new images and vitality. (New Society)