1875年（清光緒元年），制扇名匠王星齋在杭城清河坊創(chuàng)建了王星記企業(yè)的前身“王星齋扇莊”。王星齋尤善磨砂技藝，與其妻陳英的貼花灑金技藝珠聯(lián)璧合，他們以精湛的制扇技藝、創(chuàng)新的設(shè)計理念制作的扇子精巧而風格獨特，投放市場后很快被爭購一空，王星記扇子由此順利地打開了自己的市場，于眾多制扇名莊中脫穎而出。其中最為著名的王星記高檔黑紙扇還被進獻皇室，由此被冠以“貢扇”之譽。

“毛全本”扇骨竹筋細勻，烏黑透亮;“全棕扇”扇骨花紋別致，恰如公雞頸毛。扇面書畫，是中國獨特的藝術(shù)形式。王星記扇的扇面裝飾內(nèi)容豐富，經(jīng)常邀請著名的書畫家為扇面藝術(shù)揮灑翰墨，扇與書畫結(jié)合，錦上添花，相得益彰。

孫亞青是國家級非物質(zhì)文化遺產(chǎn)制扇技藝的傳承人，從十八歲進入工廠學(xué)做扇子至今，已在王星記工作四十六年。對于她來說，扇子早已成為她生命中不可或缺的一部分。孫亞青憑借滿腔的熱愛和腳踏實地的學(xué)習(xí)態(tài)度，掌握了檀香扇拉花的絕技絕活，精通扇面裝飾設(shè)計創(chuàng)作、雕刻鑲嵌等技藝。從扇子造型到畫面布局，從圖案造型到表現(xiàn)手法，為打造一把小小的扇子，孫亞青嘔心瀝血，將匠心發(fā)揮到極致。她的代表作品有23cm全面細拉檀香扇《松鶴》《象牙扇》、宮團扇《鳳穿牡丹》、45cm拉燙檀香扇《蘭亭序》等。

孫亞青性格溫婉，唯獨在品質(zhì)一事上要求極為嚴格。她常說：“身處‘快時代’，百年品牌必須‘慢’下來，做精、做優(yōu)、做特色，方能成就經(jīng)典?！比藗兊膶徝涝谧?，需求在變，對品質(zhì)的追求卻是永恒的。發(fā)展創(chuàng)新的同時把控品質(zhì)，才是符合文化傳承的正確方式。

（浙江省非物質(zhì)文化遺產(chǎn)保護中心為本欄目提供支持）

Wangxingji： Blending Paintings into Fans

By Liu Fanli ?Zhang Hanhan

In 1875， the first year during the reign of Emperor Guangxu （r. 1875-1908） of the Qing dynasty （1616-1911）， Wang Xingzhai， a renowned fan maker， set up the Wangxingzhai Fan Store at Qinghefang in Hangzhou， the predecessor of the present-day Wangxingji Fan Industry Co.， Ltd. Well known for his sanding skills， Wang Xingzhai combined them with those of his wife Chen Ying， who excelled at appliqués and gilt splash decoration， in making fans. Thanks to their exquisite fan-making craft and innovative designs， the couple’s fans sold out once they hit the market. Among the most celebrated fans they made was a top-grade black paper fan， which was presented to the imperial court and earned the reputation as a “tribute fan”.

Sun Yaqing is an inheritor of the fan-making craft， a national intangible cultural heritage. Sun has been working in Wangxingji for 46 years since she entered it to learn to make fans at the age of 18. For her， fans have long been an indispensable part of her life. Full of passion and a keen learner， Sun has mastered sandalwood fan carving， fan decoration designing and inlaying， among other skills. From fan modeling to picture layout， from pattern modeling to expression techniques， Sun Yaqing has exerted her ingenuity to the extreme to create a small fan. Her representative works include 23cm full-size sandalwood fans Pine Crane and Ivory Fan， the round fan Phoenixes Striding Through Peonies and a 45cm gilded sandalwood fan Preface to the Poems Collected from the Orchid Pavilion.

While gentle in character， Sun is highly demanding as far as the quality of her works is concerned. She would often say： “In a time when speed seems to be valued above everything else， a time-honored brand like Wangxingji must ‘slow down’ and do a finer， better and more distinctive job; only in this way can classics be created.” While the public’s aesthetics are constantly shifting， their demands always changing， the pursuit of quality is eternal. To be innovative and to maintain the same standards of control quality at the same time is the right approach to cultural inheritance.