There is a bamboo shakuhachi made by China in the Tang Dynasty in Masakura, Japan, which is the earliest block-printed edition found so far and has been well preserved. In the Ming Dynasty, bamboo carving in Liu Qing gradually broke away from the scope attached to practical handicrafts, and combined with literati painting to become an independent carving art, thus enriching the artist's knife carving skills. It is said that a delicate green handrail will turn tens of thousands of times in the hand of the sculptor. Among the bamboo carving categories, Liu Qing bamboo carving has the closest relationship with China calligraphy and painting. The possibility that literati and famous artists can sing and dance gives Liu Qing bamboo carving an elegant name. Relief modeling, shallow knife marks, rich bamboo skin and muscle layers, together with the strokes and patterns of calligraphy and painting, good Liuqing works can be repeatedly appreciated by collectors like celebrity calligraphy and painting.

The development and inheritance of a folk handicraft skill cannot be achieved without famous craftsmen, and one or two literati or collectors who really love this skill must participate wholeheartedly. Appreciator Wang and Hong Kong bamboo carving collectors are two important figures. In the mid-1970s, Dr. Ye Yi began to collect interesting bamboo carvings, most of which were pen holders and incense sticks.

In the early 1980s, Ye Yi also made a special trip to Changzhou to find Liu Qing bamboo carving artists and works.

1978, his collection has been very rich, and he held a large-scale exhibition at the Hong Kong Museum of Art, displaying 2 1 1 pieces of fine works. Later, he co-authored "Bamboo Carving Art in China" with Tan Zhicheng, then the curator of the Hong Kong Museum of Art.. These two volumes are still authoritative materials for studying bamboo carvings in China. Wang also devotes himself to inheriting the bamboo carving art in China, and keeps in touch with many folk bamboo carving masters, especially the white style. Bai Shifeng's son Bai recalled that Wang and his father had frequent correspondence for some time, and they talked about two topics every time: mentoring and publishing books. He took out a five-page letter from Wang1June 24, 977, and wrote: "Your level is really high, which can be said to be rare in contemporary times. In the past 80 years, there are not a few people who leave green, but few people use more or less green narration to produce the change of yin and yang. What is particularly commendable is that they broke the frame of handrails and fan bones, which can be said to have won my heart first. ..... May be due to my prejudice, may be due to my love for the past and ignorance of the present, I always feel that strictly speaking, after the middle of the Qing Dynasty, bamboo carving has deteriorated, and many engraving methods have been abandoned. ..... I have repeatedly stressed the need to return to ancient technology. It seems that it is hard to say that the lost knife method is difficult to find, and even the skills of contemporary old artists are difficult to inherit. "

1985, Wang wrote the second edition of Bamboo Carving Art. He sent the manuscript of his article "Old Trees Bloom and New Flowers Fall" commenting on Bai Shifeng's works with the letter, asking Bai Shifeng to revise and supplement it himself. Bai Shifeng really added some words and phrases neatly in red ink, and there was no constraint in communication.