Recently, I have frequently come across news such as "collision between movable type printing and modern cultural and creative industries" and "immersive experience of movable type printing technology". As a native of Wenzhou, seeing news related to printing has an indescribable emotion. There is always a lingering special scent in my memory - the faint mixture of pear wood and pine smoke ink. As a child, I didn't know that this ink fragrance came from a highly influential technique in the history of Chinese printing. I only vaguely remember the solemn expression on my elders' faces when they mentioned "carving characters" and "repairing genealogies", and I remember the carefully wrapped and slightly clumsy genealogy in the ancestral hall. Years later, when I look back on this childhood memory, I realize that it was a history of quietly intertwined skills, culture, and institutions. In the era when I grew up, the private economy in Wenzhou was experiencing a magnificent period of takeoff, and the streets and alleys were filled with the roar of machines and the sound of metal collisions. Compared to the bustling industrial landscape, the wood movable type printing industry at that time was not prominent. It is more like a "niche skill" that lives in seclusion in the countryside and only breathes quietly among family genealogy papers. At that time, even if one had not personally witnessed the craftsmen turning pieces of tangli wood into words carrying the family's history, the frequent murmurs between adults would still leave a deep impression on this skill - it was a craft that required calmness and patience, and also a solemn ceremony for "significant moments". To be honest, during my years of studying and seeking employment outside, I rarely heard or saw news about movable type printing, and even thought it had disappeared at one point. Until recently, I once again set foot on my homeland and specifically walked into Dongyuan Village in Rui'an, known as the "living fossil of Chinese movable type printing". The distant and slightly aged ink fragrance in my childhood memories suddenly came alive in an unexpected way. In the Dongyuan Village Wood Type Printing Exhibition Hall, what greeted me was no longer dusty tools and lonely workshops, but a lively scene filled with people's voices: young people lined up to experience picking and typesetting, children carefully brushing ink on the typesetting, and tourists gathered around the inheritor, listening to him tell the long process of a wood type from "selecting wood", "carving" to "entering the cabinet". This ancient skill, which seemed to have faded out of life, miraculously "trended" up. Walking out of the exhibition hall and following the stone path for a few steps, you can see the "Living Freedom" coffee house. Wooden bookshelves are juxtaposed with handmade lettering, with the aroma of coffee intertwined with the scent of ink. Tourists taste the shop's signature "Ink Fragrance Coffee" while flipping through the wooden movable type portfolio on the table. Sometimes, one can also encounter a passing inheritor of intangible cultural heritage and sit down with a stranger to chat about their lifelong dealings with typography. The "small mountain village" that once lived in the mountains of southern Zhejiang has quietly become a landmark of Chinese printing civilization. This makes one wonder: why can this ancient technique still retain its place and radiate strong vitality in the wave of industrial printing popularization? The conclusion of the thinking is that the contemporary value of movable type printing continues to be stimulated and reshaped under the combined effects of the endogenous driving force of cultural traditions, the vitality of creative transformation, and the institutional support of the rule of law. The continuation of any intangible cultural heritage cannot be separated from a deep and stable cultural soil. The adoption of movable type printing technology in Wenzhou and Dongyuan Village is by no means accidental. The southern Zhejiang and northern Fujian regions have a strong sense of clan identity, and compiling family genealogies has always been regarded as a top priority for the family. Shupu is not only a technical act of recording blood ties, but also a ritual of uniting people's hearts: the clan members rush back to their hometown from all directions, sit together to discuss the origin of the lineage and family rules. This cultural demand that has lasted for hundreds of years has provided long-term stable "orders" and clear usage scenarios for the complex and costly woodblock printing technology. It can be said that the genealogy culture has long nurtured the ancient craft of woodblock printing. Using wood as paper and a knife as a pen, "the calligrapher carved the mirror images of Chinese characters on top of Tangli wooden blocks in a simple workshop. Carving, selecting, typesetting, ink painting, and printing each step tests the craftsman's familiarity with the text and coordination skills. On the day of the completion of the family genealogy, holding the new genealogy in my hand, I gently touched the paper with my hand, as if caressing the continuous lineage of the family. It is in such practical life that the inheritance of skills is rooted in the daily lives and family networks of the villagers, and naturally continues through life nodes such as marriage, migration, and sacrifice. This "embedded" inheritance model is where its resilience lies in resisting the impact of modern printing technology. More noteworthy is that today's woodblock printing is no longer limited to the single function of compiling genealogies. With the changes in lifestyle and aesthetic taste, more and more young people are using movable type to add a special sense of ceremony to their "life nodes": some people customize wooden movable type wedding books, printing the names and wedding dates of two people on slightly textured cotton paper; Someone printed university admission letters, housewarming news, and their children's first family motto in movable type and solemnly mounted them in the most prominent position at home. From "family events" to "personal highlights", from "genealogical storytelling" to "self-expression", movable type printing has completed a meaningful "role transition" and found its own place in the new social context. Nowadays, more and more cities are emerging with movable type printing experience centers and themed bookstores. On weekends, parents take their children into these spaces and personally compose short sentences such as "Happy New Year" and "Happy Birthday", taking the newly printed works home as a souvenir. Movable type printing is not only a regional intangible cultural heritage project, but also gradually becoming a cultural practice that involves a wider range of regions, people, and experiences. Some people say that the soul of woodblock printing lies in a "living" character - it should not only be passed down in a living state, but also live in the present. Believing in cultural creativity and institutional guarantees as the foundation, movable type printing will continue to radiate new vitality. (New Society)