对文化遗产不感兴趣，这是目前我们社会的一个普遍现象。这些年，走宝、毁宝的事一而再、再而三地发生，见报的只是冰山的一角，没见报的更是不得了。新山书香楼“收

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问题对文化遗产不感兴趣，这是目前我们社会的一个普遍现象。这些年，走宝、毁宝的事一而再、再而三地发生，见报的只是冰山的一角，没见报的更是不得了。新山书香楼“收宝”反映的是新加坡人“走宝”，另外还有毁宝事件更令人伤心，以下仅举一例：
读者某君要搬家了，清理祖父遗物时，发现一个陈旧不堪的木箱里有些字画，画的是奔马、飞鸟等，上面的华文他看不懂，于是打电话去向某华文报求助。
记者上门去一看。天呀，那是徐悲鸿的遗作!由于收藏不得法，用手轻轻一碰字画马上破碎，奔马变“碎马”，还有的早已在箱子里“解体”!记者眼睁睁看着艺术瑰宝被毁，无限惋惜与痛心。

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答案 A reader who was moving house found some calligraphy and paintings of homes and birds in an old wooden crate while clearing up stuff belonging to his late grandfather. As he could not understand Chinese, he called a Chinese newspaper for help.
A reporter who went was astonished to find them to be the works of (the late Chinese calligrapher and painter) Xu Beihong. As they had not been properly preserved, some of them ’had already "disintegrated" inside the crate while the rest broke into pieces the moment they were touched- the "galloping horses" turned into "broken horses". The reporter felt a deep sense of loss and grief as there was nothing that could be done to salvage the works of art.

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对文化遗产不感兴趣，这是目前我们社会的一个普遍现象。这些年，走宝、毁宝的事一而再、再而三地发生，见报的只是冰山的一角，没见报的更是不得了。新山书香楼“收