Treatise on Mounting

周嘉胄Jul 2024

4.4

Word count: 5.2K words
Chapters: 2

Summary

Traditional Chinese thought and culture have a long history and are highly original, inventive, and literary. Early forms of thought are especially distinctive: religious theology, classical texts of traditional Chinese medicine, ancient military strategy, Confucianism, Daoism, Buddhism, and the Hundred Schools of Thought, feng shui and metaphysics, the Twenty-Four Histories, and local customs and topography, among other fields, are all profound and extensive. This series, "Essence of the Chinese Classics: Original Texts," preserves the original appearance of the books and focuses on preserving and transmitting traditional Chinese thought and culture. By reading the literary essence left by ancient sages, readers can cultivate their character and subtly appreciate the classics of Chinese learning.

Editor's review

Zhuanghuang zhi (A Treatise on Mounting) is a monograph on the mounting of calligraphy and painting written by Zhou Jiazhou of the Ming dynasty. It is brief, yet it is a rare systematic text within traditional mounting craft. It elevates mounting from artisanal experience to knowledge that can be recorded and taught, covering materials, procedures, connoisseurship, and conservation concepts; between the lines one sees the author's deep regard for calligraphy and painting and his demands on craftsmen's attitude. This edition preserves the original appearance of the book and focuses on sustaining the documentary record of a traditional craft. Readers can see how people in earlier times understood the role of mounting in extending the life of calligraphy and painting. Its strength lies not in grand theory but in concrete, detailed craft records, making it suitable as supplementary reading for the appreciation of calligraphy and painting, the restoration of ancient books, and the study of traditional craft. When reading, it is best to understand the procedures with the help of actual objects or images, and one should not take every material and practice in the book as a current restoration standard. For general readers, it is more like a window into traditional mounting culture.

Who it's for

A good fit for

Readers interested in the mounting of calligraphy and painting and the restoration of ancient books
Students of the history of traditional craft or material culture
Collectors and connoisseurs of calligraphy and painting who want to know the basics of mounting
General readers who enjoy reading ancient craft texts

Not a good fit for

Complete beginners hoping to follow the book's steps and mount works directly
Professionals expecting a systematic modern textbook on conservation science
Readers who prefer long theoretical exposition or literary narrative

Reading tips

First learn the basic procedures of mounting, then read the original text; consult reference works or illustrated catalogues for material names.
Compare the procedures described in the book with today's mounting processes, noting differences in materials and standards between past and present.
Read alongside actual works of calligraphy and painting or museum exhibits to understand how mounting affects the presentation of a work.
After reading, compile a short glossary of terms, recording the names of materials, tools, and procedures for review.

版权信息
装潢志

FAQ

Is Zhuanghuang zhi about interior decoration?

No. Here "zhuanghuang" refers to the mounting and protection of calligraphy and painting, including procedures such as backing, bordering, and lining, as well as the selection of materials and concepts of conservation. It is a traditional text on the craft of calligraphy and painting and has nothing to do with interior decoration today; readers should not be misled by the title.

Can this book directly guide hands-on mounting?

It records traditional procedures and materials, but it is not a beginner's manual. Today's mounting has changed in tools, materials, and safety standards. It is advisable to receive professional instruction first and use this book as a reference for understanding the traditional craft rather than following it directly.

What can general readers gain from this book?

They can learn the basic procedures of mounting calligraphy and painting and the attitude of earlier people toward preserving such works, sharpening their eye when visiting exhibitions and appreciating art. Even without doing any hands-on work, they can understand the craft processes a work goes through from creation to display and preservation.

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About the author

周嘉胄 Author

Zhou Jiazhou was a literatus of the Ming dynasty. Little is known about his life: his birth and death years, native place and official career cannot be reliably established, and public sources are limited. Modern readers know him mainly through his surviving works. Four of his works are held in this collection, centered on mounting and incense lore and touching on traditional material culture. Among them, Zhuanghuang zhi discusses the procedures, materials and connoisseurship of mounting paintings and calligraphy in plain, practical prose, and is regarded as an important document of traditional Chinese mounting craft. Xiangcheng compiles incense manuals, formulas and related anecdotes from earlier dynasties; rich in content, it is a foundational source for the study of traditional incense culture. The other titles, the Collected Works on Ancient Chinese Material Culture and its Incense Classic, focus on organizing and popularizing traditional material culture. Zhou's writing emphasizes practical detail and documentary compilation, with careful textual work, and has influenced later connoisseurship of painting and calligraphy as well as incense studies; his works are often classed under Eastern philosophy and culture.