十竹齋箋譜. [Shizhuzhai Jianpu]. [Ten Bamboo Studio Letter Papers]. de [HU, ZHENGYAN]. 胡正言 - 一九五二

Beijing.: 榮寶齋. [Rong bao zhai].. 一九五二年 [1952].. Complete four volume set of the Chinese masterpiece of colour printing and design, the "Ten Bamboo Studio Letter Paper" [十竹齋箋譜]. This stunning collection of paper samples is presented in its original pictorial silk brocade folder.

This set includes nearly 300 prints in 30 categories of different objects, motifs, and subjects of traditional Chinese scholarly interest such as flowers and rocks, antiquities, poetic scenery, bronzes, vessels, mythological animals, butterflies, bamboo, etc. Among them, 73 illustrations have been made using the special Chinese technique of "gonghua" [拱花] or stamped embossing technique. Most of these extraordinarily beautiful images are delicate water-colour woodblock prints [木版水印] while others, which at first glance appear blank, feature equally delicate embossed decorative designs "gonghua" designs.

This copy is a facsimile of the 1934 edition which in turn, is a facsimile of 17th century first edition. This edition includes the publication details of 1934 edition, showing the editor Lu Xun [鲁迅] and collector Wang Xiaoci [王孝慈] who lent the original 17th century edition to the publisher to make possible the creation of the facsimile. It includes a preface and postscipt by Zheng Zhengduo [郑振铎]. Title label written by Fei'an [非闇] with chop laid down on upper cover of case and on each volume. Folded leaves. Each of the four volumes is attractively bound in original gold flecked Chinese paper wrappers and sewn in the traditional Chinese four hole style. One tiny chip paper title label on folder. Tiny closed tear title label and first four leaves little creased upper and lower edges Volume Three. The volumes are elegantly presented in a silk brocade covered Chinese folder with bone toggle ties, trifle faded spine. A very handsome set. Text in traditional Chinese. 31.4 x 21.1cm. This famous set was originally compiled by Hu Zhengyan (c.1584-1674), a Chinese calligrapher, seal-carver and publisher in the late Ming Dynasty. Hu Zhengyan also styled himself "Ten Bamboo" [十竹] his chosen name inspired by the small grove of bamboo he planted outside his house in Nanjing.

In 20th century China, Zheng Zhenduo and Lu Xun recognised the importance of Hu Zhengyan's work and at their instigation Rong Bao Zhai commenced work in 1934 on a facsimile, although the set was not completed until 1941. Hu Zhengyan primarily employed "assorted block printing" [饾板印刷] as well as "gonghua [拱花] stamped embossing technique" (also known as blind embossing technique) for the exquisite illustrations which fill these pages.

This copy is from the highly regarded edition published in 1952, also by Rong Bao Zhai [榮寶齋] and was described by German typographer, calligrapher and book designer Jan Tschichold as "the finest issue. An incomparably perfect facsimile, the best printed book of modern times anywhere". .