Ji Senfa

01 · Lineage & Regional School

Ji Senfa, Male, Han, from Suzhou, Jiangsu, is a sixth-batch national representative bearer of Mounting and Restoration Craftsmanship (Ⅷ-136). The tradition is documented in Suzhou, Jiangsu. Within the regional tradition and school record of Mounting and Restoration Craftsmanship in Suzhou, Jiangsu: Painting and calligraphy mounting is divided into three categories: first, the "red guild" (hong bang), with simple mounting styles; second, the "trade guild" (hang bang), specializing in mounting ordinary paintings and calligraphy; and third, the "antique mounting" (fanggu zhuangchi), dedicated to mounting precious old and new works for famous painters-calligraphers and antique-collecting connoisseurs. The influence of Suzhou mounting radiated from Suzhou to the whole country and abroad; places strongly influenced include Beijing, Shanghai, Yangzhou, Shandong, and other domestic regions, as well as Japan, Southeast Asia, and overseas Chinese communities. This pattern is directly related to its origins—Suzhou is the birthplace of painting mounting in China; from the Ming dynasty Suzhou mounting was influenced by the Wu School, and in the course of its long development formed its own distinctive artistic style, whose main features are fine selection of materials, elegant color matching, smooth pressing and burnishing, diverse formats, and superb mounting work, fully highlighting the regional character of the Suzhou Wu area. Within the mounting trade, there is a further division into three lines by clientele: first, the red guild, with simple styles; second, the trade guild, specializing in ordinary works; and third, antique mounting, dedicated to precious old and new works for famous artists and collectors. The three lines coexisting allowed a household to distinguish high from low by the tier of business. After the Ming Xuande reign, famous Wu-region artists emerged in numbers and the center shifted to Suzhou; Suzhou inherited Mi Fu's fine tradition and was influenced by Wu School literati, and over the following centuries its mounting rose to the country's foremost, known as Wu mounting. The art of Suzhou painting and calligraphy mounting originated in the Southern Song dynasty, gradually shifting from imperial court mounting to the folk sphere. Mounting art had already reached a certain level from the Tang dynasty through the Northern Song, and was called the "Xuanhe mounting style." Its mounting techniques followed the Song-dynasty styles and adopted the "Xuanhe mounting" throughout. From the Ming dynasty onward, Suzhou mounting was influenced by the Wu School of painting; in the course of its long development it formed its own distinctive artistic style, whose main features are "fine selection of materials, elegant color matching, smooth pressing and burnishing, diverse formats, and superb mounting work," fully highlighting the regional character of the Suzhou Wu area.

02 · Mastery & Signature Works

The bearer record for Ji Senfa is anchored in the documented technical standards of Mounting and Restoration Craftsmanship in Suzhou, Jiangsu. Within the documented technical tradition of Mounting and Restoration Craftsmanship in Suzhou, Jiangsu: Suzhou is the birthplace of painting mounting in China, and its influence radiated across the country and abroad; places strongly influenced include Beijing, Shanghai, Yangzhou, Shandong, and other domestic regions, as well as Japan, Southeast Asia, and overseas Chinese communities abroad. After the Xuande reign of the Ming, famous painters and calligraphers emerged in great numbers in the Wu region, and the center of gravity gradually shifted to Suzhou. Suzhou inherited the fine tradition of the time of Mi Fu and was influenced by the literati of the Wu School; over the following centuries, Suzhou mounting rose to the top of the country, known as "Wu mounting" (Wu zhuang). The restoration of old paintings and calligraphy, on the basis of mounting new works, additionally involves steps such as bleaching, lifting, washing, scraping the edges, applying glue-alum, pasting straight strips, concealed filling, and color restoration. Through mounting, new paintings and calligraphic works can be hung for appreciation; their painterly quality is fully realized, and the spirit of the work is better displayed. Because of its high degree of integration with painting, calligraphy, and culture, the influence of art and culture is further sustained and extended. Representative repertoire, works and technical entries recorded for the project include: "The Xuanhe mounting format": Mounting had reached the Xuanhe standard by the Tang and Northern Song and was used in its Song form thereafter; this layout became the template Suzhou mounters followed. "Red gang, travelling gang and antique-style mounting": Mounters divide into three trades: the red gang for simple formats, the travelling gang for ordinary works, and the antique-style mounting shop for treasured pieces of collectors and masters. "Lifting, washing, floating and scraping the joins": Restoring old works adds drifting, lifting, washing, scraping the joins, sizing, lining, filling and inpainting to the mounting of new ones, before the sheet can be re-laid. "Fine materials and restrained colouring": The Suzhou style shows in fine selected stock, restrained colouring, well-fitted brocade, varied formats and skilled workmanship, with the painting always holding the foreground.

03 · Transmission & Safeguarding Status

In 2025, Ji Senfa was announced in the sixth batch of national representative bearers for Mounting and Restoration Craftsmanship, with Suzhou, Jiangsu as the declared area. Within the documented safeguarding record of Mounting and Restoration Craftsmanship in Suzhou, Jiangsu: The project was inscribed in the national inventory in 2011 (batch 3), with Suzhou, Jiangsu as its declared area, and Suzhou Museum (Suzhou Minsu Museum, Suzhou Gongyimeishu Museum) as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.

04 · Associated Heritage Item Dossier

05 · Fellow National Bearers Lineage

National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.

06 · Archival Sources & Bibliography

1. Jisenfa (Suzhou, Jiangsu) · China ICH Official Project Archive
2. Jisenfa · China ICH Official Archive