Guan's book, prefaced by Luo Zhewen, a senior expert on ancient architecture protection, not only dwells at great length on the evolution of the wadang culture (as well as its history, rich designs, and great varieties), but also elaborately analyzes the connections between the wadang culture and historic events, social etiquette, hierarchical ranking, and some historic figures.

Although Guan Zengzhu, a retired publishing house editor, has no architectural or historical background, what he does have is an infatuated passion for the collection of antiques and porcelains. The convincing material evidences, accurate illustrations, and scientific methodology used in his book have won recognition from historians and experts alike.

After reading the book, Shi Shuqing, the connoisseur of cultural relics in National Museum of China, not only wrote a poem dedicated to the book's cover story, but also without hesitation presented Guan a wadang rubbing of the Han Dynasty (206BC-220AD), which had been part of Shi's own collection since being excavated from Xi'an of North China's Shaanxi Province several years ago.

Guan's devotion to wadangs continues to grow, day by day. In the last seven years, he has collected almost 400 wadang pieces of various designs, craftwork, and calligraphic styles of zhuan (seal script). All his bookshelves, even the top of his closet, are occupied by rows of orderly lined-up wadangs.

Chinese ancient architecture is the soul of the world art, and the wadang has been considered as the soul of Chinese architecture, said Guan, unconsciously brimming with pride.

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