Huizhou seal cutting

Huizhou seal cutting rose in the middle and late Ming Dynasty. At that time, Huizhou people He Zhen, Su Xuan, Zhu Jian and Wang Bi were famous for seal cutting, and the world called them "Huizhou School". Under their influence, Huizhou seal engraving masters came forth in large numbers, and a large number of outstanding seal engravers such as Li, Wang Tao, Hu, Luo Wangchang, Wang Haojing, Colin, Hu, Jin Guangxian and Wang Hongdu emerged, forming the first climax of Huizhou seal engraving.

In the middle of the morning, Cheng Yi, Ba Weizu, Hu Changgeng and others in Shexian County inherited the strengths of He, Su, Zhu and Wang and made some innovations. They specialize in Qin and Han dynasties, diverse and simple, and form their own system. They are called "Juan's four sons". As the fourth son, Huang Lu, Zongji Huang, Wang, Cheng, Wang, Tang Gui, Cheng Huanlun, Cheng Zhihua, Wang Shaozeng, Wang, Chen Sisheng and other Huizhou Indians showed their great power, forming the second climax of Huizhou seal cutting.

At the end of the Qing Dynasty, Huang Shiling in yi county rose, known as the "Yi Mountain School". Huang Shiling, with his profound epigraphy, abandoned the traditional habit of Indian artists for hundreds of years to pursue cutting with knives to break the beauty, and made independent innovations, which influenced Qi Baishi, Li and others and formed the third climax of Huizhou seal cutting.

Modern masters of Huang seal cutting highly praised Cheng Sui and Ba Weizu, and their seal cutting was vigorous, simple, concise and serene, which carried forward Huizhou seal cutting and enjoyed a high reputation in Nanshe. In particular, Master Huang made great efforts in collecting and interpreting the ancient seals of Zhou and Qin Dynasties, and made great contributions to the development of Indian studies. He Zhen

(1535 ——1604) Chief Minister, Changqing, Yu Xue, Xiuning. He Zhen was contemporary with Wen Peng and younger than Wen Peng. He explored the importance of kung fu outside India to seal cutting, so he studied six books and philology intensively and advocated that seal cutting should be based on six books. The key to team seal is to use a pen to transport knives. Pens should be sharp and round, and knives should be strong and flat. Powerful knife-holding, fast knife-carrying, and free knife-moving, which means that when the knife arrives, there is a pen in the knife, which brings out the best in each other, and realizes the unity of knife-cutting and calligraphy, content and style. He also created a single-edged, ups and downs, oblique strewn at random, profound meaning, magnificent and incisive unique style. His works are eclectic and fully show his personality. Such as "Deep in Chai Men", the strokes are vigorous, the fonts are concise, the mountains are majestic and angular; The strokes of "reactive power" and "nothing" are as sharp as thorns; "Listen to the depths of the oriole", although imitating the side of China and India, can also see the blade, giving people a sense of "fierce profit".

Su Xuan

(Later 1553- 1626), Zi Erxuan, Xiao Min, Lang Gong, born in Shexian County, Surabaya. When I lived in Gu Congde and Jiaxing Xiang's home in Songjiang, I once surveyed the seals of Qin and Han Dynasties, which opened my eyes. "Knowing the world is different, everyone has his own aspirations", from which I realized that seal cutting creation should be changed. Therefore, the rhymes on inscriptions such as "Stone Drum" and "Ji Zha" are all used for seal cutting, and the traces of erosion between words are very golden. For example, "Su Blind Seal" comes from the seal of China, which has its own personality, excellent knife work and rich book fragrance. "I got my heart by living in the ancients" was printed in the second year of Ming Dynasty (1622), and the seal was the ancient seal. The first and second ends of each stroke are sharp, and the strokes are flying. The seal structure attaches importance to change, and the two words "I" are written in different ways to avoid the similarity of the left and right corners of the upper part of the seal. The knife is also blunt, and where the strength goes, the stone flowers are mottled and full of ancient meaning.

Zhu Jian

(Date of birth: 1570, date of death unknown), Zi Xiuneng, born in Xiuning. Printing with cursive seal script pays attention to the meaning of strokes and the rhyme of knives, so that the lines of strokes have a coherent, natural and smooth meaning, thus highlighting the sense of stroke modeling. He also pioneered the short knife method in the factory, which decomposed each line of carving into short knives, thus giving the stroke lines a sense of ups and downs and rhythm, and having a dull and rough stone effect, which also had a certain influence on the later Zhejiang School Ding Jing. Made of "Feng" seal, the knife marks are obvious and the knife shows brushwork. Draw a horizontal sketch, some bow, some bow. Some straight paintings are oblique, with dignified strokes and clear strokes. There is no gain without giving, and there is no gain without giving. This is innovation. Zhu Jian also has profound theoretical attainments in the study of seal script, including "A Compendium of Seal Script" and "A Compendium of Seal Text". While expounding the ancient and modern changes of seal script, he also researched the relationship between inscriptions and criticized various seal scripts at that time, which was quite insightful.

official of a feudal dynasty

(Date of birth 1575, date of death unknown), Darren Chan, a native of Daishu, Shexian. Formerly known as Dongyang, it was renamed Wang Guan because of a "Wang Guan" Han bronze seal, and the study was named "Baoyin Zhai". He changed He Zhen's method, went straight to the Qin and Han Dynasties to cast seals, and used the knife method of punching to create a neat and elegant face that was completely different from He Zhen. It is said that his works are mixed with China and India, so it is difficult to distinguish the authenticity. Zhou Lianggong divided the seal engravers in the late Ming Dynasty into two schools: Li Meng and Heping, and praised He Zhen as the representative of Li Meng and Wang Guan as the representative of Heping. "Children and grandchildren are not entrusted by me" is printed like a cross, and Zhu Wen is the only way to make it simple. The strokes of the seal are based on straight lines, which are square, refreshing and pleasing to the eye. The layout adopts the method of symmetry and plainness in Chinese and printed words, and folds some simple words to show their complexity, such as the lower half of the words, the insect part of the house, the lower half of the words and the upper half of the words. Some words with complex structures are simplified by strokes, such as the part of the word "Sun" and the mother part of the word "Wei"; The combination between the lines forms a solemn whole.

Chengsui

(1607-1692), the word is sentimental and corrupt. No. dirty area, dirty Taoist, Qingxi rotten person, wild Taoist, Jiangdong Buyi, Shexian people. Good at epigraphy research and bronze and jade identification. White seal cutting mostly adopts simple methods such as Han Zhuyin, and puts forward my own opinions. In the printed text, there is a circle that does not show the corners of the GUI. The density is balanced and natural, muddy and dignified. Zhu Duoyin uses Zhong Ding's exquisite big seal and small seal, and makes rough seal, pursuing simple and dignified style, fresh and loving, and full brushwork. At that time, the famous Liang Qingbiao, Zhou Lianggong and others all used spikes of seals. Xu Yin is his masterpiece. It is printed in French and Chinese in form, but it is very clever in printing, layout and Bai Zhu. The seal brush is round and muddy, with no sharp corners at the turning point, mainly straight lines and slightly curved pens, which are organically combined with movement and stillness and contain agility in solemnity. The "Xu" word factory half broke the vertical brushwork of Ding Xiaozhuan and used the oblique brushwork structure to match the upper brushwork; There are two folding pens at the bottom of the "Yu" part, which is different from others: the factory stipulates that the seal script is painted vertically. After such a change, the word "Xu" has produced an interest in avoiding familiarity. Baweizu (1744— 1793), a native of Shexian county, was born in Tang Juan, Jin Tang, Zi 'an and Lian Fang. Rich family, elegant love to collect antiques, calligraphy and painting, seals, and many treasures. Cheng Xiang, a beginner of printing tube, later changed his style and changed it to ancient seal of Han Dynasty. His ingenious conception, dense composition and beautiful font make him the god of China seal and have his own face. Zhao was deeply impressed by Baweizu's works. He once said to his close friend Wei, "What you have done recently is various." . He equated Bavizu with Ding Jing, Huang Yi and Deng and called it "Ding Huang Baden". The seal style of Ji Xiao Si Lian carved by Zhu is nearly inch: Six Dynasties, Tang Dynasty, Song Dynasty and Zhu Dynasty, but the lines are thick, the brushwork is vigorous, steady and round, the layout is harmonious and cautious, and the composition is not stagnant. The upper part of "filial piety" is elongated, occupying a symmetrical area, which also shortens the space of "honesty".

This font is lively, seal cutting and knife cutting are gentle, which embodies the style of Baweizu.

Huangtuling

(1849-1908), the word Mufu, also known as Mufu, also known as Yi, tired old man, tired wandering Lord. When he was young, his study was called "Dwelling House". In middle age, I used Yan Qingfen's Room, and then I used Guhuai Neighborhood. Yixian people. His seal cutting doesn't knock edges, corners or embellishments. He used only a thin blade to produce a knife, pursuing the true colors of China seal, showing the vigorous spirit of the new China seal, and formed his seal cutting style, which reflected elegance and elegance in his hard work. His carving method pays great attention to density, interpenetration and change, and many of his prints are ingenious and interesting. He also expanded the range of materials for seal cutting, so that no matter Yi Ding, light and heavy, imperial edict, spring coins, mirror inscriptions, ancient pottery, bricks and stones, they can all be cast into their own seals. Many of his works have the flavor of Ding Yi, Jing Ming and other figures, which seem ordinary, but they can be unique and outstanding when Huizhou seal cutting is exhausted. His border style is also very unique. He imitates the inscriptions in regular script of the Six Dynasties with a single knife, which is meaningful and rich in calligraphy. Zhu's "yellow" is made of bronze, and the whole seal is right and left. The word "fresh" is stuck on the word "less", which is complicated. Many circles or semicircles of different sizes echo each other to form a vivid seal, which is scattered and dense.

Huang Shiling was a contemporary master of calligraphy, painting and seal cutting in the late Qing Dynasty and Wu Changshuo. Among them, seal cutting is the highest achievement, and it reproduces the face of Qin and Han dynasties with a thin-edged punching knife, which is unique and magnificent and is listed as the four famous seal altars in the late Qing Dynasty.

Huang Shiling's seal cutting features are distinct. His seal cutting features are: flowing in the middle of the plane, beautiful and elegant in the middle of the stiffness, neither too dull nor too strange. The composition and collocation of words pay attention to density and interpenetration, which seems intentional, but if not intentional, the dense words are clear and interesting. In the knife technique, the knife is extremely vertical, which is no different from the pen. Every painting is not only light and smart, but also sharp and vigorous, with strong charm and aesthetic feeling of lines.

Huang Shiling founded the Huizhou seal cutting school-"Yishan School", which created a new road besides Zhejiang School and Huizhou School, made great contributions to the development of seal cutting and influenced many famous artists.

There were many seal engravers in Huizhou in the Ming Dynasty, such as Su Xuan, Cheng Yuan, Cheng Pu, Wang Jiao and others. Indian scholars call it "Huizhou School" or "Huizhou School" together with He Zhen. By the end of the Ming Dynasty, Indian academic circles were stuck by Wen (Peng), He (Zhen) and Chen Xiangyin and remained lifeless for a long time. Born and raised in Chengsui, he began to correct it, but he also took into account the style of ancient Chinese, making him stronger, changing the old style and forming his own style. Zhou Lianggong said in "Biography of Indian People": "With India, what people are first familiar with is literature, and what it is is is rejected by the world. ..... Huangshan and Qian Mu (Chengsui) run around the world with poems and paintings, and occasionally print them, which is a force to change the old habits. "

His seal cutting works are rigorous in composition, simple in brushwork, plump and thick, forming a bold style, which plays a role in connecting the past with the future in the history of seal cutting in China and becomes a master of seal cutting in Qing Dynasty. Huang Yi spoke highly of Cheng Xiang in his article. There is a piece of "Jiangdong Buyi" Zhu by Cheng Yi in Shexian Museum, which has a well-balanced layout, a round and vigorous brushwork and a long lasting appeal. The county museum has a collection of his books and albums, most of which are self-made. Followed by Wang Zhaolong, Baweizu, Hu Changgeng and others. Ba Weizu, who studied under Qin and Han Dynasties, wrote two copies of Four Fragrant Chapters. There is a bronze seal of "Lian Fang" carved by Baweizu in the county museum, which is solemn, gentle and quiet, dense on the top and sparse on the bottom, steady and natural. Later generations praised his seal, "Clever hands are naturally invisible. People who browse can't be poor all day. " Wang Zhaolong and Hu Changgeng, two people who ruled India, were strict and muddy, and they were outstanding masters. Later generations called the three of them, together with Cheng Ai, "the fourth son of the middle school", hence the name "the school of the middle school". After Qianlong's reign, Huizhou seal cutting masters included Ye Xihong, Xu Yue, Cheng Huanlun, Li Youzhao, Wu Shan, Ba Shugu, Cheng Dechun, Xie Huangshan, Cao and others. Other modern seal engravers are Huang, Ye Weiming and Ba. Huang carved the word "Huang" with a white edge seal, which was "like Baweizu" in style, and made some innovations in the seal cutting of Juan School. Among them, Ye Weiming was good at carving stone tablets, and in the 30th year of Guangxu (1904), Ding Fuzhi, Wu Qianquan and others founded the West Cold Seal Society. Establish the position of seal cutting as a plastic art

In ancient China, seals were usually cast or carved from copper, but some were carved from other materials such as gold and jade, which were mainly used for practical purposes. Since the Song and Yuan Dynasties, due to the advocacy of Mi Fei, Zhao Mengshun, Wu and other literati, seals began to transition from practical to artistic. They sealed their own words and asked people to carve them. Wang Mian in the early Ming Dynasty and Wen Peng in the middle Ming Dynasty invented frozen stone seal cutting, which integrates calligraphy, painting and sculpture, making seal cutting a special art of modeling appreciation. However, Wang Mian and Wen Peng are also characters of seal script, and they seldom operate their own knives. It is Huizhou people such as He Zhen, Su Xuan, Zhu Jian, Wang Guan who really carved the seal, which is called "Huizhou School" by the world. It is precisely because of the rise of Huizhou seal cutting that the position of seal cutting as a plastic art has been truly established. It has realized the transformation from the practical art of seal to the appreciation art of seal cutting modeling.

Emphasize the principle of seal cutting by seal carvers.

The main form of seal cutting is seal cutting modeling. Understanding, learning and writing seal cutting is the key to appreciate the difference between seal cutting and the practical art of seal. Before Huizhou seal cutting, no one had made a thorough and systematic discussion on the shape of seal script. Huizhou seal engravers attach great importance to the study of seal script, studying six books (pictographic characters, signifier characters, knowing characters, pictophonetic characters, transliteration characters and loanwords), drilling through the structure of Chinese characters, and at the same time drawing nutrition from the seal script forms such as epigraphy, stele, calligraphy, Zhong Ding, spring coins and bricks, and conceiving seal cutting techniques and rules. Wang Haojing, a famous seal engraver of Hui school, wrote 25 volumes of Original Character, Zhengzi 1 Volume, Xianghuai Lifa 1 Volume and Cheng Kai Shu1Volume, which laid the theoretical foundation for seal engraving.

Carving skills for creating cutting knives and early knives.

There are seven modes of transportation of seal cutting tools in Ming and Qing Dynasties, 13 and 19. In fact, there are only three kinds to sum up, namely, cutter method, punching cutter method and punching combination method. Inspired by the traditional "engraving", the punching knife method advances forward with the front or side, and the engraved strokes are crisp and vigorous, which is a common knife method in seal cutting. James Zhu seal cutting changed the way of transporting knives, cutting downwards and pushing forward slightly. The feed length is short, and long strokes need several cuts. Due to the irregular bending of the lines, the carved strokes look old and flat. Therefore, the stroke lines have a sense of ups and downs and rhythm, and there is a dull and rough stone effect. This knife method was later absorbed by Ding Jing, thus forming a group of knife method and seal cutting-Zhejiang School. He Zhen also pioneered the edge-segment single-knife method, with a free and clean blade and a fierce and spicy style, which was also absorbed by Zhejiang schools such as Ding Jing.

Critical atmosphere for starting sealing cutting.

In addition to promoting the prosperity of seal cutting in creative practice, Huizhou seal carvers also explore in theory, which has an enlightening and guiding role in the development of seal cutting. Zhu Zhujian wrote the book Seal in 65,438+04, which was the first criticism of seal cutting, and adopted the method of introduction and argument (seal). Words and pictures coexist and invent each other. This book deals with the discussion of Wang Kao, seal cutting and chapter sentences, analyzes the authenticity of printed matter, and comments on the advantages and disadvantages of printed matter. This is sharp and brave. It also puts forward six criterions of seal cutting criticism in this factory, namely, "quality, quality, quality, heresy and mediocrity", and points out five common diseases in seal cutting creation, namely, "seal cutting disease, pen disease, knife disease, chapter disease and Italian disease". He also listed the chapter of "misprint" in printing, dared to criticize the famous seal cutting at that time with theoretical basis, and created a precedent for seal criticism in the history of seal cutting.