Third, the rise of literati seal engraving in the Yuan Dynasty
(1) The use of the Ba Si Ba Wen in the official seal
Yuanguan Yin Si Prison Si Yin
The Yuan Dynasty was a regime established by the Mongols for nearly a hundred years (1271-1368). In addition to the use of Chinese characters, the official seal of the Yuan Dynasty also had the Basi Ba script. In the sixth year of the Yuan Dynasty (1269), Kublai Khan ordered the guoshi Ba Si Ba to create a pinyin script, that is, the Ba Si Ba script. Before the promulgation of the Bashiba text, the official seals of the Yuan Dynasty mainly used nine fold seals, such as the "Si Prison Si Yin" and other seals, and the prints were all standard Chinese nine fold seals. The new characters founded by Basipa were developed from the Tibetan language, absorbing the neat and symmetrical and angular characteristics of the Song Seal Nine Fold Seals, but they did not have a certain relationship with Chinese characters like the Liao, Jin, and Xixia scripts, such as "Shaanxi Sichuan Mongol Military Capital Wanhu FuYin" and other seals. One of the characteristics of the official seal of The Eight Si Ba is that the back sections are all Chinese characters, which is the most important basis for us to identify the Eight Si Ba Wen.
In addition, the official seal of the Yuan Dynasty is relatively wide, which is a major feature of the composition of the official seal surface of the Yuan Dynasty. Sui and Tang dynasty official seals and early Song dynasty official seals, the printing text and the printing edge are often equal width, the middle and late Song Dynasty printing edge began to widen, to the Yuan Dynasty even reached several times or even ten times the width of the ink strokes, such as "Shaanxi Sichuan Mongol Army Capital Wanhu FuYin" is represented.
(2) The historical contributions of Wu Qiuyan and Zhao Mengfu
Zhu Jian of the Ming Dynasty once said in the "Essentials of Seals": "Printing was in the Shang, Zhou, and Qin, flourished in the Han Dynasty, and abused in the Six Dynasties, while Zhu was reduced to the Tang and Song." However, there are authors in the generation, and there are no biographies of his people. If the Yuan has wu bamboo house, Zhao Songxue generation, the seal is printed, and the door of the yuan people is opened. At the beginning of the country, the old habits were still studied, and the decline of the pole began to vibrate. The Ming Dynasty Gan Yang's "Seal Collection" said: "In the middle of the zheng, there are Wu Qiu Ziyan, Zhao Wen Minzi Ang Zheng's style system, but the fashion Zhu Wen, Zong Yu Zhen, intended to be retro." "The Indians, represented by Zhao Mengfu, Wu Qiuyan, and Wang Mian, launched a retro movement in the Yuan Dynasty to save the weak wind of seals since the Wei and Jin dynasties.
Zhao Mengfu seal
In the Yuan Dynasty, Zhao Mengfu was undoubtedly recognized by the government and the public as an ally of the art world and even the entire literary world, and he not only lived in the official residence, but also achieved remarkable achievements in poetry, painting, calligraphy and other aspects. In the history of seal carving in the Yuan Dynasty, Zhao Mengfu also occupies an important position, and his concept of printing not only influenced the Yuan generation, but also had a profound impact on the development of seal carving in later generations. The Ming Dynasty Gan Yang's "Seal Collection" said: "Zhao Ziang is good at Zhu Wen, all use jade seals, flow with gods, and the national dynasty Wen Taishi imitates it." (Han Tianheng's "Selected Papers on The Study of Printing in Past Dynasties", Xiling Printing Society, 1999) Chen Lian's "Seal Sayings" said: "Yuan Zhu Wen, Yuan Zhao SongXue is good at doing this body, and its literary circle turns feminine, so it is known as Yuan Zhu." To enrich the flow of the gods, like the spring flower dance wind, light clouds out of the clouds. (This is the origin of the term "Yuan Zhu Wen"). Zhao Mengfu (1254-1322), also known as Zi Ang, was a songxue Daoist and a shuijinggong daoist, who was a middle-aged mengqian and a native of Huzhou (now part of Zhejiang). Its calligraphy is all workmanship, known as "Zhao Body" by later generations, and its use of Yinduo personal seal engraved by the seal of the seal, and the style of Wuqiu Yan is close, the world is called "Wu Zhao", the seal style created by the two is called "Yuan Zhu Wen" in later generations. This kind of printing style with elegant and flowing glyphs and compact and consistent chapters has become an important printing style in the seal carving creation of the Ming and Qing literati.
I am privately sealed
Zhao Mengfu has great appeal in the literary and artistic circles of the Yuan Dynasty, and on the seal engraving, he advocates "quaintness" and "simplicity", and opposes the form and custom of "novelty and conservatism" and "sparing no tricks", which is very consistent with the concept of "painting is expensive and has ancient meaning, if there is no ancient meaning, it is useless to work". The Qing Dynasty painter Zhang Shen once said: "In the Great Virtue Room, the official names and seals of the Pavilion are all based on Zhao Ziang (Meng), and the seals used are filled with small seals, which are proportionate to each other. Its size is complex and simple, like a self-cost dynasty system, different from the Han, Tang, Song and Jin. "Zhao Mengfu emphasizes retro in theory, taking the Han and Wei seals as the law, but what really reflects the level of his seal engraving is the YuanZhu Wen seal style he created, which permeates his aesthetic tendencies, and the smooth and refreshing aesthetic effect of the Yuan Zhu Wen Seal is in line with its mellow and beautiful book style and the ancient painting style. His Zhu Wenyin follows the lines similar to the jade seal commonly used by the Tang and Song dynasty official seals, while strengthening the sense of movement of the strokes, the printing text is connected to the edge of the printing, and can capture the simple and luxurious atmosphere in the sparseness, giving people a sense of stability and fullness. Sun Guangzu, a Qing Dynasty sealologist, said in "Ancient and Modern Printing": "The Qin, Han, Tang, and Song dynasties all copied the seal, and there was no use for jade. Zhao Wenmin (Meng) is known as Zhu Wen, Gai Qin Zhu Wen is trivial and not solemn, Han Zhu Wen is solid but not loose, jade is magnificent, the point surface is fluent, and the literary quality is in the middle. Ming is used as a seal, especially in terms of scale. ”
Cloth Taoist
Chastity
At the same time as Zhao Mengfu, Wu Qiuyan was also a master of seal printing, and the seal book had the reputation of "contemporary solo step" and "exquisite is not under Qin and Tang Erli". At that time, Wu Qiuyan and Zhao Mengfu together called for the return of the seal to the Han Wei indian style, but from the perspective of advocating the Han seal style, Wu Qiuyan was more practical than Zhao Mengfu, and his "Study of ancient compilations" written by the professor's disciples was mostly derived from practice, and clearly proposed to take the Han seal as a refuge, discussing the specific operational issues such as the seal law and the chapter law in the seal. Wu Qiuyan (1272-1311), a Wuyan, Zixing, Bamboo House, Beibei Cloth Daoist, Kaihua (now part of Zhejiang) people, lived in Hangzhou. Wu Qiuyan was influenced by his family since childhood, and in terms of seal engraving, his main energy was focused on the study of the Han seal, "Wu Yan Private Seal", "Lu Junwu Clan", "Cloth Daoist" and "Zhenbai" are all his own seals, of which "Wu Yan Private Seal" adopts the Manchu white language treatment method, and "Lu County Wu Clan" and "Cloth Daoist" can also see the pursuit of Pingzheng Simplicity. Zhao Mengfu and Wu Qiuyan both printed their own seal manuscripts, which is naturally inseparable from their achievements in seal books, and the Yuan Zhu wen printing style created by the two soon became the mode of printing by literati, which directly improved the cultural taste of seal engraving.
Lu County Wu clan
(3) Seal carvings of the Yuan Dynasty under the advocacy of Wu Qiuyan and Zhao Mengfu
In the process of the evolution of Zhu Wenyin in the Yuan Dynasty, thanks to the advocacy of Wuqiu Yan and Zhao Mengfu, the seal carving of the literati in the Yuan Dynasty has been greatly developed, especially wuqiu Yan opened a museum to teach apprentices, trained many disciples, so that the literati seal carving continued continuously, and became a popular trend in the Ming and Qing dynasties. Among Wu Qiuyan's disciples, the more famous ones were Zhao Qiyi, Ye Sen, and Wu Rui, and Wu Rui was the most famous. Wu Rui (1298-1355), also known as Mengsi (孟思), was a native of Qing yunsheng and Qiantang (present-day Hangzhou, Zhejiang), who lived in Kunshan in the late years. Wu Rui took another step forward on the basis of his division, so that the book and seal were combined, and we can see that he had more than ten square self-use seals, of which Zhu Wenyin was in the style of round Zhu wen, and the level of seals and engravings was quite high, and he showed the characteristics of the small seal "tight up and loose" very prominently, and the stroke press was just right, which opened the precedent of the iron wire seal in later generations.
Crown private seal
At the same time as Wu Rui, the Indians also had a crown, whose first was engraved with anther stone (i.e., flower milk stone). Wang Mian (1287-1359), ziyuan zhang, number boiling stone mountain farmer, Zhuji (now part of Zhejiang) people, born in a peasant family, and later from Han sex tour, so he became a Confucian. Wang Mian Momei is the most praised by later generations. In the early Ming Dynasty, Liu Ji said in the "Records of Fei Xue" (on the volume): "At the beginning, no one carved a seal with anther stone, and it began with mountain farmers. "The emergence of stone with moderate softness and hardness is the key to the perfect performance of Yuan Zhuwen's style. Lang Ying's "Seven Revision Drafts" says: "The books of the ancients were cast in bronze, and the crown was carved in flower milk stone. "The anther stone is easy to play the knife, the crown is self-carved, and its gold stone is very strong.
Zhao Zi Ang
Wu Mengsizhang
Wu Rui's private seal
In addition to Wang Mian, many painters in the Yuan Dynasty intervened in the creation of seal engraving, such as Ke Jiusi, Yu Ji, Zhang Yu, Huang Gongwang, Ni Zhan, Yang Weizhen, Zhu Derun, Wei Yuanyu, Xian Yushu, Lu Juren, etc., all using the methods of Wu Qiuyan and Zhao Mengfu. It can be seen from their seals that the form of the Yuan Zhu Wen Seal has been established: the seal takes a small seal, the Zhu text thin line, and the text is connected... Very few literati seals of the Yuan Dynasty have been handed down, but they are of great significance in the history of seal carving. The participation of the literati was a sign of the establishment of an artistic stance by the Chinese seal, a milestone in the distinction between seal engraving art and practical seals, and this important historical transformation was completed in the Yuan Dynasty.
Fourth, the emergence and significance of the collection of ancient seals
Puyang
Although there are already records of "seal genealogy" in the Tang Dynasty, such as the Wei Shu Zhuan of the Old Book of Tang, Yao Cha's "Chuanguo Seal", Xu Jing's "Jade Seal Zhenglu", etc., it is generally believed that the appearance of the collection of ancient seals was in the Song Dynasty. The Song Dynasty was the beginning of the mainland epigraphy, and the collection of genealogies was influenced by archaeology and epigraphy. Gui Fu of the Qing Dynasty said in the "Continuation of the Thirty-Five Moves": "The ancient seal has no map, and the Song (Renzong) Emperor Youchu, the order is too often copied from the previous dynasties to print the book as a map." Later, Yang Keyi's Jigu Yingge was written in the later Xuanhe period (1119-1125), which was a large collection of ancient seals that was ordered to be repaired by officials. In addition, there are Yan Shuxia's "Ancient Seal Notation", Jiang Kui's "Collection of Ancient Seal Notation" and so on.
Humble yourself
Grandson of Marquis Guangping of Han
The collection of ancient seals in the Tang and Song dynasties is only one of the ancient artifact genealogies, and it does not have aesthetic awareness in the strict sense, let alone the guiding purpose of seal engraving art. Synchronized with the literati seal engraving, the purpose of editing the ancient seals of the Yuan Dynasty mostly pointed to art, and Zhao Mengfu collected "those who took especially ancient elegance and copied 340 pieces" on the basis of the "Baozhang Collection of Ancients" as a genealogy, known as the "History of Printing". Under the guidance of strong theory, there are a large number of ancient seals as a model, and there are also generations of people of insight who have painstaking practice and bold attempts, which finally make the Yuan Dynasty literati seal form two major patterns: one is the imitation of The Chinese Indian style, and the other is the Yuan Zhu wen printing style. Imitation Han Printing style mainly refers to imitation Han Bai wen seal, Yuan Dynasty seal engravers in the creation of this type of printing can mostly pursue the original effect of Han seal, of which the collection of ancient seals played a great intermediary role, after Wu Yan's "Ancient Seal Style" and Zhao Mengfu's "History of Printing", there are Yang Zun 'Yang's Collection of Ancient Seal Spectrum', Wu Rui's "Han and Jin Seal Atlas", Ye Sen's "Han Tang Seal Engraving Book Rhyme Interpretation" and other collections of ancient seal scores, the editing of these collections of ancient seals has a purpose, then its guiding and demonstration significance for the printing altar is more clear and more specific. It should be said that the seal engravers of the Yuan Dynasty completed the substantive transformation from ancient to modern, from technology to artistic creation, laying the foundation for the prosperity of seal engraving art in the Ming Dynasty. (Li Gangtian and Ma Shida, eds., Seal Engraving, pp. 202-203, Jiangsu Education Publishing House, 2009)
Fifth, the special style of the Yuan Dynasty flower seal
Talk about slumbering with
Among the private seals of the Yuan Dynasty, there is also a type of seal called "Hua Pledge", which is a special type of book used for signing. Tao Zongyi of the late Yuan and early Ming dynasties said: "Most of the officials in mongolia and semu people in today cannot write flowers, for example, they are printed with ivory or woodcuts." Zaifu and his close attendants to Yipin, who have obtained the will, use jade books to bet on the characters, and do not dare to use them unless they are special gifts. Press: Zhou Guangshun's second year of Pingzhang Li Yu resigned with a sick arm, and the edict was engraved with a name, according to which the character was used to use the beginning of the seal. (Ming Xu Lingdian "Gan's Seal Collection and Narrative", reprinted from Huang Wei's "History of Ancient Chinese Printing", 149 pages, Shanghai Calligraphy and Painting Publishing House, 1994)
Wang Yuanzhang
Will be good landscape
The flower pledge is actually a symbol that represents the identity, so there is a signed pledge. Flowers appeared before the Song Dynasty, such as the famous Wei Zhi "Five Clouds". (According to Tao Zongyi, the entry of flowers into India began in the Later Zhou Dynasty of the Fifth Dynasty) After the Song Dynasty, from the Son of Heaven to the people, the flower charge was widely used and gradually entered the Seal. After the Mongols of the Yuan Dynasty entered the Central Plains, because the use of Chinese characters could not be skillful, they could only replace them with printing, which was probably an important reason for the prevalence of the Yuan Dynasty. The format of the yuan pledge is commonly square, rectangular, circular and other shapes, as well as gourd, bell ding, petals, fish, rabbit and other shapes, of which the rectangular yuan pledge and the Qin and Han semi-seal size is similar, the upper is the letter, the lower is the flower charge, or mixed with the "note" character of the Basi Bawen, the seal is mostly Zhu, and the button system of the seal is also changeable. In general, although the Yuan Dynasty was the product of the development of the practical seal, its artistic and aesthetic value was not under the Song and Yuan literati seals. (Li Gangtian and Ma Shida, eds., Seal Engraving, 119 pp., Jiangsu Education Press, 2009)