Deng Shiru (1743-1805), a native of Huaining, Anhui, whose original name was Yan (琰), the character Shiru (石如), the number of Diebo, a native of Baishan, was a native of Baishan, who avoided the name of Emperor Renzong of the Qing Dynasty, so he used the character line. Shiren had a very high evaluation of Deng Shiru's calligraphy, calling it "the four bodies are fine, the first in the national dynasty", and his calligraphy is the most outstanding in the seal, and the achievement of the seal book lies in the small seal.
Since the Fall of the Wei and Jin Dynasties, the unity of seal books has gradually become silent, and the calligraphers who are good at seal books have become like the morning star. It was not until the Qing Dynasty, with the rise of epigraphy and examination of evidence, that the spring of the revival of seal writing was ushered in. During the Qianjia period, Deng Shi came out, completely breaking the deadlock of the downturn in the seal book and opening up a new life. Deng Shiru changed the method of making seals in the past few hundred years, making full use of the strengths of the brush to express the penmanship of the seal book, making the brush strokes of the writing press and the pen opening and closing the pen more varied, and also breaking the fixed mode of Chen Chen Xiangyin in the past in terms of structure. The pen strength is refined, the bone strength is like cotton wrapped iron, the body posture is calm, and the pen is like silkworm spitting silk, especially the meaning of using the pen as a seal, which can be regarded as a representative work in Deng Shiru's inkblot.
When studying, it is necessary to carefully observe and deeply appreciate the characteristics of its changing brushwork. As far as the start and close are concerned, there are both reverse start and stop, introverted and implicit, and there are also reverse in and out, easy and smooth. The line brush of his arc painting is either used to see the circle by the method of lifting and turning, or the method of sudden folding to see the strength of the square. These subtle changes in the use of the pen are all in place, and must not be excessively large and dissolved at the time of study. It must be done as Sun Guoting said, "Those who observe are still refined, and those who imitate are noble." ”
In terms of knots, Deng Shiru is striving for a uniform method of cloth whitening, so that each seal character appears smooth and serene, but in the blank space, it hangs its feet and tails, thus forming a unity of opposition between sparseness and solidity, ethereal and rich. While dealing with uniformity and dense whiteness, we must also pay full attention to the parallelism, symmetry, hugging and opposite relationship of the lines. In addition, in order to do a good job in Deng Shiru's seal book, the jagged changes in the lines are also an important aspect that cannot be ignored, and the jagged arrangement between the small seal lines is often the key to creating vividness.
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