I. Overview of Seal Engraving in the Qing Dynasty
Seal carving in the Qing Dynasty is another peak in the history of seal engraving art after the Han seal. At the beginning of the Qing Dynasty, the development of the major schools of the Ming Dynasty was still continuing, such as the seal engravers of the "Wumen Sect" such as Gu Ling, Gu Yuanfang, Yuan Lu, QinLan, Yuan Xue, Zhang Rizhong, some of whom were disciples of Wen Peng, and some of whom obtained nutrients directly from Wen Peng's prints. However, in the early decades of the Qing Dynasty, seal carving was relatively quiet, and by the middle of the Qing Dynasty, the art of seal carving had developed relatively rapidly, and the geographical distribution of seal engravers was also relatively extensive, and there were various genres of artistic expression, successively appearing she, Zhejiang, Deng, Zhao, Yishan and Wu. In addition, some local schools emerged in the Qing Dynasty, such as the "Snow Fishing School" Shao Qian, who lived in Rugao in the late Ming and early Qing dynasties, and under his influence, Huang Jing, Tong Changling, Xu Rong, etc. formed a regional school - the Rugao school. In addition, there are Jiang Haochen, Tao Bi, Li Gen, Xue Juxuan, known as the "Min Sect". However, these seal engravers and local factions have not formed a big climate, and the main schools that can really establish camps with the five major schools of the middle and late Ming dynasties in the early and middle Qing Dynasties are the Hui school, the Zhejiang school and the Deng school.
Ming and Qing dynasty seal engraving genre inheritance map
Since the Ming and Qing dynasties, the wind of literati seal engraving has flourished, and after Wen Peng, the art of seal engraving has gradually formed various genres, and its successors have taken the Han seal as the sect and become a fashion. In the Qing Dynasty, Cheng Kai opened the "She Pai", followed by Ding Jingkai "Zhejiang Pai", and Deng Shi rukai "Deng Pai". The seal carving school is divided according to different seal carving art styles or regions, and the formation of the seal carving school is mainly divided into several factors: first, with the region as the premise, relying on a certain economic foundation and cultural background, mostly concentrated in Anhui, Zhejiang, Jiangsu, Fujian and Guangdong and other places; secondly, it needs a leading figure with unique achievements, and others mainly rely on the master-apprentice teaching mode for his learning; third, the seal carving style of people in the same genre is similar, and they learn from each other and influence each other. It can be said that the history of seal engraving art from Wen Peng to the 1950s and 1960s is the history of the seal engraving genre, and if it is combed, it can clearly see the inheritance and distribution of teachers among Indians. After Wen Peng and He Zhen in the Ming Dynasty, the Qing Dynasty seal carving has made greater progress in theory and practice, especially the Qing Dynasty epigraphy is prevalent, and the stele scholars are all good at seal engraving. The seal carvings of the Qing Dynasty and their epigraphy complement each other, and the main seal carvings in the early and middle periods were concentrated in Anhui and Zhejiang. In the genre of the Qing Dynasty, the cohesion of the Zhejiang school and its attraction to learners were very strong. Ding Jing, the founder of the Zhejiang School, developed the fine cutting knife style, which was summarized by Huang Yi, Chen Hongshou, Zhao Zhichen and other developments, forming a unique and strong style characteristics of the Zhejiang School. The Zhejiang school lasted for a century and is significantly related to its stylistic characteristics. Of course, this remarkable stylistic feature inevitably became increasingly stylized later. When the founders of the genre created the atmosphere, the successors often continued to expand and deepen the genre style from different angles, such as Han Deng'an said when discussing the Zhejiang school, "Ding Jingzhi's humble, Jiang Renzhiyi, Huang Yizhichao, Xigang's Ya, Qiutang's Work, Mansheng's Fang, Sub-leisure's Ability, and Shugai's Simplicity", which explained the respective characteristics of the eight schools of Xiling. Another example is Deng Shiru's initiative to "print from the book" and open up the "Deng School". On the basis of Deng Shiru's artistic style, Wu Rangzhi, as a descendant of the Deng School, emphasized the stylistic characteristics of this school with his own knife technique, reflecting a stronger artistic personality, and even Wu Changshuo believed that "after learning white, it is better to take the path of Rang Weng". Therefore, it should be said that the founders of the genre and their successors jointly shaped the genre style, so that the overall level of seal engraving creation in a certain period and region was improved, which is the positive significance of the seal engraving genre. (Li Gangtian and Ma Shida, eds., Seal Engraving, 295 pp., Jiangsu Education Publishing House, 2009)
A hundred years after the She school and the Zhejiang school swept the printing altar, the seal engraving at the end of the Qing Dynasty gradually developed into a creative path of "printing from books", "printing from knives" and "seeking printing outside India". The seal carvings of the late Qing Dynasty can be described as famous masters, and among them, those who have achieved outstanding achievements have all taken the three seal carvings of Zhao Zhiqian, Wu Changshuo and Huang Shiling as the main objects of taking and borrowing.
II. The "Shepai" Pioneered by Cheng Wei
Cheng Yi Zhu Wen "Dirt Dao Man Cheng Yi Mu Qian"
The printing surface is 2.7 cm long and 2.7 cm wide, which is the name of Cheng Yi's self-engraved name. This print is quite lyrical, and the indian glyphs are from the Zhong Ding script, and the glyphs are ancient and have symbolic meaning. The first line of "Dao" character strokes are scattered and full of energy; the third line of "Mu Qian" is taken from Jin Wen; the second line of "Cheng Qian" is often omitted and merged, almost indecipherable, especially the "邃" character strokes are looming, simple and vast, quite tao wen interesting. The outer frame line pen of the printing is broken, which enhances the virtual and real contrast of the whole square print. In terms of chapters, it is arranged in three lines, the line spacing is wide, and the printing surface is ethereal and scattered.
The founder of the Shepai, Cheng Yi (1607-1692), the character Mu Qing, a character of decaying people, the number of dirt Dao people, self-proclaimed Jiangdong Buyi, Shexian people, lived in Nanjing for more than ten years, after the death of the Ming moved to Yangzhou. He is jealous and hateful in his life, and he has befriended many people of integrity. He is good at the study of gold and stone research, and his collection is very rich, and he paints with a dry brush, which is very famous. The seal carving Zhu Wenxi uses a large seal, bai wen jing explores the Han method, and the sword method is solemn, which is the most divine. His predecessors spoke highly of his Zhu Wenyin. Cheng Yi's seals were carved in Wen Peng, He Zhen, Zhu Jian, and Wang Guanwai, and had a great influence on the later Deng Shiru. The Indians who belonged to the Cheng Sheshe sect (or "Hui sect") included Ba Weizu, Hu Tang, Wang Zhaolong, Huang Lü, Zhang Ke, and so on.
Cheng Yi Baiwen "Xu XulingYin"
The printing surface is 4.4 cm long and 4.4 cm wide, which is the largest size in the Cheng Dynasty. It is now in the collection of the Shanghai Museum.
This seal is based on the Han seal as the sect, and at the beginning and end of the pen, it is mostly a square pen containing the meaning of roundness, reflecting the realm of the hidden head and tail of the calligraphic brush, rich in connotation and thickness. The author punches the knife straight, and at the same time makes a lot of diagonal lines and arcs to break the horizontal and vertical atmosphere of the Han seal. This print is relatively large, coupled with a thick white print, such as horizontal and vertical, it is easy to form the disadvantages of plate stagnation, so the author will be each word of the straight line, diagonal line, arc processing is very coordinated. In particular, the "Asahi" character, the outer frame of the "Day" part is square folded, while the "nine" part is twisted, and the horizontal painting in the "Day" part is anti-"S"-shaped, which is extremely tortuous beauty. In terms of chapters, the four characters are arranged in palindromic format, and are evenly divided into upper and lower left and right printing surface spaces, coupled with the thickness of this seal with a knife, the magnificence of its strokes and the murkiness of its breath are worthy of our repeated taste.
Cheng Was in the late Ming and early Qing Dynasties, and the development of his seal engraving art was in a period of alternating between the old and the new. At that time, the seal carving circle followed Xi Wenpeng and He Zhenyin wind, which had been followed for a long time, and its descendants were unable to reorganize their strength, so that they gradually lost their vitality. Cheng Yi participated in the ancient text of Zhong Ding and used a shibu knife to imitate the ancient, which was refreshing. Zhou Lianggong admired him so much that he said in the "Seal of The Seal of the Book of the Book of the People", "The Seal of the Seal of the First Shangwen and the He, the Number of The First Seals of the Emperor Shangwen and He" was not uncommon, and he was disgusted by the world, and then the Duwang (Shizhen) and Li (Panlong) had to become Jinglingye. Huangshan Cheng Mu Qianyi traveled the world with poetry and calligraphy, accidentally made a print, and changed the old habits of the text, which the world called it. Zhou Lianggong also pointed out in the "Biography of the Indian People" before the "Huang JiShu Seal Spectrum": "If you want to be a master and a subject and bind the wisdom and wisdom of the world, you will bow down to the traces, and you will not dare to have any similarities and differences, let alone the situation, I am afraid that it is not uncommon." Therefore, Zhanghai Huang Zihuan and Shen Hesheng corrected it with the "Book of Knowledge", and Liu Yuzhong and Cheng Muqian combined the size of the "Book of Knowledge" into one, and acted in a bizarre and staggered way, wanting to overthrow the first life, although it was a temporary decision, there was also a force to be inevitable. "Cheng Yi's prints, Bai Wen avoids the old habits of Wen He, and the works are simple and thick; his Zhu Wen Yin absorbs Zhu Jian's technique of cutting the knife short, and the works are ancient and clumsy, and they are very personal.
Gao Fenghan Baiwen "Snow Hong Pavilion Chief"
This seal was engraved by Gao Fenghan when he was fifty-four years old for Dantu Zhu Yingrui. Zhu Yingrui, also spelled Liting, was a former gate official of the Mangdao River. Gong poem, author of "See the Mountain Tower Collection". It is now in the collection of the Shanghai Museum.
This seal has a six-sided knife, the printing surface is "Xuehong Pavilion Long", taking the French Manchu White Chinese Seal, the three characters of "Snow", "Pavilion" and "Long" are mainly horizontal pens, and the word "Hong" raises the first horizontal of the "Gong" Department to the top of the word, which is extremely exaggerated. There are edges on all five sides of this seal, and there are four fonts of seal, li, line and grass. The top section is the seal body "The Relic of the Cloud Bird Chronicle Official", a self-deprecating minor official of the gate official. The two sides of the book record Zhu Yingrui served as the gate official as an agent for government affairs, and inspected the disaster area in the cold winter. The Lishu section records that the engraving time was "Qianlong Bingchen Winter December". Cursive "White Dragon River Long Tibetan Seal", Bai Long Chuan is the zhu family residence, and the white dragon river chief should be the Zhu family alias.
At the beginning of the Qing Dynasty, the Indians who were influenced by the Cheng Seal style and who were not far from Cheng Fenghan were Gao Fenghan, Shen Feng, Gao Xiang (Fenggang), and Pan Xifeng. Because the four people all had the word "phoenix" in their names, they were called "four phoenixes" by the people of the time. Among the four of them, Gao Fenghan and Gao Fenggang are members of the "Eight Monsters of Yangzhou", while Shen Feng and Pan Xifeng have close contacts with the "Eight Monsters of Yangzhou", and the four of them have relatively similar aesthetic interests. Gao Fenghan (1683-1749), originally known as Han, Zixiyuan, Nanfu, etc., a native of Jiaozhou, Shandong, was one of the "Eight Monsters of Yangzhou". At the age of about thirty, he was instructed by Zhang Zaixin and began to contact Cheng's works in middle age. At the age of fifty-five, he was arrested and imprisoned because of the involvement of Lu Mizeng in the case of the two Huai salt transporters, resulting in the crippling of his right hand, so he switched to the left hand seal carving. His seal carving is extremely important in the Yangzhou art scene, and Ruan Yuan's "Guangling Poetry" said: "The seals of Zheng Banqiao are all in the hands of Shen Fanmin (Feng) and Gao Xiyuan (Fenghan). Gao Fenghan once said in a letter to Leng Zhongchen: "Yu Jin learned the seal seal, and once he took the "Seal Unification" and the old Han copper chapter he received as a teacher, he felt that the wise and famous hands he had seen in the north and south were all in the habit. Therefore, recently with the guests on the seal, each to wash away the book gas as the first... It is necessary to go straight to the original and glimpse the beginning as the first righteous ear. Gao Fenghan's seal engravings, like his poetry and paintings, are mostly informal, and can be innovative, so Wang Qishu called his works "ancient and simple, rare and beautiful".
Gao Xiang Vegetable Fragrant Fruit Green Xuan
Shen Feng Paper window bamboo house lights up
Pan Xifeng painting Zen
Gao Xiang (1688-1753), the character Fenggang, with the character line, the number of the Western Tang, Jiangsu Ganquan (now Yangzhou) people, a cloth cloth, books, paintings, printing called "three absolute". The "Continuation of the Paintings of the National Dynasty" says that he was "Gong Miao Seal, Sword Master Mu Qian", punching and slashing, the breath is high and ancient, and his seals are not willing to follow the old routine, especially do not like to please people with delicacy. For example, the "Green Xuan of Vegetables and Fruits" is a seal, and the seal is slightly peeled in the slender text, which has the beauty of ancient Mao. Shen Feng (1685-1755), zi fanmin, number supplement luo, Jiangyin, Jiangsu people. His "Qianzhai Seal Genealogy" prefaces: "In the past twenty years, four to the Beijing master, once they arrive at Jiuquan, they will search for ancient and modern famous relics, and those who carry them to the south, all dozens of kinds"; his master Wang Shu's "Preface to the Qianzhai Seal Spectrum" said that his seal engraving was "useless, should be empty, naturally into the ancient, Gai Fan Minxin can be described as a person who takes a lot of fine and uses things." Shen Feng is fond of ancient habits, often visits famous traces to enrich the seal carving, and is friendly with Zheng Banqiao, so part of the seal of the Zheng clan is engraved by Shen Feng. Shen Feng's seal engraving is obviously also influenced by Cheng Yi, such as the "paper window bamboo house lights and green screens" a print, the old pen is covered, quite cut beauty. Pan Xifeng (1736-1795), the character Tonggang, the number of Lao Tong, Zhejiang Tiantai people, later lived in Yangzhou. Pan Xifeng is a solid fanggu, has excellent knowledge, and is good at carving bamboo, and the "Biography of Donggao Yinren" quotes Zheng Banqiao as saying: "Pan Tonggang gong carved bamboo, Pu Zhongqian is only one person after him." And Zheng Banqiao's "Twenty-one Absolute Sentences • Pan Xifeng" Yun: "Try to see Pan Lang finely carved bamboo, how about the chest without ten thousand volumes?" "Extremely heavy.000. Wang Qishu's "Biography of the Continuing Seal" said that he used "Yu skill to engrave seals, to breed relatives and friends, a fashion, and good ancient people to buy yan". Pan Xifeng's seal engraving was more or less influenced by Cheng Yi, such as the "Painting Zen" seal, which has a raw and simple beauty.
Ba Wei Zu Zhu Wen "Lower Riba People"
This seal is a representative work of Zhu Wen of Ba Wei Zu Yuan. In 2009, Beijing Kuangshi Auction Company auctioned a group of Ba Wei zu self-use mother-and-son overprints, with a total of 20 printing faces in the four print sets, and "Lower Riba People" is one of them.
This seal is two dense and two sparse, diagonally distributed. The strokes are neat and vigorous, the concept is extremely exquisite, the font is compact, the sparse is dense, and there is the elegant beauty of the spring breeze and willows. Zhao Zhiqian once said to his friend Wei Xi that "there are many kinds of excuses in recent works." In his self-use seal "Zhao Zhiqian Seal", the treatment of the last stroke of the "yin" character borrows the treatment method of the "Ba" character of Ba Weizu's seal. In modern times, Chen Julai, a member of the Yuan Dynasty Zhu Wen, also copied this seal, and made slight changes to the seal law, which was quite rigorous and became one of his masterpieces.
Hu Tang ZhuWen "White HairEd Scholar"
Hu Tang was the nephew of Ba Wei Zu, and the seal was engraved by his uncle, so it was printed as Wan Yue Qingli, and the style was similar to That of Ba Wei Zu, and was called "Ba Hu" at that time. Zhao Zhiqian has great respect for the two, and once had a verse that reads, "Zhejiang and Anhui can be counted, Ding Huang Deng Jiang Ba Hu Chen (Man Sheng)", Hu refers to Hu Tang.
There are not many seals handed down from generation to generation in The Hu Tang Dynasty, this seal is its representative work, and later generations of viewers commented: "Imitation of the Yuan people to do also, vigorously deal with it." The two lines of this print are densely contrasted, the word "white" shrinks, and the word "hair" expands, becoming a staggered state. The border line of this seal is curved inward and broken, and this tortuous break is extremely harmonious with the print, just like the bronze seal is damaged by external forces. Later, Wang Fu'an had a fine Zhu Wen imitating sealing mud all the way, and often used this method to deal with the border, which should be inspired by Hu Tang.
In addition to the above-mentioned families, Ba Weizu and Hu Tang in the "Four Families of She" were also influenced by Cheng Yi. Ba Weizu (1744-1793), zi juntang, Jin Tang, number Yu yuan, also known as Zi'an, Lianfang, etc., anhui she county people. Ba Weizu copied the ancient seal, immersed himself in the Qin and Han Dynasties, obtained the qi of Gu Mao, and also mechanics the Zhu Wen of the Tang and Song Dynasties of the Six Dynasties, so his seal engraving work was exquisite, and the composition was precise and varied. Ba Wei Zuzhiyin first learned Cheng Yi, and later changed to Learn Chinese Yin, he followed Cheng Yi and then rose, the printing style is similar to Cheng Yi, but the style is more simple and standardized, elegant and stable, and has a very beautiful and delicate beauty. Later generations praised his seal carving as "skillfully guiding hands, meditating on nature, and those who see it cannot be exhausted all day long." Ba WeiZu made a seal, no matter how white or large, he could firmly grasp the steady and quiet style without the slightest impetuousness. This is related to its efforts to imitate the ancient seal of Han, imitate bronze Yi ware, and play with ancient artifacts for a long time. Hu Tang (1795-1826), a Chang Geng, Zi Xi, a resident of The East of the City, a resident of Muyan County, Anhui Province, was the nephew of Ba Weizu. Ba Weizu and Hu Tang were especially good at engraving in the Qin and Han seals, and they made progress over Cheng Yi in terms of form and god, and at the same time, they took Yuan Zhuwen as their ancestor and pursued a stable and exquisite printing style, which was influenced by Wang Guan and Lin Gao.
Lin Gao Zhuwen "living in the city means in the mountains and forests"
The Changshu Museum has a collection of fifty-three Lin Gao seals, one of which is one. This batch of seals is the old collection of the Qu clan of the Tieqin Bronze Sword Building, buried underground after the outbreak of the Anti-Japanese War, excavated in 1976, when excavated, this batch of seals had different degrees of damage.
This seal is rigorous and tidy, showing people the potential of the Yuan Zhu Wenyin in expressing the delicate and beautiful style, and providing an important reference for the development of the Yuan Zhu Wenyin in the future. Although Wang Guan in the Ming Dynasty already had a stable Yuan Zhu Wenyin, Lin Gao's creations were of higher quantity and quality, and their influence was more far-reaching. This seal method mostly uses small seals, simple and complex chapters, careful handling, steady knife method, straight and vigorous without modification.
Lin Gao Zhu Wen "Case has Huang Tingzun has wine"
Lin Gao engraving particularly pays attention to the seal method, rarely mixed with ancient texts, this seal is purely miao seal. Its lines are stunning, thin and strong, very straight. The chapter method adopts the layout of right four and left three, and the space occupied by the word "zun" is the same as that of "case", forming a dense contrast.
If Lin Gao's Yuan Zhu Wenyin is compared to a branch spring flower, then the Yuan Zhu Wenyin of the Zhejiang Sect is a cold plum in the snow. The Zhejiang school wins with a cutting knife, and its white text printing side is quite spicy and extremely personal. Their Yuan Zhu Wenyin is also unique, and the round and vivid seal method is matched with a spicy and rhythmic knife method, giving people a sense of dislocation beauty.
Before the Zhejiang faction, the Wumen and Hui factions ruled the seal altar for more than 150 years, and the Indians were mainly concentrated in Huizhou, Nanjing, Yangzhou, and Suzhou. At that time, Cheng Yi's printing style swept through the altar of printing and was admired by most Indians. Zhejiang prevailed in lin gao's dense and beautiful printing style, and Lin undertook Wang Guan in printing studies, which belonged to the Wumen school system. Generally speaking, in the early Qing Dynasty, except for Cheng Yi, the leading figures of the Hui Sect who were active in Yangzhou, and Lin Gao and Shen Shihe of the Yushan Sect, some other Indians had little influence on various printing styles in the middle of the Qing Dynasty or later, and their basic artistic achievements were not high. Lin Gao (1657-?) character Hetian, a character crane, Fujian Putian people, overseas Chinese changshu, in the foothills of Yushan Built "Baoyan Zhai". Fine seal carving, patriarchal Wen Peng, re-acquisition of the Law Shen Shihe. The work is stable and elegant, and it is important to the times. At that time, the seals used by famous calligraphers and collectors such as Wang Yi, Yun Shouping, Wu Li, Gao Shiqi, Wang Hongxu, Xu Qianxue and others were more than their hands. He also visited the Taicang Wang family for a long time, and made a lot of seals for Wang Shimin. Later generations called him the "Putian Faction", and some people called him, together with Wang Guan and Shen Shihe, the "Yangzhou Faction". Lin Gao was very particular about the seal method, the chapter method and the sword method, and the printing style was beautiful and vigorous, and the printing style of Wang Guan was carried forward, and its influence even continued until the middle of the Qing Dynasty.
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