Ding Jing Zhu Wen "Mountain Boat"
This is ding jing's seal engraved for Liang Tongshu. Liang Tongshu, ZiYuanying, Shanzhou. In the side paragraph, Ding Jing explained the reason for engraving this seal: "The Tianlong Monk's House has a plaque with the word 'Mountain Boat' written by Yuanren Guanyunshi, which is easy and pleasant, and Yuanying's filial piety and love are not ignored, and they ask for the seal stone to use it." And his family lineage was once close to his land, and the seal was to be issued on the seal to raise the ear of the house. Dongpo is not cloudy: 'I return with this stone, and there is the East Sea in my sleeve'. Now and then with your own mountain boat, there is no need to order the engineer to ask for a big wood, how to do it! In February, honorifics. "The language is funny and humorous, and it is not inferior to the Ming and Qing essays. This seal is in the style of an ancient seal, the two words are diagonally distributed, the word "mountain" is on the upper right, and the word "boat" is placed horizontally on the lower left, and the whole seal method is extremely sparse, concise and vivid.
Jiang Ren Zhuwen "True water has no fragrance"
This seal was engraved by Jiang Ren of Qianlong Jiachen (1784) when he was 42 years old, and is one of Zhu Wen's masterpieces, which is now in the Shanghai Museum.
This print has four sides and nearly three hundred words, which can be called a huge production. The long section records the reunion of friends, recalls the acquaintance with Huang Yi, and is full of reverence for Ding Jing's seal carving: "Sighing at the seal of Ding Jing, Yu Huan hua poems, Chang Li pen, outstanding, incredible." When he was proud, he surpassed Qin and Han, and Gui, Li, Wen, and He Wei were not enough to compare. Gui Changshi, Li Liufang, Wen Peng, and He Zhen were all famous seal engravers in the Ming Dynasty, and Jiang Ren believed that Ding Jing's status in the history of seal carving exceeded these four, and his admiration was overflowing with words. The four characters of this seal are arranged in palindromics, the glyphs are simplified as much as possible, and the words "water" and "incense" are subtracted by the subtraction method, which occupies a small space and forms a diagonal echo. In the side section, Jiang Ren said that this seal was "made quickly", which shows that the engraving process is still free and natural.
Huang Yibaiwen "a smile and a hundred worries"
This seal was engraved by Huang Yi for the printing scholar Wang Qishu, and bian Qianyun said: "I gladly did this in the book series, how is it better than xi jiuyin?" Ji Fangjia's thesis is certain. Huang Yi looked at it and asked himself how he was better than Xi Gang, which showed that he was quite satisfied. Wang Qishu (1728-1799) compiled a large number of printed notations in his lifetime, and also compiled the "Biography of the Continuing Seal", etc., which can be called an expert in seal engraving, so Huang Yi must be like a lion fighting elephant for it, and go all out to go to it.
The words "one" and "laugh" in this print have few strokes and occupy the same space as "worry". The heart of the word "worry" is processed into a horizontal pen, which saves space and is different from the heart part of the word "forget". This seal is cut and applied with a knife, the knife technique is vigorous, the strokes are thick and simple, and the whole gives people a sense of simplicity and tranquility.
Xigang Zhuwen "Dragon Tail Mountain House"
This seal was carved by Xi Gang when he was twenty-five years old for the painter Wang Shilei. Wang is a Wuyuan person, living in Yangzhou without forgetting his hometown, saying that his room is "Longwei Mountain House", and Xi Gang carved this to "beautify his ambition of not forgetting his homeland". Longwei Mountain in Wuyuan, Jiangxi, the heirlooms of Sheyan are all produced in Longwei Mountain, this Indian edge saying: "Longwei Mountain from the Southern Tang Dynasty, after its famous works in Xingyuan, Stone of The Sonorous, Water of the Lingling, he mountain or no excess." ”
This Yinyuan Zhuwen has a strong meaning, the strokes are vigorous and colorful, the strokes are gentle and flowing, the structure is dense and elegant, it seems elegant and elegant, and it stretches freely. The "mountain" character box is arranged in a network of layers to coordinate the lush chapter processing. All indian lines are curved, mostly curved upwards, and the arcs are occasionally broken, making the changes rich and not monotonous. This imprint floats in nature without being pretentious.
After ding jing, Jiang Ren, Huang Yi, and Xi Gang, Chen Yuzhong, Chen Hongshou, Zhao Zhichen, and Qian Song were called the "Four Families of XilingHou", and together with the first four were called "Xiling Eight Families". The "Four Houses of Xiling" were mainly active during the Qing Jiaqing, Daoguang and Xianfeng periods (1796-1862). The era in which the latter four families lived was the heyday of the Zhejiang school of knife techniques, Chen Yuzhong was more introverted with knives, and Chen Hongshou, Zhao Zhichen, and Qian Song were all known for their spicy and bold use of knives. In terms of the arbitrariness of using knives, Chen Hongshou is the most prominent; in terms of the delicacy of using knives, Zhao Zhichen's technique is the best; Qian Song's knife goes beyond the scope of the traditional Zhejiang school, using both cutting knives and cutting knives, and the printing surface is thick and strong. The last four household knives have been different from the "fine cutting knives" of the first four, but the amplitude of the cutting knife edge has been increased, and the "crushing" has become "long cutting", and more attention has been paid to the fun of natural stone peeling at the falling knife.
The formation of the Zhejiang school of printing wind began in the first four houses of Xiling, Ding Jing had the merit of opening the mountain, and the establishment of the Zhejiang school of printing style and the introduction of the cutting knife method were all related to Ding Jing. Jiang Ren, Huang Yi, and Xi Gang concentrated their energies on Ding Jing's imitation of Han Bai wen and Fang Jiao Zhu Wen, and refined them on this basis, thus forming the recognized zhejiang school of printing style. If the first four of Xiling completed the creation and determination of the basic forms of Zhejiang printing style, the last four promoted the Zhejiang school of printing style to a high degree of maturity (Tang Yinfang, "Analysis of Zhejiang School Classic Printing Techniques", pp. 78-81, Chongqing Publishing House, 2006).
Chen Yuzhong (1762-1806), also known as Junyi, was a native of Qiantang (present-day Hangzhou), Zhejiang. He inherits his family's studies and collects ancient seals, calligraphy and paintings. Calligraphy Sect Li Yangbing, Shanshui, Meilan Bamboo Pine all see the power, seal carving Zong Ding Jing, and Qin Han, printed beautiful craftsmanship, self-style, calligraphy printing is extremely worky. In the past, there are "Qiushi ZhaiYin Spectrum", "Ancient and Modern Painter Biography", "Qiushi Zhai Collection" and so on. Chen Yuzhong's seal carving is rigorous, elegant and rich, rich in bookish atmosphere, and is a representative of the stable and elegant printing style of the Xiling family. When he was thirty years old, he once said in the "Zhao Jining" print: "Calligraphy is superior to risk, and the same is true for printing, it must be those who have been fair and upright, they can follow it, cover it with integrity and abide by the law, take advantage of the danger, the law is familiar, and the natural intricacies and changes are dangerous." Seven years later, he said in the "Home on the East Bank of Wushan Mountain" in the printing: "There is no other wonderful thing in the printing of the past few years, but it can be made by hand, and nothing is made, if it is out of change, it will be a different day." "From this, we can see its aesthetic purpose, but it is a pity that he died young."
Chen Hongshou (1768-1822), also known as Gongzi Gong (恭), Mansheng (马公), Gongshou (恭寿), Zhongyu Xianke (種榆仙客), Jiagu Pavilion Chang (楇谷亭長), Lao Man (老馬), was a native of Qiantang (present-day Hangzhou), Zhejiang Province, and had been awarded Liyang Zhi County with tribute. Gong poetry, good calligraphy and painting, its writing is steep and elegant, lishu is strange and simple, and there is a Qing dynasty. He also made Yixing purple sand pot, created eighteen new styles, and personally wrote an inscription, which was called "Mansheng pot". There are "Seed Yu Xian Guan Seal Spectrum" and "SangLian Li Guan Collection" published.
Chen Hongshou seal engraver Fa Qin Han Seal Seal, beside Ding Jing, Huang Yi and others, Wednesday Xie once said in the inscription of the "Seed Yu Xianguan Seal": "Long Hong is good at using blunt, Man Shengjian is profitable; Xiao Song is good at using Hun, Man Sheng is also using sharp; Qiu Tang is good at using zheng, and Man Sheng is good at play." In the preface to the "Seal of the Yuxian Pavilion", Chen Hongshou is also said to have a seal engraving: "Following the two families (Huang Yi and Chen Yuzhong), it can be reconciled with the two families and combine their strengths." And the divine sense is not in the two houses, and there is no one who can pass it on. "Huang Yi uses a knife to be peaceful, while Chen Hongshou uses a knife to be arbitrary, and his seal engraving works are canghun and ancient, and there is a kind of bold and bold atmosphere, which is almost like a cloud of mud with the style of the early Zhejiang school.
Zhao Zhichen (1781-1852), also known as Baoyue Shanren (宝月山人), and Zhai (斋号羅加室). A native of Qiantang (present-day Hangzhou), Zhejiang. In his lifetime, he did not enter the career path, and entertained himself with jinshi calligraphy and painting, and Ruan Yuan's "Jigu Zhai Zhong Ding Yi Instrument Style" copied the ancient artifact text more than his hand. There are "Supplementary Luojia Room Collection" and "Supplementary Luojia Room Seal Spectrum" published. Zhao Zhichengong calligraphy, good at painting landscapes and flowers, seal carving chen Yuzhong as a teacher, but by Chen Hongshou's influence is even greater, the early and middle works are quite impressive, strive for cleverness, knife method is heavy, its edges are also famous for neatness, especially the method of cutting knives is known as the printing altar, but in his later years, his works flowed in habit, mostly showing the shape of jagged swallowtails. Its stamp side style is unique, the font is combined with the line, the knife is spicy, and it is full of gold and stone interest. Zhao Zhichen was diligent in playing knives, and engraved tens of thousands of seals in his lifetime, which was the largest number of seal engraving works in the eight families of Xiling.
Qian Song (1818-1860), initially known as Song Ru, Zi Shu Gai, Nai Qing, Xi Guo Wai Shi, etc., was a native of Qiantang (now Hangzhou), Zhejiang. Good drum and piano, gong seal li, fine iron pen, also good plum bamboo, Tibetan ancient stele old Tuo all have inscriptions. In the evening, he formed a association with Yang Da And Monk Liuzhou in Nanping. In the Xianfeng Decade (1860), the Taiping Army captured Hangzhou, and Qian Song had a strong personality and died after taking medicine. There are "Tielu Seal Deposit", "Qianhu Seal Spectrum", "Unintended Room Seal" and other works.
Qian Song was the temple army of the "Eight Families of Xiling", the seal carved the zhejiang sect of the family, and then turned to the Yiduo division, especially did not hold the view of the portal, and tasted his own art: "The seal carving of the national dynasty, such as the thickness of Huang Qiu'an, the composure of Jiang ShanTang, the dilution of Xi Mengquan, the fiber of Chen Qiutang, the innocence and nature of Chen Mansheng, the ding blunt Ding Qingqi Gaogu, the perfection of its wonders." Yu then followed its original Qin Han. Qian Song also drew nutrients from Deng Shiru and other prints, and carved a seal to sweep away Zhao Zhichen's habit of jagged swallowtails, taking advantage of the circle and making it strong and ancient. Even Zhao Zhichen, who was in the position of leader of the Zhejiang Sect at that time, also exclaimed: "This Ding and Huang Hou are not as good as the former Mingwen and He Zhujia. ”
Yang Da Once saw a "Han Copper Seal Series" on Qian Song's desk, in which "lead and yellow are messy", which was densely annotated by Qian Song. Qian Song himself said: "Copy and imitate one by one, year after year, unconsciously imitate for several weeks." "Qian Song's seal carving is thick and simple, the momentum is extraordinary, in addition to talent, Gai is able to taste the Han seal of two thousand squares, and no one can reach it." Qian Song's printing style was also admired by Zhao Zhiqian, Wu Changshuo, etc., and had a profound impact on modern Indians such as Wu Changshuo.
Chen Yuzhong Baiwen "I was born without a field to eat and break the stone"
The content of the indian text comes from Su Dongpo's poem ("I was born without a field to eat and break the stone, and the Erlai yan can't be worn out"). Chen Yuzhong asked Huang Yi to engrave many square seals and carefully observe and learn, and also referred to Huang Yi's works in his creation. According to the side paragraph, Huang Yi once engraved zhu Wenyin with the same content, and Chen Yuzhong believes that Huang Yi's seal is "more interesting in the circle". However, he used a framed white text to engrave this seal, and the two sides of the chapter were secretly virtual, and Chen Yuzhong said that this seal was "not as good as the flow of Sima In the side paragraph", which was actually a self-effacing language.
Chen Hongshou Zhu Wen "Ask Mei News"
This seal was engraved by the painter Wang Xi, whose original name was Shu, the character heart is ru, the number of the new tree, and the work painting plum. Among the four characters, the words "ask" and "interest" are mainly horizontal pens, and the words "mei" and "elimination" are mainly vertical pens, showing a diagonal echo trend. This is printed with Chen Yuzhong's book: "Yu Zijiachen and Mansheng have been friends for more than twenty years, and their hearts have been imprinted, and there is no gossip in the end." Although the seal is carved with the same ability, its heroic spirit is beyond the reach of the rest, and if it is discussed in terms of work, the rest has not much to give. Chen Hongshou's "Yingmai" and Chen Yuzhong's "Gongzhi", both of them have their own strengths and weaknesses. Guo Lu once said when commenting on the two people's seal carving: "Qiu Tang is noble and dense, and it is prudent to be in the Fadu; Man Sheng is proud of his ups and downs, but he has not crossed the line." "It's a comment.
Zhao Zhichen Zhu Wen "Immortal Dependents"
This print was made in the seventeenth year of Jiaqing (1812) and is a representative work of Zhu Wenyin of Zhao Zhichen. The four-character seal method of the indian character is intricate, separated by a field character grid, and each word occupies a relatively independent space. In the preface to the "Eight Seals of Xiling", Luo Yu once had this evaluation of Zhao Zhichen: "Although he was a disciple of Qiu Tang, he was a disciple of Qiu Tang, and he turned to many teachers, and all the four schools in Yuli were imitated, that is, none of them were endlessly portraits. In his later years, the gods and the ancients, the sharp edges, all the less than the aspirations, are actually the last of the four families. This kind of Zhejiang Zhu Wen's treatment of tian zi ge is also occasionally seen in Chen Hongshou's seal carving.
In the treatment of this seal, Zhao Zhichen made a certain simplification of the seal characters. The horizontal placement of the "眷" character not only saves the horizontal pen, but also echoes the western part of the "xian" character. The "genus" part of the worm is simplified to the shape of "厶". Zhao Zhichen once said: "Fang Zhuwen is mainly active, and you have a circle in the fang, which began with the will of Song Yuan." The word "God" in this seal is all square pen, while the other three characters have arc pens, and the combination of squares and circles shows a calm beauty.
Qian SongBaiwen "Fuchun Hu Zhenbo Fears Fu Seal Letter", Zhu Wen "Hu Nose Mountain Man Song Shaosheng Hou Twelve Ding Ugly Life"
This seal was carved by Qian Song for Hu Zhen, and the two were also teachers and friends, and Qian Song carved nearly 100 squares for Hu Zhen, all of which are exquisite works. This white text seal is imitating Jiang Ren's "Shao Zhi Pure Character Huai Pu Seal Letter" Indian style, separated by nine characters in the nine palace grid, and the knot body is mostly used as a round pen. The word "Bo" in the middle is processed as a peach, which is the fortyth birthday of Hu Zhen, so there is a meaning of celebrating the birthday with a shou peach, and it is left red and eye-catching, the layout is natural, simple and atmospheric. On the other hand, Qian Song carved "Hu Nose Mountain Man Song Shaosheng Hou Twelve Ding Ugly Sheng", which is also separated by boundary grids. The side section records that Qian Song used Ming Tuo's "Li Zhongxuan Repair confucius monument" and the Kangxi porcelain seal box as Hu Zhen's birthday, and the other side is the "Hu Nose Mountain Song Kai Kai Inscription" inscribed by Qian Song's student Hua Fu four years later. The golden stone karma of the digital indian world is presented on the square inch of the seal stone, and it is quite emotional to read more than 160 years later.
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