Judges
Introduction to art
Cai Zhaobo CAI ZHAO BO
He is a member of Xiling Printing Society, the president of Guangdong Southern Printing Society, a member of the Chinese Calligraphers Association, a vice chairman of the Guangdong Calligraphers Association, a librarian of the Guangdong Provincial People's Government Literature and History Research Museum, a leading talent in propaganda ideology and culture of the "Guangdong Special Branch Plan", vice president of Guangzhou Xinhua University and dean of the School of Art Design and Media, a professor, a former party secretary and director of Guangdong Southern Television Station, a deputy director of Guangdong Radio and Television Station, and a judge of the Seventh Cross-Strait Young and Middle-Aged Seal Engraving Competition.
Traced back to Lingnan Indian Studies
Cai Zhaobo / Wen
Yin Xuezhao began with Yin Shang and flourished in Qin and Han; After experiencing the decline of the Tang and Song dynasties to the revival of the Ming and Qing dynasties, from the Jin Dynasty to the middle of the Ming Dynasty, masters are rare.
The development of Lingnan Indian studies has always been in line with the Central Plains. From the formation of the "Yishan School" in the Qing Dynasty to the emergence of famous seal engravers in modern Lingnan, Lingnan Printing Studies eventually became a school of its own and ascended to the Chinese seal altar.
Emperor Wen Xingxi The Museum of the King of Nanyue of the Western Han Dynasty
The source flow began in the ancient kingdom of South Vietnam
To study Lingnan printing, starting from the existing physical seals, the earliest is the 11-square text seal excavated from the tomb of the King of Nanyue in 1983. It was the mausoleum of Zhao Ming, the second king of the South Vietnamese kingdom.
Most of the seals are "imitation seals", although the printing surface is mostly with the Qin system of Tian characters and Japanese characters, such as "Emperor Wen Xingxi", but according to research, they were all self-made by the South Vietnamese state in that year.
Zhao Ming ascended the throne in the fourth year of Han Jianyuan in 137 BC and made the seal of "Emperor Wen's Seal". This batch of seals is the physical object of the Lingnan seal that can be seen more than 2,000 years ago, which is exquisitely made and the artistic level is quite high, which is of great value for the study of central plains culture and Lingnan culture, especially Lingnan printing culture.
"After the Wei and Jin dynasties, there were very few seals circulating in the Lingnan region, and the Sui and Tang seals were not found in excavations and historical records. The Three Kingdoms Eastern Wu 'Sixing Zuo Wei' seal, the Jin Yongjia period 'Yamen General Seal' and 'Guannei Marquis Seal', the Southern Dynasty 'Zhou Chenggong' six-sided copper seal and the Song 'Liu Jing Seal' copper seal, etc., are far inferior to those of the Nanyue King in terms of artistic level and craftsmanship. (Liang Xiaozhuang's "Lingnan Seal Carving Series")
Huang Mufu carved Qingtian stone for Xu Yong's own use
Prosperity, Ming and Qing dynasty famous families
In the late Ming Dynasty, Guangdong produced many seal engravers. In Ma Guoquan's article "Three Hundred Years of Guangdong Seal Altar", the well-known seal engravers who are pointed out are Ma Yuanbo, Guo Anshi, Yuan Dengdao, Zhu Guangye, etc., of which Zhu Guangye's "Zhu Weiyang Yinluo" and Yuan Dengdao's "Daosheng Seal Spectrum" have been preserved.
The Zhu seal Qingli Gong is stable near the Wensan Bridge, and the work of the Yuan clan has a Han charm. By the Qing Dynasty, the Guangdong Printing Altar was prosperous. The works chun hou cangxiong directly followed the hanyin's first recommendation Li Jian (1747-1799) and Chen Li (1810-1882), but the works did not circulate much.
Chen Li compiled the "G Yin Shu", and his grandson once donated Chen Li's 6 self-casting seals to Sun Yat-sen University. His works are deeply rooted in the three tastes of Chinese printing; Li Jian's prints are scattered in his calligraphy and painting works.
Sequel to "HanYin Rhymes"
It is worth mentioning that in the middle of the Qing Dynasty, Guangdong Nanhai produced a Xie Jingqing (1735-1806), not only the seal deeply understood the spirit of the Yuan Seal, but also studied printing, collected and compiled the sequel to the "Han Seal Rhyme", which is still a necessary book in the hands of the plotters; in the thirty-seventh year of Qianlong (1772), pan Youwei (1743-1821) of the Guangdong Qingyu people, the official to the cabinet, compiled six volumes of "Kanzhu Lou Bronze Seal Spectrum", and Weng Fanggang compiled it into the "Two Han Golden Stone Seals", which shows the great influence.
Later, He Kunyu (1828-1899), a high-ranking figure in Guangdong, assisted Chen Jieqi in compiling the "Ten Bell Mountain House Printing"... At this point, we can see that the Guangdong printing altar at this stage is quite active.
On the one hand, pay attention to rational discussion, Jin Shi examination, and write books; on the other hand, in the creation of works, the pursuit of Qin and Han is the mainstream, both immersed in the Yuanyin and Zhejiang schools, but they can all have their own faces, just like classical songs, whether it is graceful as Liu Sanchang, or extravagant Ruosu Dongpo, all of which emit their own fragrance in the art garden.
Snow hair (with side paragraph) Huang Mufu seal
Rising, Lingnan Indian Studies is a school of its own
In the late Qing Dynasty, the "Yishan School" was formed in Lingnan and still influences Lingnan. Huang Mufu (1849-1908), the founding master of the "Yishan School", entered Guangdong from Anhui and lived in Guangdong for eighteen years.
Turning over Chen Julai's "Seal of the Anzhi Jingshe", there are: "In modern times, there are Li Xizhai Yinsang, Long Live Deng Erya, and Yi Dachang Tingxi, the three kings, who have come out of their origins, and they have come out of Mufu, each of them has some expertise, and he has not been able to xuanxuan." The influence of Huang Mufu on the Lingnan Printing Altar can be proved, which shows the status of the Lingnan Indians in modern China.
For a hundred years, Lingnan has continued the "Yishan School" printing style, from Li Yinsang, Yi Dachang, Deng Erya, such as Feng Kanghou, Jian Jinglun, Rong Geng, Huang Wenkuan and so on. And these achievers are all well-educated people with academic qualifications and rich experience.
Luofu Daoist Deng Erya seal
Kang Hou carved a high mountain stone squirrel button for Tang Shaoyuan
A long list of shining names means the historical status and pattern of the Lingnan Printing Altar, and everyone who carves the seal is all based on their own academic cultivation, experience, social life, natural phenomena, screening and sublimation in the small square inch world, and becoming a family of its own.
Through the above combing, we can see that in the middle of the Ming Dynasty, especially since the late Qing Dynasty, the Lingnan Seal Altar can be said to be the seal carving of the history of Chinese printing; the Lingnan Seal Altar in the early Ming Dynasty has also become the world of the Yishan School.
In an era when China and the West collide and the old and the new alternate, Guangdong, like other provinces with more successful seal engravings, has made great contributions to China's printing altar, and seal engravers have created and continued to write a glorious history of the development of Lingnan seal carving.
In essence, during this period, Lingnan seal carving, like the Lingnan School, although there are differences in artistic means, forms of expression, creative themes, etc., in essence, they objectively reflect the exploration process of traditional cultural elements from inheritance and promotion to digestion, refinement and development.
Embodying the artistic spirit of "eclectic East and West, integrating ancient and modern", the works have obvious regional characteristics and characteristics of the times, are full of reform and innovation, and are known as a three-legged trend with Beijing and Shanghai.
Meng'an (with side section) Yi Da Factory Seal
Scholar, promote the development of gold stone seal carving
In addition to the prosperity of the Lingnan seal altar in the Qing Dynasty, in addition to the law of the rise and fall of the development of things, as well as the above-mentioned brilliant seal engravers from top to bottom, the "scholars and officials" who went to Lingnan to promote the golden stone seal carvings in the Qing Dynasty were indispensable.
Weng Fanggang, Qianlong twenty-ninth year (1764) as Guangdong xuezheng, living in southern Guangdong for eight years. Weng was a famous epigrapher, he advocated the study of jinshi, and wrote the "Golden Stone Record of Eastern Guangdong", which played a role in promoting the development of Lingnan printing; Yi Bingshou served as the prefect of Huizhou, Guangdong in the fourth year of Jiaqing (1799), advocated education, and exchanged more jinshi calligraphy and painting with literati and scholars, and wrote a preface to Huang Yue's "On the Seal of Yumen" and influenced Lingnan printing; Ruan Yuan, who had been in Guangdong for eight years before and after, was the governor of Liangguang in the twenty-second year of Jiaqing (1817), he was deeply involved in printing, and often shared his collection of Qin and Han seals with Indian scholars. Create a good creative atmosphere of Lingnan Printing... Under the active guidance of Weng Fanggang, Yi Bingshou, Ruan Yuan, and later Zhang Zhidong, lingnan jinshi scholars have emerged, and the collection of ancient seals and the creation of seal carvings have gradually flourished, prompting lingnan seal carvings to continue to go to glory, and the legacy of the wind and currents has not faded.
Weng Fanggang Book
At present, the country is vigorously promoting the inheritance and development of traditional culture. The seal engravers in Lingnan should have the responsibility of being artists of the times. "Art should resonate with the same frequency as this era", invigorate the national spirit, lead the social trend, let art become a positive force for the revitalization and development of the times; take root in the fertile soil of Lingnan culture, with a high sense of mission and responsibility, strive to build brand activities and positions, send out a strong voice of the Guangdong seal carving industry, strive to integrate artistic sentiments and cultural pursuits into the fiery life of the new era, consciously inherit cultural traditions through artistic creation, continuously inject fresh blood, and make greater contributions to the inheritance and innovation of seal carving art. Innovate in the inheritance, showing a unique aesthetic interest and spiritual purpose.
Dreamland Waiting for Printing Huang Wenkuan Seal
·Welfare Attack·
"Blessed State" portfolio
Fujian Fine Arts Publishing House
December 2020
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