Zhu Qi
Born in 1980 in Nanjing, Jiangsu Province. Associate Professor of the School of Fine Arts of Nanjing Xiaozhuang University, Doctor of Art of Nanjing University of the Arts (Theoretical Direction of Calligraphy and Seal Engraving Creation). He is currently a member of xiling printing society, a member of the Chinese Calligraphers Association, the Chinese Chinese Painting Society, the Chinese Literary and Art Critics Association, and a special calligrapher of the Jiangsu Provincial Book Court. He has won the Bronze Award of the 7th Chinese Calligraphy Lanting Award, the 16th Outstanding Achievement Award of Philosophy and Social Sciences of Jiangsu Province, the 2020 Jiangsu Provincial Social Science Applied Research Excellence Project Award, the 29th "Golden Bull Cup" Fine Arts Book Award Bronze Award, and the Sun Xiaoyun Calligraphy Award.
Printed edge records
Zhu Qi / Wen
origin
From the perspective of the process of human artistic development, the origin of engraving predates words. It is human nature to be scribed, one of the scars of our world.
What people do throughout their lives has no meaning other than to prove that they have been there, even if the proof itself has little meaning. Unconsciously, I have been in love with seal engraving for nearly thirty years.
Although the interruption of ten years has not been used, there is still a kind of surging and excitement when it is like the reunion of old friends. This feeling may be related to the original memory of the portrayal.
Plum Skinny Crane Each Ping An (with side paragraph) Zhu Qi Seal
attraction
In addition to engaging in the study of seal engraving, sometimes you should ask to engrave some seals, although it is allowed to be a kind of adjustment in the mind, but it is really difficult to call it comfortable. Artistic creation should be free, but it is not immune to many internal and external factors.
Sometimes it is a shackle from the heart that is difficult to remove, sometimes it is too sympathetic to the needs of others, or it is a joy for the ancients and the sages. But in the end, I am afraid that it is still my own demons.
As Wittgenstein metaphorically put it, the difference between a good architect and a crappy architect is that a crappy architect succumbs to every temptation, while a good architect resists.
XianSheng Zhengxin Zhu Qi Seal
It is not easy to live in the big (with side section) Zhu Qi seal
why
There is a great difference between "printing for art" and "printing for learning", which in the final analysis is the difference between artistic thinking and academic thinking. Seal engraving is poetic, but academics are too rational, especially the Western-influenced language forms, making the transformation of the two kinds of thinking laborious, so that it is rare to be able to advance and retreat freely.
Both are not afraid to ask for luxury, but such a difficult challenge is undoubtedly more interesting. At least there is an attitude that can be used as a reference — Gong Xihua's question and answer to Confucius on the shore of the Yishui River 2,500 years ago - "Willing to learn".
The world is also afraid of the word serious. Sometimes we take art too seriously, and sometimes we take academia too seriously. Neither is actually sacred, they are just a way for us to explore and change the world. So there is no need to be obsessed with and adored, it is enough to be happy.
Both may be a kind of self-amusement to me, not a way to prove ability. Everyone has to find a way to face or confront the real world, don't they? So sometimes, some people, from the beginning of the starting point is wrong, so very unhappy. The fool fears the fruit, the wise fear the cause, and thus warn himself, Amitabha.
The blind man herds the cattle and goes with it (with the side) Zhu Qi seal
Old
Seal engraving may be a young man's game.
The older you get, the more famous you are, and it's easier to crust. This seems to have some mysterious connection with the development of the seal engraving itself– the seal, although the origin is very early, is a late art. It has more elements of design, production and play, and these creative elements are in line with the youthful spirit.
As seal engravers grow older, their energy, eyesight, and wrist strength will decay, which greatly affects their creation. On the other hand, young people's engraving, even if there is something immature, can always evoke a sense of surprise. From this point of view, I secretly thought about it, and suddenly felt that my seal engraving career was somewhat terrible.
When we talk about seal carving, we will always pull out history, but we have no shortage of history. Because of the use of art, with the loss of art, seal carving does not have to be so heavy.
"Yinzong Qin han" and "Six Dynasties Tang and Song Miao" are not clichés today, wouldn't it be better to go into battle lightly? It is said that Kang Yin said that young people should not rush to learn seal carving, because it is not easy to learn seal carving, it is even more difficult to succeed, and no matter how well you carve, not many people can really appreciate it.
I believe this is the heartfelt words of the elderly. There are many young friends around the engraving, and most of the young people who learn seal engraving are a bit old. I don't know if this is good or bad, because I think back to myself this way. Seal engraving is sometimes really an old art.
Humble is not easy (with side paragraph) Zhu Qi seal
Workwriting
Master Kezhai said, "Taste should be high, and acceptance must be wide."
Classical and modern, majestic and elegant, there is no difference between artistic superiority and inferiority, more is just a judgment of personal preference. In the author, it is nothing more than a momentary contemplation of mental images.
The mental image turned to fall to the stone surface, and then transformed into form and temperament, so that there was a distinction between stability and freehand that the audience was constantly complaining about. In fact, the freehand uses the seal method as the form and the knife method as the emotional nature; the gongwen takes the seal method as the emotional nature and the knife method as the form. The freehand and the seal method can still be formed into a chapter; the method of steady and obedient knife cannot be sealed.
Of course, more often, the impression you envision exists only in the mind, and the knife moves and changes, until the plutonium is expanded, and it becomes another scene. Such a situation is sometimes frustrating, sometimes it is gratifying, or it is the joy of seal engraving.
Not enough for outsiders Zhu Qi seal
Fu Yuyi (with side section) Zhu Qi seal
Finalize
Art historians have discussed the question of how the classics recognized by art history came to be. Artistic standards aside, perhaps the repeated examples and citations of various works have played a considerable role.
Then the new question arises, why are these classic works and not those? If you choose another batch of works, what will be the result, and how can classic and non-classic be converted? Ultimately, is it possible to rewrite art history as we know it?
If such a hypothesis holds, whether it can be argued that the classical works chosen by history have some kind of contingency, and that the choice of the author and the art historian is not necessarily the same thing. Selected and unselected works may become masterpieces or be forgotten in the future.
The audience's taste is fickle, taking the history of seal carving as an example, the Song and Yuan people first learned about the Qin and Han demeanor, and the Qing people explained the Tang and Song magic methods, not so much as the lag of the senses, but rather the aesthetic change, which in turn brought new interpretations.
Arnheim said that each style represented a particular quality that would be strongly embodied in the art of a particular time, faint or absent at another time, but perhaps reappeared centuries later in another place.
Therefore, the test product that may not be good at present may be determined in five hundred years. Vice versa.
Swallowing thousands of miles like a tiger (with side paragraphs) Zhu Qi seal
style
There is a big difference in Western understanding about style. Fuxiyong believed that the essence of style was a formal element, and then attributed the purpose of style to technology, which undoubtedly fell into the inferiority of Eastern wisdom.
Gestalt theory adds historical, cultural and psychological structures in addition to formal elements, and corresponding to the spiritual structure with formal structures is quite similar to the eastern philosophy of "the unity of heaven and man".
If we say that the traditions and cultural memories of the past belong to the cultural and psychological structure of the author, they must contain objective elements. Life experience and telepathy undoubtedly belong to the subject's self-expression. The future is unpredictable, and the art of seal engraving as self-expression will also echo in the vast universe and time.
Therefore, the style I understand is precisely the dilution of the elements of technology and form, which is very tangled and contradictory, and the formation of style must be through the control of technology, and the maturity of technology is towards crust. For example, although I admire Baishi or Julai, if I can only swim in the form style of Qi or Chen for the rest of my life, I am not willing.
Tired of traveling Zhu Qi seal
Ancient times
From the origin of the world's seals, although the Chinese seal has a history of more than 3,000 years, it is not the first; compared with the art of calligraphy and painting, the literati seal engraving also belongs to the late risers.
However, even in the post-information age, when the function of seals by faith is weakening, the cultural characteristics of Chinese seals with words as a means of expression have created a thousand literary images, derived independent and highly national art styles, and seal engraving still shows vigorous vitality.
"Not thin today's people love the ancients", and the previous stage of seal engraving art attached to learning, as well as the pursuit of "book and printing unity" of the "big style" system, today's development is more and more independent, personalized and interesting characteristics.
I firmly believe that the various explorations undertaken by Indians today have their significance, including those that were once considered failures. Asking things without asking questions, choosing the good and following them is the law of the creation of fuqi intellectual labor, and the art of seal engraving is no exception.
Today, Chinese seal carving is stepping on the barrier of transformation from cultural to artistic, and the literati seal carving in the traditional sense may gradually drift away in the future, but "keeping right and seeking change" is the insistence of my generation. The future of seal engraving art is unpredictable and waiting for us to create.
Chenghuai Guan Dao (with side section) Zhu Qi seal
"Fukuzawa Oriental"
The 7th Cross-Strait Young and Middle-Aged Seal Engraving Competition
Organizers
Xiling Printing Agency
Fujian Provincial Federation of Literary and Art Circles
Propaganda Department of Fuzhou Municipal Party Committee
United Front Work Department of Fuzhou Municipal Party Committee
Fujian Museum
Fujian Folk Writers Association
China Shoushan Stone Cultural Development Research Center of the Chinese Association of Chinese People's Political Consultative Conference
Fuzhou Radio and Television Station
Organizers
Cultural Life Newspaper
Fuzhou Taijiang SDIC Group
Oriental Stone Art City
Co-organizers
Taiwan Printing Agency
Taiwan Chinese Printing Stone Art Collection Association
Taiwan Youshengchang Art Space
Han Tianheng Culture and Art Foundation
The Southern Printing Agency
Zhejiang Seal Engraving Art Research Institute
Shanghai Wu Changshuo Art Research Association
Fujian Calligraphers Association
Fujian Shoushan Stone Culture and Art Research Association
Shoushan Stone Museum of China
Fuzhou Shoushan Stone Industry Association
Fuzhou Qingqing Boyi Art Research Institute
Fuzhou City Traces Of Virtue Lacquer
(In no particular order)