Hu Tang, who is very famous in the art forest
Hu Tang (1759-1826), originally known as Chang Geng, Zi Xi, Xi Fu, Wu Weng, Bei Shu Chengdong Jushi, Mu Yan Ju: Ren. A native of Shexian County, Anhui Province. Ba Wei Zu's nephew. Fine seal carving, Zong Qin Han, Sam Song, Yuan, degu seal shape god; the knife is very delicate, the knife marks are not obvious; the layout form is eclectic, dense and heavy nature; the style is neat and strong, beautiful and beautiful. Later generations referred to him together with Cheng Yi, Wang Zhaolong, and Ba Weizu as the "Four Sons of She". Hu Tang and his maternal uncle Ba Wei Zu style inheritance, taking the Qin and Han Qingli absolutely vulgar, is also known as Bahu. Bahu took the Qin and Han as his guide, reached the realm of divine nature, and reached the extreme of his ability. Their engravings, if mixed with the Han seals, are inseparable from each other. The style of Ba Weizu and Hu Tang had an important influence on Zhao Zhiqian, a giant of the late Qing Dynasty. Zhao Zhiqian has an inscription in the inscription for his friend Wei Xi who once carved a seal of "Julu Wei": "The old generations have a sudden decline, the carving insects are not small skills, the two cases of Zhejiang and Anhui can be counted, Ding Huang Deng Jiang Ba Hu Chen", Ba Hu for the future generations of the weight of the push can be seen.
Among the poems about the printing in the past, Zhang Wentao (No. Chuanshan, Qianjia calligrapher and painter) composed a long poem with the iron pen of Hu Tang, which is considered to be the best one. Hu Tang carved a seal of "Chuanshan" for him, and Zhang Wentao gave a poem on this move, "Hucheng East Tang Carved Chuanshan Small Seal See Gift as a Song Xiezhi".
"Hu Jun's engraving stone does not die, and a piece of aura gathers ten fingers." Handy and powerful, not afraid of acid wind shooting eyes. Shallow skeleton deeply suspicious of ghost work, exquisite straight through Wang Shannong. Gold engraved a word, red clay real thing. The world can't ask for it, and I don't dare to ask for it. Suddenly, I threw the seal into the air, and made me hang my elbow high like a marquis. Under it is the Lord of the Dragon, and on it is a lion button. Zhu Wenwan transferred to Chuanshan, and the lion button mane was straight to the dog. The king is gone, the centuries of the world are withered and decayed, and there is no transmission of ramblings. Inscribed books, heavy monuments boast of the head. Long live the thousand autumns, a long drink. The merits of the golden stone are full of good friends, and they are crazy to keep the elves. Woohoo! We know from this long song that Hu Tang's artistic reputation in the art forest at that time is not exaggerated, then "gold engraved a word" is enough to reflect Hu Tang's high reputation. At that time, the only people who could stand proud of the altar of printing were Hu Tang and Ba Weizu. Bai Wenyin "the first merit of the name only appreciate poetry" simple and stable people are impressed, the indian text reflects a calm, quiet ancient style, the seal side section is displayed in a beautiful and vulgar small line book, clear and elegant, making people have a refreshing feeling.
Scholar Ya played with a full mentality of Wending
Wen Ding (1766-1852), Zi Xue Kuang, Hou Shan, Hou Weng, etc. A native of Xiushui, Zhejiang (present-day Jiaxing, Zhejiang). In the first year of Xianfeng (1851), he recruited filial piety and honesty, and he could not resign. He was not an official. Good identification, stored gold stones, calligraphy and paintings are mostly fine. Calligraphy and landscape painter French Zhengming. Finely carved bamboo, all the works are personally written and painted. The engraving does not fall into the old set, rigorous and stable, the style is elegant; the common printing is the calligraphy, juanxiu moving.
The era in which Wen Ding lived was when the Zhejiang school was flourishing and the fang was in the ascendant, so it spread in all directions, and jiaxing and Huzhou also followed suit. Think of the jiaxing region, the literati and inkers gathered, the calligrapher and painter Zhang Tingji, the seal engraver Qian Shanyang, the calligrapher and painter Huang Xifan, Wending, and the famous scholars in the surrounding areas such as the official Hunan Buzheng Siwen, the Tibetan abandoned jia in Loudong, the calligrapher and epigrapher Qu Zhongrong, the seal engraver Shen Aixuan, who was able to poetry and heal, and so on, each of them was a Taoist ancient deed, enjoying antiquities all day long, collecting and discussing, sparing no effort, and compiling and selecting and printing each other, and the preface inscription, how elegant and elegant it was. Baht accumulates inches and inches, and it is really comparable to Xiling without shame. Wen Dingfu collected, wrote landscapes and rivers also have yizhi, studied under wumen WenzhengMing school, with vigor and roundness, calligraphy "Xiao Kai respectfully abide by the Hengshan Weng family law". Its breath mentality, delicate and feminine, less but a masculine atmosphere, however, it should be pointed out here that the Ming and Qing scholars regarded Han Mo as elegant, and originally had a fairly obvious feminine tendency. Wen Ding and a group of friends, although not authentic artistic expressionists, their scholar-doctor playful mentality is very obvious. Because it is elegant play, Wending is more versatile. Fine identification, his collection of gold stones, calligraphy and paintings are mostly good stones, but also fine carved bamboo. Wen Ding's seal engraving works are diverse in appearance, never dying and clinging to the authentic. He pays special attention to the choice of printing materials, from the Wending seal in his collection, the stone quality is first-class, there are pure and transparent, crystal condensed Shoushan Water Pit stone citrine, there are pit head cave peach blossom jelly, there are red blocks distributed in the psychic transparent hibiscus stone texture, which belongs to the safflower jelly hibiscus. Wending loves to play with quaintness, it is really elegant, not only has a very high level of printing, but also the side section is also first-class, and it is rare to have this wizard outside the prominent Xiling Eight Houses.
Zhong Ding Mountain Forest
Huang Xueyuan, a hero of the late Rugao school
Huang Xueyuan (active in the Jiaqing and Daoguang years of the Qing Dynasty), courtesy name Zizi, Chuqiao. Jiangsu Rugao people. Gong seal carving, the integration of the characteristics of the Erhan, Cheng Yi, Zhejiang school and other characteristics in the printing room, especially thanks to the Rugao school. Jiaqing Ding Wei (1797) compiled and printed itself into ten volumes of the "Historical Seal of the Dynasties", Daoguang Bingshu (1826) (1826) (Chuqiao Seal Manuscript) in four volumes, and later wrote two volumes of the "Biography of Donggao Yinren".
Huang Xueyuan's deeds in the history of India are remarkable, both creative and theoretical, and the compilation of general creative notation and special academic research notation is also divided. For example, ((Chuqiao Seal Manuscript) is a general seal spectrum, while the "Historical Seal of the Dynasties" is based on the study of Indian history, with the names and surnames of historians of all generations as the sealed spectrum, with a full academic atmosphere. After twenty years, the "Historical Seal of the Dynasties" was re-compiled, and it was constantly added, deleted, revised, and revised to make it more perfect, and its spirit of governance was admirable.
As a Rugao person, I obviously have a personal experience of the prosperity of the Rugao Sect. The several Huang Xueyuan prints collected here can be seen that he is still following the Gao Sect Xu Rong and Tong Changling, and the layout is ingenious, sparse and unique.
Piano book self-music - bamboo seal
A late Qing Dynasty printer with its own style
Changing the law and expressing personality were the mainstream of the creation of the late Qing Dynasty printing altar. Although factors such as region and the origin of the master's inheritance still affect the creative style of seal engravers, the exploration and change of calligraphy and knife techniques by outstanding Indians in this period has become more diversified.
Wu Rangzhi, a generation of masters of the unique generation of books and seals
Wu Xizai (1799-1870), formerly known as Tingbiao (廷飚), was a character Xi Zai who avoided the secrets of the Tongzhi Emperor, and after the age of fifty, he changed his character to let it go, and used the character line to let Weng, Andong, Late Scholar, Fangzhu Zhangren, Yan An, Yan Fu and so on. The room was named "Shi Shen Xuan". Jiangsu Yizheng people. He was a versatile artist, who learned calligraphy from Bao Shichen in his early years, was a disciple of Bao Shichen, learned Chinese seals in seal engraving, and later fell on Deng Shiru, and his spare time was flowers and morale. A lifetime of engraving and printing tens of thousands, breaking through the barriers of the predecessors and becoming their own faces; the printing text, the text is round, rigid and soft, rough and gentle, graceful and colorful; with a knife, or cutting or draping, smooth and natural, highlighting the penmanship, the hair has never been sent before; the layout is extremely changeable; the grass print, flowing and beautiful. As one of the outstanding printers of the late Qing Dynasty, he had a great influence on the development of printing in later generations. Wu Rangzhi was invited by Wu Yun to live in his house for three or four years around the fifth or sixth year of the Qing Dynasty (1855-1856). Wu Yun was a wealthy collector at that time, collecting extremely rich and precious Zhong Ding Yi ware, seals, pottery and jade bricks, gold stone tablet rubbings, he was called Pingzhai and often used his collection of rare utensils as the name of Zhai. Let him help sort it out and discuss it together at his house. This has undoubtedly laid a solid foundation for Jean's artistic qualities.
Wu Rangzhi's engraving knife method is very special, with the skill of "shallow cutting and light clothing", and even Deng Shiru has not been since Ding Jing. Later generations have days when "the mind wanders too vainly, if nothing happens." Wu Rangzhi inherited Deng Shiru's euphemistic and smooth human seal with a small seal, the sword method is flexible and changeable, "the knife sees the pen", is an important figure who has a new side in the integration of books and seals after Deng Shiru, which is undoubtedly an impact on the monopoly of the Zhejiang school, and he is a great hero in the history of the development of seal carving.
I'm a fool
Great landscape in the mountains and rivers
Treasure of the winner
The rebel Qian Song of the Zhejiang faction
Qian Song (1818-1860), initially known as SongRu, Zi Shu Gai, Nai Qing, alias Tielu, Xijiao, Qin Dafu, Lao Gai, Wei Daoist, Yun he Shanren, Xi Guo Wai Shi, etc. A native of Qiantang (present-day Hangzhou), Zhejiang. Befriend Hu Zhen. Painting landscapes and landscapes have golden stone qi in ancient times, and plums and bamboo also have skills. Good piano music. Seal engravers Fa Ding Jing and Jiang Ren, but mainly thanks to the Han seal, tasted the hand copy of the Han seal of 2,000 buttons, profound skill. Zhao Zhichen sighed: "Ding and Huang Hou are one, and the former Mingwen and He Zhujia are not as good as they are." "Qian's has a new atmosphere of simplicity, thickness, elegance, and foolishness. His ingenious rules and new knife methods with cuts and cuts have creatively embarked on a new path, becoming a rebel who jumped out of the Zhejiang faction and rose up. Many printers believe that the classification of Qian Song as one of the Eight Schools of Xiling is really a historical misunderstanding, because his printing style is obviously no longer the number of Zhejiang schools, but reflects a broader and more diverse content. This can be seen by simply flipping through Qian Song's works in the "Qian Hu Printing Spectrum".
Is Qian Song a true descendant of the Eight Families of Xiling, or a rebel of the Zhejiang faction? From the perspective of the narrow school of thought, Qian Song's extensive method of taking methods has blurred the image of the original Zhejiang school and can be separated from the Zhejiang school; but in a broad sense, Qian Song's success has undoubtedly broadened the vision of the Zhejiang school printers, liberated them from a gradually stereotyped sword method and chapter law shell, and saved the Zhejiang school. Compared with Chen Yuzhong and Zhao Zhichen, Qian Song's success is more valuable. Just when Qian Song was full of vigor, it is said that li Xiucheng led the Taiping army to capture Hangzhou in the tenth year of Xianfeng, and in order to be loyal to the Qing court, he "closed the door and died of medicine", so that the artistic life of RuZhongtian died prematurely, at the age of forty-three.
Suppress the fluttering Xu Sangeng
Xu Sangeng (1826-1890), zi Xingu, Jing Zhen, also known as Sleeve Sea, also known as Jin Jiao, Yu Liangsheng, Jin Guang Daoren, Jian Mu Daoist, etc. Shangyu people in Zhejiang Province, travel to Hangzhou, Shanghai, Tianjin, Beijing, Guangzhou, Hong Kong and many other places, and make a living from art. Gong Seal Li Shu, the body of the book is elegant and colorful. In the early years of the seal carving, he studied under the Zhejiang School, and had a unique interest in Chen Hongshou and Zhao Zhichen's seals, and worked hard. After transferring to Deng Shiru, he also involved Inhan Jian and Hanyin, he integrated the artistic conception of "Tianfa Divine Tablet" in his chest, participated in his own will, boldly changed, and formed his own rich and flexible style, especially the extension of strokes, the exaggerated effect of increasing the curve, suppressing and fluttering, and being very creative. At that time, his prints were highly prestigious in Jiangsu and Zhejiang, and the famous painters of the same era, such as Zhang Xiong, Ren Fu, Ren Yi, Huang Shanshou, Pu Hua and others, mostly used by him.
On the altar of the late Qing Dynasty, Xu Sangeng can also be regarded as a strange flower. He entered the seal with a small seal, which made people feel that the change of the seal was so charming, and its smoothness and charm were really eye-catching, and formed a typical Xu Sangeng-style printing style. The middle palace of the knot body is tightened, and the periphery is sparse, making the sparser and the denser, making the calligraphy and chapter more ups and downs, and the lines emphasize "one wave and three folds", and the knife method still maintains the traditional knife method of the original Zhejiang school and the Deng school, emphasizing the dense gathering and dispersion, and the variety of the flowers, quite like the dance of "Wu Belt Dangfeng". Xu Sangeng was famous in China for a while, and those who sought the seal did not quit the door. At that time, the door of Japan was open, and his prints and works were quite popular in Japan, and the famous Japanese seal engravers Yuanshan Dafeng and Yangshan Baiyan had come to China one after another to teach Xu's disciples.
Good news
Wang Siyu is like a gentleman
Zhao Zhiqian, a prodigy of the Indian altar
Zhao Zhiqian (1829-1884), also known as Yifu, also spelled Shu, nickname Leng Jun, No. 3 Tie San, Sorrowful Nunnery, Wu Boredom, etc. The day of residence is "Two Golden Butterfly Hall" and "Bitter Room". Xianfeng Jimei (1859) was raised to the official Poyang and Fengxinzhi Counties in Jiangxi. Zhao Zhiqian was a great artist in the late Qing Dynasty who developed calligraphy, painting and seal engraving. He was born in the ninth year of the Qing Dynasty (1829) in the place where the great calligraphers Wang Xizhi and Wang Xianzhi once lived, as well as the hometown of the painters Xu Wei, Chen Hongshou, the poet Lu You and others. He was very intelligent at an early age, able to write at the age of two, and a little older, he could read and recite. Because of his strong personality, he ranked third, and gave him the nickname "Iron Three". Because he thinks deeply, he often asks unexpected questions to his parents and brothers. So when he was a child, his parents gave him the name "Zhiqian".
A person's font size often represents his life and ambition. In particular, the seals such as the alias Saikan that I took by myself can be seen even more. In the seals carved by Zhao Zhiqian in his early years, he once used an alias called "Leng Jun". According to the current printing of the edge of the spectrum, the earliest seal for the year of nongzi (1852) Zhao Zhiqian made the "reasonable peace of mind" print appears on the side section. I have collected two early works by Zhao Zhiqian, one of which was composed by Xianfeng Yan ugly summer (1853) when he was twenty-four years old, and Zhu Wenbian's round seal "Hanlin Offering" chiseled seal is: "Leng Jun for the elder of Wen Boshi to make the age in the ugly Weixia". In the period before he was thirty years old, his father died, and his brother was bankrupt in order to fight lawsuits for many years, and the world was cold, and he was snubbed by others everywhere. In times of hunger and cold, he did not bow to poverty, often read aloud behind closed doors, and was considered grotesque by others, and he ignored them. At the age of twenty-five (jia yin year), he went to Hangzhou to sell paintings, with Shao Zhiyan Pen Zhuang as the receiving place, and had to go there every day to wait for the paintings, often finding nothing and quietly returning. He is called "Cold Jun" in white, and the environment is cold and ambitious. In 1859, at the age of thirty-one, he was selected as the best in the province. In 1865, he went to Beijing to participate in the examination and had the opportunity to see many golden stone materials, thus enriching his creation. The Zhao Zhiqian prints that we can see today are roughly nearly four hundred squares, of which the self-carved seals account for about one hundred squares. The other hundred were carved for Hu Haifu, Shen Junchu, Wei Jiasun, Pan Boyin, Wang Yirong, He Jingshan, Liu Zizhong, and protégés Qian Shi and Zhu Zihou, all of whom had been with Leng Jun to study the golden stone inscriptions. In addition, nearly 100 parties were made by the Zhou clan, the Fu clan Kundi, and the old friends of Jiang Sishu, Tan Futang, and Dai Zigao. As Zhao Zhiqian himself said, "Calligraphy and paintings sell money and rely on survival", the scale can be wider, while the engraving is limited to confidants and friends who know each other very well.
Only Zhao Zhiqian is both a wizard of the Indian altar and an all-rounder. Wen Peng, He Zhen, Ding Jing, Deng Shiru, all became a partial existence under his sword; the ancient seal of Han and the Song and Yuan Zhu Wenyin were also hand-picked form references; inscriptions, mirror inscriptions, coins, weights, edicts, Yi instruments... As long as he thinks it can be used for his own use, he will take it all in. As a result, Zhao Zhiqian's seal carving is almost a "museum", what kind of content, what kind of beauty can be seen. At the same time, he also has extremely high achievements in the creation of the Indian border carving. "Seeking India outside India" is the secret of Zhao Zhiqian's success. When commenting on Zhao Zhiqian's seal, the Japanese Nishikawa Ning clan said: "Zhao Zhiqian's existence as a seal engraver is of greater significance than that of a painter and calligrapher. "
The aliases used by Zhao Zhiqian for his printings mainly include Leng Jun (around the age of thirty), Sorrowful Nunnery (34 to 35 years old), and Wu Wei (after the age of thirty-six) in chronological order. The maturity of Zhao Zhiqian's seal should be used as a starting point when he was twenty-nine years old. Qian Junju once said: "Zhao Zhiqian devoted himself to the Zhejiang school in his early years, and only gradually entered the Anhui school after middle age, and finally merged with the two schools of Zhejiang and Anhui to create a new Zhejiang school." Zhao Zhiqian was fifty-four years old for Pan Zuyin to compose Zhu Wenyin's "Zhilan Tang)") side paragraph day: "It has not been engraved for ten years." This confirms that he has stopped engraving the seal since he went to Jiangxi as an official at the age of forty-four. The prints of Zhao Zhiqian that can be seen today are mainly the works of his twenty years from the age of twenty-four to forty-four.
In the ten years of Guangxu, the Sino-French war began. The French army harassed Minhai, the Qing army crossed from Nancheng, and Zhao Zhiqian Zhang Luo supplied. "Sorrow is in the middle, and the wind and cold are hitting the outside,...... Immersed in breathlessness, Sui'er passed away. "On the first day of the first month of 14 in the four-year old calendar, he died at the age of fifty-six.
Bai Wen "Fude Longevity" Shoushan Peach Blossom Frozen Birthday Star Character Button Yin Tong 4. 2×4． 2 ×15cm
Good collection of ancient essences to identify Guangdong, Hunan Inspector Wu Dayi
Wu Da Yi (1835-1902), zi Qing Qing, heng xuan, late number Yi Zhai. Qing scholar, calligrapher, painter and epigrapher. A native of Wu County (present-day Suzhou, Jiangsu). Tongzhi was first visited in Shanghai, entered the Pinghua Society Calligraphy and Painting Society, and entered Hanlin in the seventh year of Tongzhi (1868). In 1884, he would run the Beiyang Military Affairs and was stationed in Tianjin. In 1885, he went to Jilin to negotiate with Russian envoys on the border of Hunchun Black Tops and recover the land occupied by Tsarist Russia. In the following year, he was promoted to the inspector of Guangdong, and in 1888, the Yellow River in Zhengzhou broke through, and was sent to zhihe and appointed the governor of the river. In 1892, he became the inspector of Hunan. In 1894, during the Sino-Japanese War, he volunteered to lead the Xiang Army to fight on the front line, but was dismissed from his post due to military defeat and was repatriated. The eunuch sea rose and fell, and Wu Dayi, who quit the official field, has since immersed himself in the appreciation of jigu and once taught longmen academy. The Wu Da Yi Seal Book is based on the ancient script and is also engraved with a long inscription. Landscapes, flowers, with a pen through. Fine identification, like collection, the ancient artifacts obtained are self-copied, especially able to interpret ancient Chinese characters. He is the author of "Ancient Records of the Collection of Yizhai Collection", "Ancient Supplement of Speaking Texts", "Records of Hengxuan Jijin", "Ancient Character Sayings", "Ancient Yu Tu Kao", "Collected Poems of Yi zhai" and so on. In the nineteenth year of Guangxu (1893), the compilation of "Zhou Qin and Han Celebrity Yinkao" was particularly highly valued by the ancient and modern printing circles.
Straight and lean layout is extremely ingenious Hu Zhen
Hu Hao (1840-1910), the character copper neighbor, the number of the old bow, the waste bow, not dry, also known as the evening cui pavilion long. A native of Shimen (present-day Chongde), Zhejiang. Gong poems. Calligraphy is known for its seals, affiliations, and lines. Painting, landscape style near Stony Brook, orchid, chrysanthemum style is quite breathable. Finely carved bamboo, less time fan bone has a reputation, pay attention to the demeanor and meaning of the object, do not please people with purity.
Hu Wok's era and the region in which he lived were full of masters. The existence of Wu Changshuo and the existence of Zhao Zhiqian sandwiched him in the middle like two splints, and it was not easy to break through the high pressure of these two masters. But he still went his own way, throwing himself into the jade seal style field that Zhao Zhiqian and Wu Changshuo had not yet invested, showing his upright Han jade seal lines, patriarchal Qin, Han, White Wen fine, Zhu Wen rough, with a knife, showing off, highlighting the penmanship, the layout is extremely ingenious, thin and compact, flat and dangerous, risky and unstable, and beautiful.
The Qin and Han jade seal styles show the atmosphere without making it small, but it will also produce a problem, that is, it is difficult to have rhythmic changes. If you don't think about it, blindly using this method will inevitably be the disadvantage of uniformity. Hu Yan's breakthrough point is to try to maintain the pure line of Yuyin, straight and straightforward, but in the structure, he pays great attention to interspersing, and uses the avoidance relationship and interlacing relationship between the lines to create the staggered beauty of the space. This bold and unique exploration is a sign of strong knowledge, understanding and grasp.
Bai Wen "Consider the Past and Choose the Present" Flower Beauty Rong Qiao Color Three Mantis Play Bead Button Chapter 3. 1 ×3 ×7． 3cm
Wu Changshuo, a generation of grandmasters at home and abroad
Wu Changshuo (1844-1927), formerly known as Jun, also known as Junqing, middle-aged more character Changshuo, many nicknames, there are Lulu, Tao Daoren, bitter iron, broken lotus deaf and so on. People from Anji, Zhejiang. Seal carving was sent in by Zhejiang, taking deng Shiru and Wu Xizai and wading into the realm of Qin and Han, especially able to make stone drum texts with humble appearance, integrating calligraphy and painting with seals, dian tiles, and stele penmanship, and cutting stones with blunt knives in seal carving, with a unique and simple, vigorous and vigorous atmosphere.
When he was a teenager, although Wu Changshuo developed a strong interest in calligraphy and painting seal engraving and first showed his talent, the turbulent late Qing society did not bring him superior conditions. At the age of seventeen, the Taiping Army crossed the western Zhejiang Province, and wars broke out, and the people fled in all directions. He was separated from his father and wandered alone in Zhejiang, Anhui, Hubei and other places, doing short-term work, doing miscellaneous work, and eating leftovers and leftovers to make ends meet. Five years of wandering made him skinny. It was not until the age of twenty-one that he returned to his dilapidated home. In his later years, he lived in Shanghai, was well-known at home and abroad, and had enough food and clothing, but he always maintained his frugal nature, and once said to his friends: "Except for the old winter grass on the mountain, I have not eaten anything!"
Wu Changshuo once said to his good friend Wu Zhiqiu when he was in Shanghai: "Without Pingzhai, there would be no Me Pegatron." When he was young, he worked as a tutor in the home of Wu Yun (i.e. Wu Pingzhai and the two Xuan lords) in Suzhou. Pingzhai is the prefect of Suzhou, likes books, paintings, seal carvings, the family collection is very rich, Zhong Ding Yi ware full of rooms. One day Pingzhai asked his son, "What kind of entertainment is the gentleman doing?" The son replied: "Only to see the teacher holding the knife and carving the bricks, tirelessly." Pingzhai felt strange and looked at it, and saw that Miao Weng was engraved on the case, and ge ge had a sound. Pingzhai was very touched, and stroked the shoulder of Gong Weng and said, "You are very hard, but this is a hard thousand, and the seal engraving seal has not yet started!" Let me show you the ancient seals and seals in my family's collection!" In the face of the seals of the past generations, personally touching the facets and edges of the various schools of the Ming and Qing dynasties, Miao Weng got this opportunity, studied with an open mind, continued to copy, returned to the right path, the more years, the vision improved, the printing art made great progress, and the strengths of the family were gathered, laying a solid foundation for the success of CMt.
Wu Changshuo also studied the Zhejiang school in his early days. From his earliest "Park Chao Yincun)" there is a clear Zhejiang school face. From the cutting knife square pen of the Zhejiang school to the round pen of Deng Shiru and Wu Rangzhi, the lines of Miao Weng are not simply spanned and transformed, but gradually from tangible to invisible, and great wisdom is foolish, and hand chiseling has become a wonderful realm. With a first-class mind and a sense of flow, He Weng transformed the yin and yang, rigidity, rigidity, squareness, straight curve, thickness and roughness of the seal engraving art model. He combined the specialties of his calligraphy in his calligraphy of being mature and refined, rigid and soft, mellow and simple, and obtaining the charm of "stone drum text", and also absorbed the theory of "virtual reality is born, dense and complete" in painting, and created a blunt knife with a thick round rod, which has a strong finger wrist when operating, and the knife is blunt and heavy, which is convenient for hard entry and straight cutting. Thus forming a new style of seal carving that is thin and open-minded, generous in the ancient world, elegant in simplicity, and clever in thickness, and has become another milestone in the history of seal carving art.
Qingyuan idle
Huang Shiling, a smooth and upright seal carving master who does not lose his ancient interest
Huang Shiling (1849-1908), also known as Mufu,Mufu (牧父), also known as Mufu (牧父), mufu (穆甫), was a weary and tired lord. A native of Huangcun, Yixian County, Anhui Province. At the age of fourteen, when the Qing Army and the Taiping Army fought in their hometown, their homes were destroyed, they lost their schools, and they sadly became "the last trick to eat for more than ten years". In his early years, he lived in Nanchang and made a living by operating photography. In 1882, he moved to Guangzhou. In 1885, he was recommended to Beijing to study in The South. After 1887, he lived in Guangzhou for a long time. In 1900, it was returned to Yi County and did not reappear. During his time in Guangdong, Huang Shiling threw himself into the curtain of Zhang Zhidong, the governor of Liangguang, and Wu Dayi, the governor of Guangdong, engaged in the guangya bookstore for the history of the school, and assisted Wu Dayi in compiling golden stone books, such as the "Sixteen Golden Runes and Seals" and the re-engraving of "Liu Xiong's Monument", and at the same time, he was self-sufficient with the seal of the Book of Guangdong, and when his horizons were opened, he had many opportunities for practice, and his skills grew no less than that of the Su and Zhejiang printers. Compared with Wu Changshuo's seal carving art, Huang Shiling can be said to be the best of their own beauty. Although the two masters were of similar age (Wu Changhuang was four years old) and were in the same era, their respective ideas on printing, their creative methods, and artistic styles were very different. The Wu seal, especially in the later years, can be said to be broken by every seal, while the huang's mature printing strives to make no one side unbalable. Huang Shiling's Qingjun and Yayi and Wu Changshuo's majestic and unrestrained styles are two completely different styles, which are discerned by people with a little common sense of printing.
In terms of chapters, Huang's emphasis on "seeking seals outside the seal" and drawing on the divine principles of gold and cloth white has formed the characteristics of seeing flow in the flat and seeking balance in the jaggedness. The layout of its seals usually uses two methods: first, in the generally balanced space, the use of the correctness of the lines and the degree of change in thickness, the uneven division of the small space, etc., so that the printing works flow out of the regular and flexible weather; the second is to apply the composition of the chapter in the golden cloth and white that seeks the correctness in the scattered to the seal, that is, the so-called flatness in unevenness and uniformity in the unevenness.
In terms of calligraphy, Guangshu took three generations of Qin and Han characters, either falsely shaped or taken their meaning, and transplanted some strokes of Han Li and Jin wen into miao seals reasonably and successfully, which enhanced the expressiveness of the characters and enriched the orthography language of the seal carving art. In terms of knife technique, Huang's is dominated by raw, straight, long punching lines. If Wu Rangzhi's seal line is mainly to express the meaning of the pen, then Huang Mufu's line is mainly to express the taste of the knife, but it is precisely because he spent a lot of effort under Wu Rang in the early days, and the calligraphy is extremely deep, so Huang Mufu's calligraphy in india is everywhere, but he does not deliberately use the knife to imitate the pen.
Huang Shiling's seal is heavy and light, the print is not a strange and dangerous form, there is no majestic momentum, at first glance it seems to be flat, and the fine taste means timeless.
The beauty of Jijin does not mean that the reproduction of the ancient seal is like that, and the role of Huang Shiling will be very limited. His exploit lies in the fact that he introduced the beauty of Jijin as a new aesthetic pattern to seal engraving, thus creating a smooth, upright, and beautiful style. He believes that Zong Qinhan cannot "not get close to people and follow the path", but should learn from its original appearance, that is the "right way" and "theorem". Because the ancient seal of the Han Seal that has been eroded, the place where it is peeled off is "the xizi's jaw, that is, its disease, but it is necessary to hold the heart and effect it.". In other words, the destruction is not the original appearance of the tradition, and the imitation Han only has "no seal is incomplete, no painting is not clean, such as the jade people rule the jade, there is no continuity, and the ancient qi Muran" is the divine product, which is the true inheritance of the seal Yazheng tradition.
Literacy in life begins with troubles
God, shaped like Xu Xinzhou
Xu Xinzhou (1853-1925), the characters Xingzhou, Sin Chau, Xingzhou, Lotus Temple, Master of the House, etc. A native of Wu County (present-day Suzhou, Jiangsu). Xingzhou was a good ancient artifact during the early childhood period, and he was especially fascinated by seal carving. After seeing Wu Changshuo's seal, he was greatly praised, but he threw himself under his door, immersed himself in copying, asked for his guidance, and made rapid progress, and soon became one of the leaders under Wu's door. The work is almost chaotic with the silk. Star State is nine years younger than Miao. The seals made are strict and obedient to the teacher's law, not exceeding the rules, and the gods and shapes resemble the silk lulu, and the same is true for the edges. However, if you look closely at the printed characters, the lines seem to be more uniform and solid, not as deep and arbitrary as the ones. After the age of seventy, the eyesight was slightly lacking and the daily calligraphy and painting seal engraving was extremely social, so sometimes it was too late to hold a knife to cure the stone, so he personally sealed the seal and entrusted his disciples to engrave it on his behalf. There were about three or four people who were often the daidao of the Gong Weng Dynasty, and Xingzhou was also one of them, and Xu Xinzhou was already more than sixty at that time. Where the seal of the sword is sealed, Changshuo first seals the manuscript, and finally slightly modifies it, and personally adds the side paragraph, and there are also even the side paragraphs that are handled by the Xingzhou, such as the button "High Deaf Gong Left the True Relics and the Ancient World" in the "Selection of The Seal of bitter iron". Although Xu Xingzhou seal carving took the Fa Gong Weng, but later able to do its best to get rid of it, rigorous and simple, steady and natural, although the majestic momentum is slightly inferior, but it has a special interest, it was also a famous artist in Jiangsu and Zhejiang at that time, there were many seekers, and its works in Dongying Japan were also widely circulated.
Night Moon Zen Chant
Absolutely imitate the Qi Baishi created by the evil finishing
Qi Baishi (1863-1957), ming huang, character baishi, number endangered, azhi, the owner of the borrowing mountain yinguan, the old man of Jiping, the rich man of the three hundred stone seals, etc. Hunan Xiangtan people are masters of modern art who have high attainments in poetry, books, paintings and printing. In the history of modern seal engraving art, it is another giant who can open a sect after Wu Changshuo and Huang Shiling.
Qi Baishi is good at poetry, books, paintings, and prints, all of which are outstanding. He considered himself to be the first in seal engraving, the second in poetry, the third in calligraphy, and the fourth in painting. When he was thirty-eight years old in Xiangtan City, a big salt merchant ordered to paint the full map of the seventy-two peaks of Hengshan Mountain, using twelve paintings of the six-foot middle hall, heavy color, only stone green one color used two pounds, the salt merchant was very satisfied, and sent a reward of three hundred and twenty-two silver. It was a big price, spread throughout the nearby counties, and more people asked him to paint. There are many people in the family room, so they used this silver code to rent the Meigong Ancestral Hall under the Lotus Peak nearby five miles away, and the family of six moved to live, named "Baimei Book House", the open space in the temple, built a study, named "Borrowing Mountain Yinguan". In this year, Qi Baishi read and studied poetry, and there were hundreds of poems.
Qi Baishi called himself "the first in printing".
Why is the seal carving of Qi Baishi the most prominent? When he was fifty-nine years old, he once said, "The seal of the engraving is of great interest, and the winner is the only Qin and Han people." The Qin and Han people have superiority, they are all not stupid, they dare to be original, so they can go beyond the ages." These few words show that the old man has a profound understanding of the excellent traditional Qin and Han ancient seals, and he sees that the wisdom and talent of the Qin and Han Indians are in "heavenly fun to win people", and their experience of "transcending eternity" is "daring to be original". He learned to print in his early years, starting from Ding Jing and Huang Xiaosong all the way, after the age of forty, when he saw Zhao Zhiqian's "Seal Of the Second Golden Butterfly Hall", he changed to the Zhao body, and at the age of forty-eight, he loved the Qin and Han seals, and gradually merged into one, and could only take on his own face. After the age of fifty, he specialized in casting or chiseling seals, and then wrote about monuments such as "Tianfa", "Sangong Mountain", "Ji Gong)", and finally decided to jump out of the Han people's trap with "not knowing that there was a Han". He "dared to be original" in calligraphy, chapter law, and knife method, so he could make his own face. As he warned himself, the engraving must not be "imitated" or "not "cut" in order to achieve the creative spirit of "winning people with natural fun". Around the age of seventy, there was a young Indian-loving young man, Luo Xiangzhi, and other elderly people who had successively surrendered to the old man and begged him to play the knife on the spot. Engraved and solved. Xiang Zhi exclaimed: "Listening to the master's words, like hearing a thunderbolt, seeing him wielding his sword, as if there is a whistle of the wind." After the news came out of the capital, the old man ruled the seal faintly there was wind and thunder, and the reason was that when the old man ruled the seal, he used the stone to reach the side of the case, holding the knife force, and the stone and the wooden case touched, "Jia Jia" Has an echo, the sound is far away from the thunder, and the old man plays the knife very fast, the bottom of the sleeve is windy, and he is free to imagine.
People live long
The bells of all the gods of all houses are respected
Zhong Yijing (1866-1916), also known as Yue Sheng, also spelled Sandpiper (to the bird side) born, a sandpiper (to the bird side) Shen, the number Let first, not the name of the shrine. A native of Qiantang (present-day Hangzhou, Zhejiang). The family used to be a businessman, over-profligate and poor, and lived in an ancient temple. At an early age, he loves gold stones. Carved bamboo, the best in gold text, elegant and exquisite. The bookkeeper seal book, especially in Wu Huangxiang's "Heavenly Hair Divine Commandment", is particularly dedicated, with flying gestures and vigorous rhymes. The Zhejiang sect of Emperor Yinzong, who is good at imitating Zhao Cixian and Chen Qiutang, has both form and god, and is refined and plucked, and at the end of the Qing Dynasty and the beginning of the People's Republic, the same Dao pushed as a giant of Zhejiang Zong, Wang Fu'an, Ding Fuzhi, Wu Shiqian, Gao Shishi, etc. are extremely admired, and they are not fresh in their engraving, and their imitation of Xu Sangeng's method is also deeply understood.
Ye Weiming, who has worked hard to manage
Ye Weiming (1866-1948), originally a bow inscription, a new character plate, and a character of three, Ye Zhou, originally from Shexian County, Anhui Province, lived in Hangzhou. Little good at sealing, working iron pen in his teens, the first Emperor Xiling of the family, later back to the Zhou and Qin dynasties, Yu Guxi, Han Yuyin and Song and Yuan Zhu Wenyin, all of which have profound skills, and have hand-copied "Zhou Qin Seal Seal Spectrum". In the thirtieth year of the Qing Dynasty (1904), Ye Zhou painstakingly operated it, and together with Ding Ren, Wang Fu'an, and Wu Yin, founded the world-famous printing group Xiling Printing Society, and after the establishment of the Printing Society, it was also hand-compiled ((Xiling Printing Society' Chronicle), which is now a historical document of the Printing Society. There is a lianyun in The Leaf Boat of Shifang at the intersection of Lihu Road in Hangzhou City: "It is especially regrettable that the Eastern Han Dynasty is in the present, and the social alliance has been long and long. Ye Zhou's book is most famous for its "Biography of Guangyin People".
His prints have many faces, whether it is the Zhejiang school before and after the master's law or the method of directly taking the seal of the Qin and Han Dynasties, they are very precise, and they are valued by the time with the simplicity and simplicity of Mao. Bai Wen ((Bright Moon Qianqiu" and "Self-is the Phoenix in the Middle" two sides of the chapter is the master of the Fa Han casting seal, the square contains round, peaceful and warm, the so-called not exciting, the wind rules are far away, the edge is also quite beautiful.
Enter the ancient mud and open a case of Zhao Gu mud
Zhao Guyi (1873-1933), the character Shi Nong, do not sign the ancient mud, also known as the mud road people. Jiangsu Changshu people. When he was young, his family was poor, and he studied in private school for a few years, but later he could not afford to study, so he worked as an apprentice in a medicine shop in Changshu Jincun. Occasionally, he bought an old stone print from a vendor, and the more he looked at it, the more he liked it, so he stole the time to learn to engrave it. If there is no printing stone, take the stone instead; if there is no carving knife, take the nail and grind it into a knife to carve. It is very hard to be an apprentice, to get up earlier than everyone else, and to sleep later than others for him to learn? He waited for everyone in the bunk to fall asleep, took a broken wine jar, lit a candle in the jar, and carved it in the light of the candle. One day, Mr. Li Yuzhang, a high-footed changshu of Wu Changshuo, came to the medicine shop to find the treasurer, and when he saw Mr. Gu Ni's prints, he was greatly surprised, thinking that he had a genius for engraving, so he gave him a carving knife, several square printing stones, and a "Six Books Pass" that checked the seal characters. When he was in his twenties, he was introduced by Mr. Li Yuzhang and finally became a disciple of Mr. Wu Changshuo, an art master he had admired for a long time.
With the help of Mr. Wu Changshuo, Zhao Guyi went to Changshuo's old friend Changshu Shen Shiyoujia Middle School to learn art, and in the Shen family for several years, he saw a large number of ancient paintings, ancient seals, and ancient stones, and his art progressed by leaps and bounds. The Shen family has a collection of one hundred and fifty-eight parties, most of which are written and inked by Wu Changshuo, all of which are engraved by Zhao Gunijing. Mr. Gu Ni is also good at carving monuments, so his arm strength is particularly strong, he is the best at attacking tough problems, tooth copper crystal jade, all of them work, and they can be carved like stone chapters. Gu Ni did not cure production in his life, and he could have food and clothing, but he was in the ten fingers. Ill-gotten gains are not taken. He is thick with others, and the loser is not compared, but the disease is like a vendetta. His former friend Hu Tinglu, a famous painter in Wuxi, said: "Song Zen calligraphy, bitter iron seals, well-known in the sea, and many masterpieces belong to the bottom of the wrist." "Gu Ni did not lose his teacher training to the younger generation of students, and the students he taught were Pu Kang'an, Li Yizhong, Wang Xinyi, Deng Sanmu, and so on. In the autumn of 1927, Mr. Yu Youren, an expert in cursive writing, visited the ancient mud in Yushan Mountain, and then gave Shiyun: "The god of stone stripping residues has also arrived, the words are still strict in order to be clean and tidy, and the knife is the first to be the one who looks at who is like Zhao Hair." "
The ancient mud rule seal is majestic, and it is difficult to distinguish it from the Xuanlu. He attaches great importance to the smooth intention of penmanship and knife handling, but there are sometimes improper stickers in the rules, and sometimes there are disadvantages of looseness and abruptness. Gu Ni keenly saw this drawback, and his heart comprehended zhang fa bubai, just as his disciple Deng Sanmu said: "Zhao Shi Zhang Fa has no heart, once you start with it, you must first seal the paper, so as to be refined... Therefore, all those who are just and upright make grace, and those who are lucky are all magically changeable. "
The ancient mud has created a jagged, interchangeable, and decorative and interesting seal body as a material for printing. In terms of knife techniques and chapter techniques, he gradually distanced himself from the division. Finally, around the age of forty, he suddenly rose up, opened a different case, and founded the "Yushan Seal Sect", which was unique from the old man and stood alone in the indian altar. In his lifetime, Gu Ni ruled over 10,000 seals, and wrote forty volumes of "Bai Ji Lu Seal".
A child without the atmosphere of the world
Tong Danian (1873-1953), formerly known as Song, was also known as The Heart Shrine. He was born in the 12th year of Tongzhi (1873) of the Qing Dynasty, and belonged to the chicken; he died in 1953 at the age of 81. In 2003, which coincided with the 130th anniversary of his birth, according to Mr. Lin Qianliang, the current director of xiling printing society, a collector of Tong's works, and a professor at Zhejiang University of Traditional Chinese Medicine, wrote an article commemorating Tong Danian, saying that among the elders of Xiling, Tong Danian was a very influential person. At that time, Xiling once collected contemporary Indian works into 10 volumes of "Modern Seal Engraving Collection", which generally only occupies one page per family, while the 8th volume of "Children's Heart Niche Engraving Seal" is a special collection of Tong's family, and its printing is the same for the world.
Tong Danian was influenced by his father and brother since childhood, that is, he was able to manage the han and play the knife and print, and formed an indissoluble relationship with Jinshi calligraphy and painting for more than 70 years. His father, Song Jun, Zi Ye Geng, a native of Chongming, Jiangsu Province, was born in Keju, and served as a former deqingzhi county, XixiLingzhi Shuimu Qinghua, and moved to the lake in his later years. The child's father was very knowledgeable, and he was good at poetry appreciation and gold stone calligraphy and painting. The "Puzzle Map" created is more mysterious than the tangram. He gave birth to five sons, the youngest of the eldest, so he was also called "The Fifth Boy of Panasonic", and the printed score was called "Boy Carving Yu". The third brother is named Yan, the character Shuping, is a famous Qishi, painting, printing, and poetry can be called three absolute. With such a dragon-like father and brother, this boy is indeed extraordinary, heroic I.
Tong Danian is like his father and brother and is also a master of art, and commentators believe that Yin is the leader. His works have been collected by genealogists, in addition to the above two, there is also the "Seal of Yigulu". In addition, Tong's self-use seals, qiao ancient seals, wadang seals, ancient name seals, etc., are mostly treasured by Professor Lin, with a total of about 200 squares. In Professor Lin's collection, most of them are tong's study works in his youth, often two or three sides of a small stone carving. These seals were acquired by Xiling Printing Company in the winter of 1962 and then released. At that time, Professor Lin ran to the printing house once a month and returned with a bag of goods, which was really a waste of sleep and forgetting to eat. Tong's works will not be lost, but also fate. From these seals, it can be seen that Tong Shi laid two foundations in governing the seal in those years: "tree" and "creation". He has copied the ancient seal, the Han seal and the Ming and Qing seals as more than a hundred buttons, all of which are masterpieces that take the appearance of the gods, which are extremely exquisite. Creation is creation, he has carved the names of many ancients, and some people have carved many things, which can be known to be the exploration of creation. These two foundations are obviously very heavy and lack a small mouthful. Tong Danian, the predecessor, can create various ink grids on various printing materials, which can really be described as "between the square inches, the weather is thousands". At that time, Wu Changshuo, Chen Fulu, Shao Pei and other extremes pushed the Tong clan, praising him for "what is carved", discussing and exchanging for decades, and there were many anecdotes. Tong's long history of Xiling naturally carved the Zhejiang school and studied it deeply; but there are not too many such works. His name is "Yigulu", and the seal score made by this name (see above) shows that he is mainly based on ancient seals and Chinese seals. Tong inherited his father and brother Yu Lie, and the three generations of Yi ware and the like have many collections, so many zhong ding are in print. Its calligraphy is as thick as its own, and its writing is smooth. His books are most powerful in seal writing, and they also come and go from Zhong Ding as their seals. The paintings are mainly boneless flowers, which can also be feathered and landscape. At the age of twenty-seven, Da Nian accompanied Mr. Wujin Huangshan Shou to the Eunuch Jinmen, and observed the Lotus Curtain with Hadari Fangbo and Wen Shaoru. In 1900, when Geng was old, there was a direct governor who asked Da Duan to be introduced, and wanted to recruit Da Nian to take care of government affairs, and Tong Danian thought that the direct governor was the generation of the disaster of the country, refused to bend his waist, borrowed his mother's heart, and hurriedly returned to the south with Huang Shanshou, preparing for hardships.
Fifty years later, the name of the great year was sown in the north and south of the river, and it began to make a living with the art of mane. Tong Da Nian Yu Yin can be said to have spent his life's energy. Since the age of seven, he has been practicing engraving, and in his early years, he had printed more than 100 buttons on the ancient seal, and his printing art was based on this. Da Nian is cheerful, alcoholic, "128" battle, The residents of western Shanghai have taken the fine and soft to avoid the concession, Mr. Da Nian from the Kangding Road apartment alone with the Big Altar alcohol to follow, its good drink so. Da Nian studied the six books intensively, often practiced the seal, and the books were calm and elegant, without the atmosphere of earthliness. Calligraphy is valued by the Great Seal and the Eight Books, and the seal is particularly ancient. If Bai Lian is transformed into a soft finger, he can make zhong ding, tao, and seal all kinds of words brilliant and smelt together.
Of course, it is certainly respectable for indians to be able to create an original and majestic face like Wu Changshuo and open up a generation. But how many people can do this throughout the ages? It is also very rare to be able to "seal and strengthen the many" like Tong Danian. A number of Tong's prints are selected here for a glimpse.
Home in Jin'ao Twelve Peaks
For a while, the seal engraved on the Shanghai was Zhao Shuru
Zhao Shuru (1874-1945), originally known as Runxiang, was born in his father Zhenjiang Prefecture. Zhenjiang was called Runzhou in ancient times, hence the name. Later name Feng, character Xianchen, later renamed Shi Feng, number sewing, word Uncle Ru, with the word line. The family has the Eastern Han Dynasty Yanxi (Huan Emperor Nian number) and Wei Jingyao (Shu Han Hou Feng Nian) two crossbow machines, so Yan lived in the Day two crossbow fine combination, in his later years to call himself the second crossbow old man. A native of Yinxian County, Zhejiang Province. When Zhao Shuru was a teenager, he was a member of the Siming Wang clan, his great-grandfather zaihao, Zu Chongjiu, a student member of all counties, his father Youchen, and the Zhengqing of the Qing Dali Temple. Therefore, he was influenced by this kind of calligraphy from a young age, and he loved art such as Jinshi calligraphy and painting from an early age, coupled with his sensitive nature, he was fond of carving when he was reading with his hair tied. When he was eight years old, a family dinner brought many celebrities to relatives and friends. During the banquet, I heard that Shu Rugong was painting a horse, and some people proposed whether to ask for a feast. Shu Ru immediately raised the case and wrote a pen. In an instant, a horse was drawn, standing on the paper, the god was abnormal, and he was surprised to be a prodigy.
Shu Ru Yue Zhang, a huge rich man in Minzhong, lived in the family of Uncle Lin Ying for three years after marriage, and went through the old collection of the Lin family, three generations of Jijin characters and Song and Yuan calligraphy and paintings, so the art has made great progress. After the Xinhai Revolution, he painted and engraved in Shanghai, and there is a saying that there is a horse of gold and ten wats. The flowers, birds and landscapes he has made are beautiful and elegant, and the calligraphy is also beautiful. The seal engraving is the ancient and complicated seal of the Qin and Han Dynasties, and its printing style is square and stable, and the junxiu is quiet. He has made important contributions to the research and development of Song Zhiyuan Zhuwen. In addition, he was also an outstanding educator, with more than fifty disciples, and created many outstanding disciples, such as Fang Jiekan, Chen Julai, Ye Luyuan, Tao Shoubo, Zhang Lu'an, Xu Bangda, and so on.
Chen Julai's "Anzhi Jing contains the words of the Seal" Yun: "Those who can perfect the realm of the Indians, when they push Anji Wu Changshuozhang and the ancestor Yinxian Zhao Shifeng, it can be described as a moment of Yu and Liang. However, the old man who reveres Chang does not like the stability of Mr. Shu Ru's work; those who respect Mr. Shu Ru are broken by the old man who is sick and old. The dispute between Wu and Zhao has not yet been resolved. Yu Yiguan Ergong's work should first investigate its source: the seal of Changlao is the seal of the General of the Han Dynasty, Zhu Wen often participates in the Dian wen, so most of the works are strong all the way; Mr. ShuRu casts the seal for the Shushang Peeping Han with his bare hands, and Zhu Wen participates in the Zhou Qin Xiaoxi, along with the coin text, the mirror inscription, and so his achievements open up a whole faction. If the methods are different, how can they be stronger? Its second public law is strict, outstanding self-exclamation, and disdainful of following people's feet. Chen Julai was a disciple of Shu Ru, and he was the most truly aware.
I'm too shi also
Deeply saddened, Liang Qichao believes that Chen Shizeng's death is an "earthquake in The Chinese cultural circles", Wu Changshuo's life is "immortal", Qi Baishi is in tears for the loss of his confidant, and the old man has the sentence "I will not advance without a king, and I will retreat without a king". Chen Hengke's final ten years in Beijing was the heyday of his artistic creation, but after all, it was too cruel to him, he did not complete the full mileage of his personal art, but he completed an important task in theory, that is, when the literati painting was impacted, due to his theoretical elaboration, he stabilized the position of literati painting and promoted the reform of literati painting. He pointed out: "The elements of literati painting, the first character, the second learning, the third talent, the fourth thought, with these four can be perfected." These views cannot be expressed unless they have a deep understanding of the aesthetic ideas of Chinese national art.
Chen Hengke's rule of the seal was initially controlled by Huang Yi, Xi Gang, Zhao Zhiqian and others, and then turned to xi yi weng seal wind and mastered, wu Changshuo pure knife into the stone magic, surprisingly unexpected, not because of avoiding the ripeness and falling into the wild, the gods are white and charming, often in the clumsy. Friend Yao Hua commented on his Yinyun: "Shi Zengyin's study originated from Wu Miaoweng, flooded in Han Copper, next to Ding Yi, vertical and horizontal in brick and tile Dian wen, covering the most knowledgeable people of modern India. And do not open the door, do not secret. The disciple Wang Youshi recorded the seventeen rules of his usual discourse on printing, that is, on the examination of characters, stereotypes, layout, printing, engraving, Zhou Qin seal, Han seal, mud seal, stele, gold text, pottery text, brick tile text, Deng school, Later Zhejiang school, former Emblem school, etc., all of which are more than 4,000 words for the "Huaitang Imitation Seal Shallow Saying", and Qi Baishi is the preface. His seal carving is happy to punch the knife out of it, and the printing surface is majestic and full of vitality. The side section is also rustic and steep, very different from the times. The knife method of "Heart Residence" is refreshing and spicy, reflecting the taste of Hanguan Yin Pumao in the straight seal method, and the "corpse" and "ancient" of the "ju" character are also interspersed with each other, and the ancient seal method is used just right, and the rigidity is a rare boutique. "Love Obsession" is expressed in a slightly rounded posture with a square folded pen, which is handled very naturally, and the two words are interspersed with side arcs to leave an unforgettable impression on the reader. Chen Hengke died young, and he did not fully display his talents, and there are not many surviving works. But he is a very representative figure in the history of modern painting and the history of printing, so those who generally study the history of modern Chinese painting often start with him.
Wang Fad, the hero who founded the Xiling Seal Society
Wang Yi (1880-1960), formerly known as Shou Qi (寿祺), Wei Ji (威季), Zifu Factory (i.e.,庵), alias Yin Maid, Late Number Holding Mo Old Man, Zhai name Elk Yan Zhai, Zhejiang Yuhang County people. Wang Fuchang's father and uncle are the famous Jinshi family in Zhejiang, who inherited his family learning at an early age and carved a good seal when he was ten years old. In 1904, when he was twenty-five years old, he founded the Xiling Printing Society with Ding Fuzhi, Ye Pinsan, Wu Shiqian, etc. in Gushan, Hangzhou, and completed it in 1914. Their advocacy of printing in our country has been outstanding.
In his youth, Wang Fuchang worked in the railway department, taking up the position of calculation and surveying and mapping, and often traveled between the factories in his spare time, and bought many seals of famous seals from past generations. At the age of twenty-eight, he expanded a set of "Fuchang Tibetan Seals", and collected thirty-nine families such as Ding Jing and Deng Shiru. Some of the seals have been polished, and the edges have been expanded, and the spirit of preserving culture is very admirable. Thirty-four years old to Beijing, invited to Beijing to serve as the technical director of the Printing and Casting Bureau, when the national official seal, all by the Printing and Casting Bureau seal casting. At the request of Ma Heng, president of the Palace Museum at that time, he was hired as a consultant to participate in the appraisal and appraisal of cultural relics such as gold stone calligraphy and paintings collected by the Qing Palace. His round Zhu Wen is beautiful and smooth, no matter how simple and simple the strokes of the text are, they can be naturally and harmoniously unified on the printing surface, so that people have a soft and elegant sense of facing the babbling water and clinging to the weeping willows, especially the Zhu Wen multi-character seal, and the appropriateness of its meaning can be described as unparalleled.
Now it is the clouds scattered snow and flowers
Every time the ancients open the book and live in poverty, they often close their doors
The world is shocked
Wu Zhong's famous hand Wang Yun
Wang Yun (1888-1934), the word Shi Qian, a word Shi Xiang. A native of Suzhou, Jiangsu Province, he is lonely and unmarried all his life, and he has tried to take the Taoist Temple as his home. Carved bamboo, carved fan bone is particularly fine. He is good at thin-sided Zhu Wen. At that time, when the printing altar was prone to confrontation between the two peaks of the Zhejiang and Deng factions, it was very special for him to be known for his zhu wen and to deal with it in a special form of a thick border of a fine print or a thick border of a thick printed text.
Suzhou has a long history of seal engraving from the beginning of Wen Peng. The "Ta Ying Yuan Sect" Gu Ling can be described as unique in the Suzhou Art Forest, Wang Yun traced back to Wen Peng from Gu Ling since childhood, and he heard and heard about it, and got the qi of his forest. The "Deep of The Cold Fragrance" is flat and stable, and has a considerable standard, which shows that his pace and focus are also quite high. When he called him a famous seal engraver in Wuzhong, he believed it. Wang Yun's value lies in the fact that he struggled alone with a recent stance, to relive the formal taste of the Ming Dynasty literati seal, and to inherit the legacy of the Wumen calligraphy and painting printer with a diligent iron pen, and his creative motivation was extremely elegant.
Chen Jianhouyin
Yu Shan disciple Deng Sanmu
Deng Sanmu (1898-1963), formerly known as Iron, the word blunt iron, later renamed Sanmu, do not sign Luzhongren, Virtual, Chu crazy people, self-signed one foot, 夔, Zhaiguan has a toilet building and so on. He thought that he was better than poetry, books, and prints, and shorter than filling in words and paintings, so he signed "three long and two short fasts" in vain. Deng Tie was a native of Shanghai, but he had a particularly deep affection for Changshu Yushan in his lifetime, and people often only remember that when he was thirty-one years old, he worshiped Zhao Guyi as a teacher, practiced seal carving, and calligraphy was asked to be in Xiao Yuan'an, because both teachers were Changshu Yushan people, so they called themselves "Yushan disciples".
At the first turning point in Deng Tie's life, what influenced him later in his life was a legendary Changshu tailor master Han Different. In the autumn of 1913, the sixteen-year-old Deng Tie, because he could not afford to enslave education, confronted the British teachers of the Chinese Children's Public School run by the British, left the school in anger, and returned home to study Chinese language and calligraphy. However, because there is no "master leading into the door", it can only be practiced blindly. Every day when he was tired of reading and writing, Deng Tie went to the entrance of the alley to watch the liveliness and relax.
One day, according to his mother's orders, Deng Tie invited different masters from the garment booth to come to the house to tailor the clothes. Master Han finished measuring the size of Mother Deng, just wanted to say goodbye, saw that Deng Tie was concentrating on writing, so he walked behind Deng Tie with great interest to watch, and immediately gave Deng Tie a demonstration of guidance, and pointed out: "Immerse yourself in hard training, do not pay attention to methods, even if you practice for ten years and twenty years, you will not be able to practice good words!" Does a master tailor still write a good hand? The confused Deng Tie only saw Master Han dipped in ink and raised his arm to form a horizontal arc of the arm and shoulder, and then, with five fingers in his fist, the wrist was dangling and the next stroke was like flying. After a while, a page of large characters was written, which was He Shaoji's pen style. Deng Tie looked at him in a daze, and when the different masters put down their brushes, he begged the master to learn the art on the spot.
Since then, different masters have not only taught Deng Tie to practice calligraphy, but also taught him to practice various self-defense techniques, such as standing on horse stakes, playing bullet legs, umbrella eighteen, stick eighteen, and so on. Deng Tie's fingers, wrists, elbows, and arms gradually became very powerful, and his body became more robust. He can hold the walnut with one hand and "hold" the walnut to pieces with one effort. This trick surprised the family extremely. In calligraphy, Deng Tie also understood that writing should rely on the wrist, elbow and arm at the same time, and the strength should also be balanced. For this, it is necessary to hang the arm, and it must be suspended as high as the shoulder blade; the cantilever is not easy, and it must be exercised with great effort and effort. And all of this, in the past, Deng Tie was unheard of. The man in front of him, who was hunched over and busy on the big tailor's table, would actually have such an amazing good calligraphy skill! It made Deng Tieru obsessed.
Around the Dragon Boat Festival of the second year of worshiping different masters, Changshu fellows from the garment stall returned from visiting relatives and informed Deng Tiehan that he was not in his hometown and had died of an illness. From the mouth of the master, Deng Tiecai learned that the different masters were originally a reader, and they were the famous local wen and martial arts double "Xiao Xiucai". After the weak crown, he really hit Wen WuXiucai. Unfortunately, the family was caught in a fire, and encountered the evil forces such as hooligans and hooligans, helpless, different anonymous names buried in the box, changed to tailoring, and went to the Ten Mile Ocean Farm shanghai to eat mixed rice. It is said that his original surname was Han Nam Morihiro.
At the first turning point in Deng Tie's life, this ordinary master Han Different had a profound influence on Deng Tie, and when it came to the year of Deng Tie's flower armor, he still talked about him fondly. I missed it so much that I took it to words. In the second half of 1957, when Deng Sanmu was in his sixties and suffered a political "disaster" in Mongolia, he buried his first two writings while remembering all those who had enthusiastic help to him. Therefore, he deliberately wrote a short but rather vivid article for different masters, who had played a leading role in his self-taught path, "Remembering Han Differences.". At the end of the article, Deng Tie wrote with deep emotion: "Whenever I pick up a pen and write, at any time there will be a small, thin, and polite person who appears in front of my eyes." This thin but legendary seamstress is Han Different! A master tailor from the foot of Yu Mountain in Changshu. Deng Sanmuzhi sealer Fa Zhao Gu Ni, he often said to his students, "The Indian must be a calligrapher, and the calligrapher may not be an Indian." After all, zhiyin is different from the book seal, and there is another very important factor in the art of painting, that is, the chapter law. "Deng Sanmu has studied the seal method very deeply, often has extraordinary ideas, and the layout of many works is amazing, leaving more than 50 seals in his lifetime, more than 5,000 seals, and his writings ((seal engraving)), with Qing Jin Duan and small letters, set seal engraving teaching materials and calligraphy models as one. In 1955, he was hired by the People's Education Publishing House to work in Beijing. On the occasion of the big bang, because of the book "Is Calligraphy seal engraving an orphan?" by the Ministry of Culture? " and "Save the Art of Calligraphy and Seal Engraving", asking for the life of calligraphy seal engraving, was classified as "rightist", and suffered a tragic misfortune. In 1960, his left foot was amputated; the following year he injured his right wrist; his stomach was cut for more than a year; and he died of stomach cancer the following year. The "astringency" of Deng Sanmu's calligraphy in his later years and the "astringency" of the seal carving not only have the side of returning to the truth and simplicity, but also have so many sorrows and unfairness. It is worth mentioning that Deng Sanmu's artistic achievements laid the most solid foundation for the position of the Xinyushan Printing School in the history of printing.
Painting Zen
Chen Julai, who could not print more than 30,000 squares in his lifetime
Chen Zhao (1905-1984), character Julai, later with character lines, don't sign Anzhi, Anzhi Old Man, Zhaiming Anzhi Jinghe, Zhejiang Pinghu people. At the age of nineteen, he worshiped Zhao Shuru as a teacher, And Mr. Shuru was a generation of masters, and he was also a master of calligraphy and painting, and when he saw that his understanding of Printing was better than calligraphy, it was ling that he devoted himself to Printing, and on the day of his teaching: "Erzhu must learn more Chinese seals, there is no need to be bound to learn from me, learning from me is like me, and in the end he cannot overcome me." After being introduced by the teacher to know Wu Hufan, he had a wide range of knowledge and made great progress in his art. From Wu Hufan, he borrowed the rare book Wang Guan's "Baoyin Zhaiyin Style" twelve volumes, immersed himself in the study of the seven cold summers, carved the furnace fire pure green, and worked steadily and old. Later, I saw the Pinghu Geshu Collection "The Seal of Ivory Rhino Horns in the Three Dynasties of the Yuan, Ming, and Qing Dynasties", and he specialized in Yuan Zhuwen. Pingsheng ruled no less than 30,000 square meters, and the major libraries asked him to engrave zhu jian and collect many seals. Famous calligraphers and painters Zhang Daqian, Pu Xinyao, and Wu Hufan used the seal to produce more than one hand, and there are "Anzhi Jinghe Seal Words" and other works. Chen Julai was a leader among the disciples under Zhao Shuru, who praised him for his "mellow engraving, and the Yuan Zhu wen as the first in modern times".
A thousand laymen
Xu Beihong's most important painter and Indian Chen Zifen
Chen Zifen (1898-1976), zi Xuexiang, no sleepless, Fujian Changle people. Painting is good at white painting, Chen Laolian and Ren Bonian use the magic of the pen, seal carving to inherit family learning, Zong Deng Shiru, and Ye Anhui and Zhejiang two schools as one, especially can melt human oracle bones, Zhong Ding, seal seal. The knife technique is refreshing, the printing surface is smooth, and the good net melts the Hidden Edge and the strength is thick and thoughtful. He once served as a primary and secondary school teacher, and after the founding of New China, he served as a librarian of the Fujian Museum of Culture and History. He is the author of "Yinzhi of Yichen Lou", "Xiaozhi of Shoushan Yinshi", and published "Famous Generals' Printing Notation". His association with Xu Beihong began in 1928. After Bai became acquainted, Beihong often wrote to discuss zhiyin, and gave Chen Zifen a special high evaluation in a book: "Contemporary Indians are exquisite Ruoshou masonry, Qi'an Ruoqi Baishi, Dian Li is Qiao Dazhuang, Wen Xiuruo qian is thin and iron, Ding Foyan, Tang Linze, etc. also have excellent works from time to time, and Xionghun is not too brotherly." Xu Beihong's "Bole Xiangmatu" inscription date: "Pengchen (1928) summer ended, Bo tour Fuzhou, is the knowledge of Mr. Chen Xuexiang, not thirty years old, has been named after the seal carving of his home." For Yu Zhi to swim in the art", "Chang Xian (next to the bird) jaw is also injured', 'the world is public' chapters, majestic Dao strength, wrist strength, Xu Heng in this life, rarely matched. "
Pink vine purple xuan
Self-made chu sheng
Lai Chusheng (1904-1975), formerly known as Ji Qin, Ran Rhinoceros, No. Venom, Yi Zhi, Non-Leaf, Shu Zhai Ming Ran Rhino Room, An Chu Lou. In his later years, Yi Zi was born and also ascended. People from Xiaoshan, Zhejiang. After graduating from Zongwen Middle School in Hangzhou, her stepmother wanted to enter Peking University to learn law, but due to the unsuccessful delay in the death of her grandfather, she changed to shanghai academy of fine arts to learn Chinese painting. At that time, Mr. Pan Tianshou was teaching, and Lai Chusheng was deeply admired, and his calligraphy and paintings were all influenced by him. After graduating from the American College, he lived in Hangzhou, and Mr. Pan Tianshou also moved to Hangzhou to teach, so the relationship between teachers and students was very close. When the War of Resistance Broke Out, the family moved to Shanghai, and Chu Sheng often provided for himself in Shanghai with calligraphy and painting and seal carving. Later, he was transferred to a teaching position to follow the family. He once organized the Southeast Calligraphy and Painting Society with his peers, and regularly collected elegant collections to discuss artistic affairs. In 1946, he held a solo exhibition in Shanghai (Chinese Painting Garden), which was well received. Before and after the founding of the People's Republic of China, he taught at Shanghai Academy of Fine Arts and Xinhua Art College. In his later years, he was employed as a painter at the Seven Seas Chinese Painting Academy and a librarian at the Shanghai Municipal Research Museum of Culture and History.
Lai Chusheng was an early member of the Xiling Printing Society. Calligraphy and painting seal engraving are all unique styles, with the reputation of books, paintings and seal engravings. His paintings are fresh and simple, unique in the modern flower and bird painting world, calligraphy is clumsy and ingenious, and cursive writing and seals enjoy a high reputation. Seal carving far away from the Qin Han, close to Wu Xizai, Wu Changshuo, Qi Baishi, self-innovation, to create a generation of printing style. Its Xiao-shaped seal integrates han portraits into a furnace, using the method of Han portraits, old bottles of new wine, simple and humble as Han, and crowned ancient and modern in the indian altar. There are "Lai Chu Sheng Seal" and "Lai Chu Sheng Calligraphy Collection" in the world. In 1949, Deng Sanmu once inscribed Zanyun: Lai Chusheng's printing art in his later years shined brightly, changing Wu Changshuo's round strength into Fang Ting, the chapter law flowed away from nature, the lines were simple and old, the majestic Canggu, and his Qin and Han carved stone knife methods were more pure and pure. Lai Chu Sheng's side section is also outstanding, and all the bodies are prepared, featuring the old spicy Pu Mao.
Suddenly swept away the wind and clouds into the sky to borrow power
Colorful Ming and Qing Dynasty stone seal buttons
Although Shi Zhang is small, it has the elegance of piano, chess, calligraphy and painting. The small seal, which integrates calligraphy, art and sculpture, and relies on many precious and rare minerals as materials, is a very unique art treasure. Between the square inches, it gives people a strong visual impact.
The development of seal engraving art will inevitably also promote the development of the art of printing buttons, many carving masters in the easy to be knife on the stone seal to engrave a beautiful button at will, the combination of the two complement each other, lithography has since become popular.
Circular carving is the main carving technique used on the Ming and Qing dynasty seal buttons. The production of folk stone seal buttons in the Ming Dynasty has reached a very high level, from the excavation and handed down from the actual objects, the animal themes carved on the stone chapters are mantis, lions, tigers, etc., and the printing styles of other materials are seen in dragons and turtles, ward off evil spirits, Tianlu, cattle and so on. The styling techniques are mainly realistic.
Qing Dynasty button in the Kangxi to Qianlong period is the peak period of the development of China's button art, and there is no stone button, there are many carving button masters, they carved out many exquisite button decorations far more than the past, handed down to this day. During this period, the seal button was also loved by the emperors of the Qing Dynasty, in addition to seeking exquisite printing stones in tribute, they even recruited famous craftsmen to make buttons for the treasure seal in the palace, and many of the world's rare famous stone workers' buttons were owned by the emperor and his authorities, which can be confirmed from the collection of the Palace Museum today.
In addition to using the circular carving technique to shape various animal themes, Qingkang Qiannian Ask also popularizes the button style of relief, which shows more mantis buttons, cloud buttons, and combines auspicious and immortal content such as phoenix birds, bats, and eight immortals, with a dense style and a healthy knife technique, giving people a rich and gorgeous feeling. In the late Qing Dynasty, when combined with relief carving and the bamboo carving method evolved into "Thin Yi" carving, this new technique integrates The elements of Chinese painting, the carving method into the stone is shallow, after modification, the knife method is seamless but the artistic conception is far-reaching. Usually around the printing body, the overall composition, composing a frame of the picture, easy to express the landscape, flowers and trees, insects and birds, characters combined with the subject matter, both decorated the printing body, but also does not damage the printing material, suitable for Tian Huang and other precious stone chapters and natural materials to apply, and through the ink reproduction, but also into a separate appreciation of the artwork.
Seals as art collectibles have different value meanings: historical value, artistic value, appreciation value, and investment value. Collectibles can only achieve capital preservation and appreciation in commercial circulation, and at the same time, they can also realize the upgrading of collectibles. At present, stone seals often flow in the Chinese seal market, and other printing materials are almost invisible. A few years ago, there were also lion button porcelain square seals from the Dehua kiln of the Ming Dynasty, with a transaction price of 5,000 yuan; the bamboo root seal carved by Gao Fenghan was between 12,000 and 15,000 yuan; the Ming Dynasty copper seal, with a transaction price of 3,000 to 5,000 yuan; and the gilded copper seal of the Qing Dynasty, with a transaction price of about 10,000 yuan. But this is only seen in the domestic market. The original stone seals of the famous schools of the Ming and Qing dynasties were rare and difficult to see. The state clearly stipulates that cultural relics before qianlong in the Qing Dynasty are not allowed to be exported, so even if there are private collections, they may not flow into the market. In fact, the mainstream of folk seal stone collection is also the collection of stone seals. The seals of famous artists in the late Qing Dynasty and the Republic of China appeared from time to time in the auction market, but the seals of famous artists in the Qianjia period of the Qing Dynasty and the late Ming and early Qing dynasties were very rare. In the autumn of 1996, the information from the Beijing Hanhai Art Auction Company was that in the Auction of Chinese Antiques and Treasures, the price of Yinshitian Yellow had reached an unprecedented peak. There is an old saying in the seal stone collection: "Chicken blood, field yellow, the king of the stone; four two gold and one two field yellow". Tian Huangshixiang is known for its delicate texture, crystal color, rare yield and high price. In the autumn of 1996, one of the late Ming Dynasty Tian Huang Beast button medals in the Beijing Hanhai auction weighed only 14 grams, and the auction price was as high as 190,000 yuan (excluding commissions). If calculated according to this price, the old saying "four two gold, one or two field yellow" has not been able to keep up with the situation, and should be changed to: one or two field yellow (16 two systems) 400,000 yuan into the people's currency. This cannot but be jaw-dropping.
Summarizing the successful experience of the printing stone auction in the art auction in recent years, the first is the overall printing stone, especially Tian Huang, which is of high quality. Regardless of color, appearance, carving, and age, it can be said that it is the leader in the yellow of the printing stone field, and it has a strong attraction. Secondly, there are many buyers, the atmosphere is warm, and the venue is competing again and again. Third, the price of genuine branded buttons and engravings on the printing surface is high, and vice versa.
In the spring of 1998, Sotheby's Hong Kong auctioned the early Qing Dynasty Yang Yuxuan carved the Tian Huangbu Bag Monk Nature Medal, which is a rich color and transparent and distinctive monk. Due to its age and rarity, the estimated price of the works is 1 million to 1.5 million Hong Kong dollars, which is much higher than the estimated price of Tian Huangshi in the past, and the general collectors think that the Tian Huangbu Bag monk will miss the bid, and it is surprising that it was finally auctioned for 2 million Hong Kong dollars. One side of the Tian Huang Bo Yi carved Gao Shitu seal, 100 grams, the estimated price of 60,000-80,000 Hong Kong dollars, and the transaction price of 190,000 Hong Kong dollars, several times more than the reserve price.