Note that the genres in the history of Chinese seal engraving introduced in this article refer to the schools of seal engraving listed in Mr. Deng Sanmu's "Seal Engraving". The whole is the words of the Tang family, so there are many mistakes in them, and we collate them accordingly in combination with other relevant seal engraving papers published in recent years and the published seal engraving readings.
(Photo by Mr. Deng Sanmu)
The advantage of this is to avoid mr. Deng's mistakes caused by the limitations of the times and the prejudice of the portal. However, I also have the obstacles of insight and the limitations of the times, and there will still be mistakes or omissions, only to try my best.
From the Qin and Han dynasties (even from the Shang and Zhou Warring States) to the Tang and Song dynasties, there are countless practical seals in China, but we cannot know who the casters and chisels of these practical seals are. Because in ancient times, the seal has not yet appeared in the edge of the paragraph, the seal has not yet realized the development stage of "wule gong name". After all, they are small, and they have not yet developed to the scale of "the heavy instrument of the country" like Zhong Ding.
Mr. Deng said that the ninth move of Wu Qiuyan's "Thirty-Five Moves" said: "The Qin people have large and small jade seals, large and small seals, Huiluan and other texts, all of which are Li Sishu and Sun Shou carvings." There is indeed such a sentence, but it is recorded in He Zhen's "Ancient Texts of Continuing Learning", and it has nothing to do with Wu Qiuyan. And it is only a textual record, there is no empirical evidence, and it can only be viewed as a legend.
(Legend has it that Li Si sealed the seal of the national jade seal)
The authors of the practical seals recorded in the data records include Chen Changwen, Wei Zhongjian, Yang Licong, Xu Shizong, zong yang, and so on. Because most of the seals at that time were from the hands of craftsmen and artists, there was no participation of literati and scholars.
This led to the result that even in the Han Seal, there were some seals that did not conform to the "Six Books" doctrine, and this problem was even more serious during the Wei and Jin Dynasties. In the Tang and Song dynasties, the seal law declined, more arbitrary involvement, unwritten theory, obviously the work of craftsmen.
In the Yuan Dynasty, Zhao Mengfu and Wu Qiuyan raised the "retro" banner, so the matter of seal carving was truly included in the forest of literature and history, and became a real literati and elegant thing. Of course, there is still one thing left to really develop from "seal" to "seal carving", that is, the discovery of stone.
(Seal of the Crown)
At the end of the Yuan Dynasty, Wang Mian found flower milk stone (also called huarui stone, which was mined as a vessel in the Song Dynasty) in Baohua Mountain, Tiantai, Lishui County, Chuzhou, Zhejiang Province. Only then did it really open the precedent of literati engraving, but after all, Wang Guan's influence was too small, and it did not form a custom until the emergence of Wen Peng.
(Print by Wen Peng)
Wen Peng was a practitioner of stone carving, although it was important, but more importantly, he was the eldest son of Wen Zhengming, and his social influence was huge, so his disciples, his disciples, his friends, and the literati he knew gradually became imitative participants in seal carving and beneficiaries of seal carving, and gradually formed a genre. Therefore, if the history of the genre of Chinese seal engraving should start from Wen Peng (of course, his detailed description should be seen in the next article), he is also recognized as the originator of Chinese literati seal carving.
(Wen Peng statue)
Mr. Deng believes that the genre of Chinese seal engraving began with Wen Peng and should be divided as follows:
(List of genres of Deng Sanmu's "Seal Engraving")
He believes that from the Ming Dynasty to the Republic of China, there are seven sects that can be named by the sects of the Zhiyin family, namely the She sect, the Zhejiang school, the Deng school, the Yishan school, the Wu school, and the Zhao school. But in addition to the names of the Zhejiang faction, the Yishan faction, and the Wu faction, there are many problems, and if we distinguish them carefully, we should pay attention to the following problems in view of the above table:
1. Wen Peng's school should be called the "Three Bridges School"; and Cheng Wei is some years later than He Zhen, and Cheng Xiao is not a disciple of Wen Peng, and the concepts of "She School" mentioned here and "Hui School", "Anhui School", "Deng School" mentioned later have many overlaps and cannot be mistaken;
2. He Zhen's school should be called the "Snow Fishing School"; Zhu Jian and Wang Guan are not in He Zhen's "Anhui School" system, Zhu Jian established the school with a cutting knife, but it has no name, but it is obviously different from He Zhen's long-range punching knife carving method; Wang Guan's elegant work and stability, with his own independent sect, should be called "Lou Dong Sect"; although Su Xuan listed He Zhen's door wall, he was eventually favored by Wen Peng, and was promoted to He Zhen's contemporaries, Su Xuan had his own independent sect, called the "Surabaya School";
(He Zhenxiang)
3. Ding Jing's Zhejiang sect did not originate from He Zhen, his sword technique originated from Zhu Jian's finely broken cutting knife. Jin Nong and Zheng Xie are not representative Indians of the Zhejiang faction, and the representative Indians of the Zhejiang faction are still the so-called "Xiling Eight Families";
(The interaction between the Eight Houses of Xiling and Emperor Huizong)
4. Although Bao Shichen was a disciple of Deng Shiru in calligraphy, he was not good at seal carving, and Wu Tingyi (i.e., Wu Rangzhi) was a disciple of Bao Shichen and was not personally passed down by Deng Shiru;
5. Zhao Zhiqian was not pure from the Deng School, he began with the Zhejiang School, then transferred to the Deng Sect, and finally formed the printing style of "Seeking Printing Outside india" at the Anhui-Zhejiang Hengzhan Station; Hu Qi (Deng mistakenly became Wu Qi) was not a disciple of Zhao Zhichen, but a private Shu Zhejiang Sect, and was eventually inspired by Zhao Zhiqian, whose achievements should be juxtaposed with Zhao Zhiqian;
6. Xu Sangeng is not a disciple of Zhao Zhiqian and Wu Rangzhi, he also started from the "Zhejiang Sect", and his age is even three years older than Zhao Zhiqian; Yi Xi is a disciple of Huang Shiling, and he should not be juxtaposed with Zhao Shuru;
(Development of genres from the late Qing Dynasty to the Republic of China)
7. Hu Yinsang's surname was mistaken for Wu, and Li Yinsang's name was mistaken for Li Shen;
8. Wu Changshuo has many famous people, not only zhao shi's family, and zhao shi's faction is recognized as "Yushan sect" after it is not "Zhao faction"; Deng Sanmu is a disciple of Zhao Shi, so he is suspected of being a master;
9. Famous artists such as Lin Gao, Wang Fu'an, Qi Baishi and other famous artists were omitted from the table, and there were also famous artists such as Chen Julai under Uncle Zhao (although the age of Chen was younger than Deng and was not included normally), probably because it was different from The concept of Deng's printing, so it was not included.
Starting with the next post, we'll start with Wen Peng, and we'll go into detail about each genre.
([Perusal of "Seal Engraving"] No. 24, some of the pictures are from the Internet, the copyright belongs to the original author)