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Deng Shiru's seal carving art
Text/Zhuang Xinxing
Edited by_Smell Yes
During the Qianlong period in the early Qing Dynasty, the study of jinshi examination began to develop gradually, and a large number of masters of printing also emerged, new printing styles continued to attack the society, and the art of seal engraving has since moved towards its heyday. At that time, the main alliance on the altar was the "Zhejiang School" headed by Ding Jing, which was widely spread and had many scholars. In the Huainan region of Anhui, where printing studies were once the most developed, an outstanding figure in printing studies also rose - Deng Shiru. His seal engraving style was called "Deng Pai" by later generations.
Deng Shiru (1743 - 1805) was originally named Yan (琰), the character Shiru , and later, because of avoiding renzong's secrets , he changed his name to stubbornly. And because he lived under the Anhui Gong Mountain, he was called the Baishan people. In addition, there are also other departments such as Guanbai, Guhuan, Guhuanzi, Youji Daoist, Fengshui Fishery Chief, Longshan QiaoChang, etc. His ancestors originally lived in Poyang, Jiangxi, and only moved to the Phoenix Bridge under the Dalong Mountain in Jixianguan, Huaining, Anhui Province, in the early Ming Dynasty. He is already the thirteenth generation of the Tang clan after the migration of Anhui.
Deng Shiru's distant ancestor was the Marquis of Gaomi of the Han Dynasty, but his grandfather was only a lifelong talent, and his father was even more unspiritual. His father, ming Yizhi, Mu Zhai, erudite, good governance, gong sishu, long poetry, and able to Danqing, but he was arrogant and arrogant, not harmonious in the world, and could only teach outside for a long time, with little income, and the family was inevitably poor.
Deng Shiru's Four-Body Book
Although Deng Shiru was born in a scholarly family, his family situation forced him to live on firewood and bread bait from an early age, and he completely lost the opportunity to study. However, due to the influence of his grandfather and father, he was still very good at learning, and he studied poetry, calligraphy, and engraving in a little time. At the age of seventeen, he wrote in a seal book (Lei Lang Ming and Preface), which was well received by many people. Since then, he began to live with engraving and writing, and truly entered his artistic career. Later, he left his hometown to travel to The Beijing Division, but he still returned poor. At the age of thirty-two, he went to teach in Shouzhou, Anhui on behalf of his father, and became acquainted with the famous local calligrapher Liang Wei. Liang greatly appreciated his talent for calligraphy and seal engraving, felt that he could no longer match in terms of gestures, and believed that as long as he could give full play to his talents, the future was unlimited. Therefore, he recommended Deng Shiru to go to the JiangNing Mei family, which was extremely rich in collection, for further study. Deng successively visited Meijia for eight years, read the golden stone rare books since the Qin and Han Dynasties, and finally understood the distinction between elegance and customs, and at the same time, he studied extensively in the morning, night, cold and hot, and integrated, and obtained considerable achievements in calligraphy and seal carving. Hakka Meijia is a key turning point for Deng Shiru to get great achievements in calligraphy and seal carving, and since then he has made his skills in this area more and more advanced, and his stage name Fei Sheng Hai Nei has been admired by the world.
The attainment of seal books can directly affect the development of printing art. This is a basic truth. Therefore, it is necessary to briefly understand Deng Shiru's seal writing skills first.
Deng Shiru was very conceited about his seal book. Earlier, he had said, "I have not reached the Yang Ice, and I will not reduce the Liang Hu." At the age of forty-nine, he said: "A certain book is short, fat and thin have laws, and every bit of painting is engraved with the Qin and Han tablets." At the age of fifty, in Wuchang, he commented on the seal book and said: "Where to let Bingsi" ice, that is, Li Yangbing. Si, i.e. Lees. In fact, Deng Shiru's remarks are not overly exaggerated and wild words, and the world does think so. Cao Wendi, who was a little longer than Deng, commented on his book, saying: "All four books are the first of the national dynasty." The famous calligraphers Liu Yong and Lu Xixiong saw his seal book and said, "There has been no such thing for thousands of years." Wu Changshuo wrote deng shuzuo: "It has already surpassed the "Langya Stone Carving" and the "Twenty-Nine Characters of Taishan." When Zhao Zhiqian wrote the Book of Deng in the Eight-Point Book sima Wen Gongjia Yi Fragment, he believed that Deng's seal book "crossed the Shaowen". Shao Wen, that is, Li Yangbing.
Deng Shiru's seal writing skills, combined with the creation of seal engraving, can naturally receive extraordinary effects. Wei Jiasun, a Jinshi family member of the late Qing Dynasty, commented in the "Seal Of Wu Rang Zhi This means that he runs through the knot of the Indian text with his personal calligraphy style. This is a superior method of breaking through the barriers of predecessors, innovating and self-reliance, and it is also a method that usually belongs to the usual method of seeking printing outside India. This method of creation was realized through exposition, diligence and bookish refinement at the Mei family. However, before he lived in The Mei family, due to lack of knowledge, the calligraphy was not yet mature, so the seal engraving works mainly followed the rules of the predecessors. Even in this period of the Hakka Mei family, the early days were still quite immature, and it was too late to really begin to have some understanding, gain, and take their own path. Therefore, the main achievement of Deng Shiru's seal carving art lies in the nearly forty years old, and it is also worthy of artistic evaluation of the works after this. This question can be answered by some dissection of his work.
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"Chengxuetang" seal
The white seal of "Chengxuetang" is the work of Deng Shiru when he was thirty-eight years old. The layout of this seal tells us that Deng Shiru wants to seek new ideas with the change of the printing structure, so as to break the old frame of the previous people who arranged the strokes too evenly, and solve the problem of wide and loose and unventilated. However, due to the emphasis on dense contrast, the seal ignores the overall sense of the knot and layout of the seal, resulting in the phenomenon of trivial and loose printing structure, and the result is that it is artificial and loses its sense of nature. This square seal, from an artistic point of view, is not perfect, and can even be said to be a failure; it clearly shows that Deng Shiru was still at the beginning of exploration and innovation at this time.
"Yi and Ancient Meeting"
The seal of "Yi and Ancient Society" is a work given to Bi Lanquan by Deng Shiru when he was thirty-nine years old. Before that, Lan Quan gave Deng Shiru Huayang Zhenyi the old Tuoben Fa Book. The Tuoben is the famous post that Deng Jiujiu wanted to get. For this reason, Deng Shiru was grateful and immediately made this thanks. It is conceivable that when he made this print, his heart was full of creative passion, and he strived to play his best level in every stroke. This seal is naturally his masterpiece of this period, and it is also a microcosm of his level of seal engraving at that time. In terms of glyphs, like the seals of the same period, it highlights the gestures, the movement of the quiet, the stillness of the movement, the movement of the main, a washing of the Song and Yuan Dynasties since the Situation of insufficient flying of Zhu Wenyin; in the layout, the sparseness allows it to be natural, so that the seal has a considerable sense of sincerity, this seal reflects that at this time Deng Shiru "can walk in the loose place, the secret place does not make the wind transparent, often counting white to be black, and the strange is out" The theory has been effective in practice, and the printing art has also made great progress. It has begun to enter the track of "printing from the book".
"Printing from the book" is an exploratory innovation, but its success still depends on whether its calligraphy can be organically combined with the knife technique as a whole. This is the basic aesthetic of seal engraving. Therefore, the slightest negligence in any aspect of the creation will still be a failure, which is a reasonable thing, and it is also a reality that any printer cannot avoid.
"I can't make a book"
Deng Shiru, when he was forty-six years old, made a seal of "I can't make a book with the intention of writing", trying to practice the theory of "printing from the book" in the form of fine white text. However, this seal is still flawed in dealing with the organic combination of the three in the basic aesthetics of seal engraving. For example, the indian gesture is too turbulent, although there is more than enough flow, but the composure is insufficient, giving people a feeling of floating and slippery. In terms of knife technique, there is also a slight lack of strength, so it is not a perfect work. Nevertheless, from this seal, we can still see that Deng Shiru's exploration of seal carving is constantly proceeding.
Innovation contains both failure factors and success factors. In the process of exploration, Deng Shiru continued to improve his calligraphy and the gradual maturity of the aesthetic ideas of seal engraving, and successful works continued to produce.
"Home in Longshan Fengshui"
Zhu Wen's "Home in Longshan Fengshui" is a self-use seal made by him when he was forty-eight years old. It is a new exploration in terms of form, and it is another bit of reflection in the aesthetic ideas of Deng Shiru seal carving. This seal does not use a border, but the combination between the seals is very consistent, and it is possible to be extremely exhausted in the effect. Its layout, the magic is to treat multiple characters as a word, pay attention to the overall composition, so that it is like a single word with a large number of heads; although the upper three characters are far more numerous than the lower three character strokes, the size of the words is still equally divided, forming an effect of tightening up and loosening, which has the aesthetic principle of traditional Chinese calligraphy.
"Photography does not look for the elderly"
Zhu Wen's "Photography of the Old Man Without Appearance" is a representative work of Deng Shiru's seal carving, which is quite "printed from the book". When Deng Shiru was forty-eight years old, Luo Liangfeng, one of the eight monsters of Yangzhou, gave Shi Ru a gift for Shi Ru's "Dengdai Tu" and left this mark in the picture. In this print, the strokes of the print are rounded freely, which is almost the same as the font in its calligraphy; the lines of the print in the layout are very wide, but the strokes are stretched and interspersed, making up for the loose feeling. Comparing this seal with some of the Zhu Wenyin of Later Zhao Zhiqian and others, it can be found that it has completely played a role as a blueprint for future generations.
Qing Luo's "Deng ShiRu Deng Dai Tu" in the collection of the Palace Museum in Beijing
In the later stages of Deng Shiru's seal carving, his skills have reached the point of pure fire, and many of the best works passed down from generation to generation are not only the essence of his life, but also make many later printers approve of the waist.
「Houyun Songzi Yinlai」
The white text "Houyun Songzi YinLai" is also regarded as a later work of Guan Shiru according to the style. This print gesture flies, and the traces of the knife are not visible. The best thing about it is that the two words of nature, the strokes are either thick or thin, and the horizontal painting is thicker, and many straight paintings appear thinner with a knife, intended to take the position horizontally. Some strokes are crooked, but let nature take their course, and the overall balance is not affected by this. The structure, glyphs, and knife methods of this square seal have all entered the stage of transformation. Deng Shiru's works of this kind became the indiscriminate engraving of Wu Rangzhi's seal later.
Deng Shiru's seal carving art was formed in exploration and innovation. Although many of his works have shortcomings, they do not shake his position and contribution to the history of printing, and the above analysis of the advantages and disadvantages of his works is intended to be two points:
First, for the works of deng Shiru, an artistic master, we must also evaluate them from the perspective of materialistic dialectics, not only praise, innovation cannot be smooth sailing, success and failure often coexist;
Second, any famous artist will inevitably have unsuccessful works, and if they do not selectively learn and learn, they will inevitably gain both.
The invaluable thing about Deng Shiru's lifelong seal carving art lies in not being bound by his predecessors, just like the Indian phrase he carved, "Use my method", to take his own path. His seal engraving works, compared with his predecessors, are indeed full of novelty, but they can inherit the strengths of tradition, Bai Wenyin borrows from the Erhan, Zhu Wenbu Wu Song Yuan, and the success lies in the fact that they can all come out of the machine and use my method. His influence on seal engraving has always involved the later Wu Rangzhi, Zhao Zhiqian, Xu Sangeng, Wu Changshuo, Huang Mufu and other famous artists, and has played a considerable role in promoting the development of printing art.
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