Zhao Zhiqian 105 Fang, Huang Mufu 168 Fang, Wu Changshuo 200 Fang, Mr. Qian Junzao will collect the rough stones of the three major groups, and successively ask Mr. Fu Jiliang and student Chen Mingwu To Tuo Tuo to "Yutang Tibetan Seal" (A and B collections) fifteen parts, "Cong CuiTang Tibetan Seal" seven parts, distributed to friends.
In 1975, Mr. Qian added 40 Tibetan seals of Zhao, Huang and Wu to Chen Hongshou, Zhao Zhichen, Qi Baishi, etc., totaling 533 buttons, and the students Chen Hui and Huang Bingzhao Tuo, which lasted three years and completed twenty "Qian Junxun Seals". The rough stones are now in the Junzao Art Academy. The exquisitely produced original rubbings have left a bright brush for the art of seal engraving.
No tiredness
(This is where Uncle Yuzang, Mufu, and Changshuo were engraved.) ）
Zhao Zhiqian "opened a portal for indians for six hundred years", but he left not many seals. Looking at the "Collection of Works of the Representative Seal Engravers of the HaiPai Seal Engravers , Zhao Zhiqian" you will find that 92 of the seals (nearly 40%) of them come from the collection of the Junzao Art Academy, and the pieces are exquisite. Therefore, we say that without Mr. Qian Junzao's complete and large-scale collection, preservation and research, Zhao Zhiqian is no matter how powerful, perhaps we cannot glimpse the whole leopard today.
I'm not content with just being an Indian.
Zhao Zhiqian (1829-1884) In the history of late Qing art, Zhao Zhiqian is an unavoidable name. He was rich and talented, and his fame moved the public secretary, but he was not the first official in the spring, and he was always frustrated with the field; he diligently took the meritorious and famous advancement and the academic merit as his career, but he sank down to the subordinates and bent his waist for the five buckets of rice; he carved and printed poetic texts all his life, which was originally a matter of sending affection, and had no intention of surviving on his own, but behind him he was known as a famous artist of Jinshi calligraphy and painting, and he was famous for posterity; he was in his prime, but with less than five hundred creations, he opened up a new realm of aesthetics and practice for seal carvers since the late Qing Dynasty.
Zhao Zhiqian, a series of works of the representative seal engravers of the Haipai School, is edited by teacher Sun Weizu and includes 237 works of Zhao Zhiqian's seal carvings, including 103 square rough stones for the first time in history. It is divided into "self-use printing" and "other people's printing", roughly arranged in chronological order, including almost all representative works, and accompanied by detailed bibliographic information.
It began in the Zhejiang school, and now we see Zhao Zhiqian's earliest chronological prints, which began in the second year of Xianfeng (1852), that is, at the age of 24.
At the beginning of Zhao Zhiqian's practice of printing, he had conducted in-depth research on the Zhejiang Pai Indians, and he obeyed Ding Jing, Jiang Ren, and Huang Yi, and during the period of immersion in the Zhejiang Sect, there were many side sections such as "Quasi-Mountain Hall and Xiaosong Law". In fact, judging from his works, the most direct object of the teaching method is Chen Hongshou, which can be said to have reached the point of entering the hall and mysteriously.
After the fourth year of Xianfeng (1854), he was in the Miaozi shogunate with Hu Shu, who admired Deng Shiru in calligraphy. At this time, he also began to study Deng Shiru's prints, "Ji Huan" made by Xianfeng in the seventh year (1857), and the side paragraph clearly stated that "Deng Completed the White Law, for Ji Huan". Zhao Zhiqian's seal book and seal were carved into Deng Shi's law, and Hu Shu's influence obviously could not be ignored.
For the ultimate value of Zhao Zhiqian's seal carving, this transformation is of great significance. The significance of Deng Shiru is not whether to promote the printing method to maturity, but in opening up the path of "printing with books" and establishing a new aesthetic concept.
Deng Shiru's printing method is a more open system. The influence of this on Zhao Zhiqian was not only in his later creations, the Deng Pai knife method, seal method and overall style became one of the main expressive characteristics, and urged him to get rid of the existing program and seek the expansion of the creative form in a more diverse way and a broader aesthetic taste.
Taking the French Han seal, in the "Jingshan" seal engraved in the seventh year of Xianfeng (1857), he began to ridicule the people at the time, "the appearance of the japanese is Mansheng, the second idle, the smugness, the real is not known about the Han, what about the Wei and Jin people", it seems that Zhao Zhiqian at this time had a more profound understanding of the ancient seal of the Han and Jin Dynasties, and had a stronger conceit for the entry of Indian studies.
We have noticed that in the previous two or three years, he had lived in Shimen and looked at the Han and Jin bronze seals in Jiaxing Guo Zhiting's house. He collected many ancient seals into one volume, which should also be during this period.
Zhao Zhiqian's collection of Hanyin Hu Shu inscriptions and inner pages
In the "He Chuan Su Seal" side section composed in the seventh year of Xianfeng (1857), Zhao Zhiqian said: "The magic of the Han copper seal is not mottled but thick. Learning thick is full of wrist strength, stone is brittle, the force should be everywhere to fall, the more clumsy the more ancient, seemingly unremarkable, but not easy to look. What he calls "ancient" and "clumsy" here is a set of interrelated concepts. "Humble" is not a deliberately contrived nature of the true interest, the magic is not artificially mottled, but natural, is the proper meaning of the title of "humble"; "the more clumsy the more ancient", the return of the unskilled and skillful return to the ancient beginning, manifested as "ancient" meaning. To lose "clumsiness" is to harm "ancient".
In the side sections of his prints, there are also self-treks such as "imitation Of Chinese Prints".
On the basis of mastering the Zhejiang School printing method, the absorption of Han and Jin elements is of course an easy technological transformation for Zhao Zhiqian, but the rapid transformation of aesthetic taste and the new choice of path orientation cannot but be a test of concept and talent for him. In this sense, Zhao Zhiqian fully shows his character and also fully shows the loftiness of artistic ideals.
As a result, in Zhao Zhiqian's seal engraving works, the style type of Hanyin gradually rose to the main body, and Zhu Wen's style of taking the Deng School as the main trunk along the way synthesized his main creative orientation for a long time. The influence of the Zhejiang School of Printing on him, of course, is also a kind of special tone that he occasionally thought of as a showmanship after that, such as the "Shen's Golden Stone" and "Crane Lu" made in the first year of Tongzhi (1862), which still occupied a place in the Zhao Zhiqian Indian system.
His research on the art of seal engraving was not aimed at Indians, and around the age of thirty, he began to enter a stage of conscious innovation in his artistic style. If Zhao Zhiqian's seal engraving is thus frozen, he can still become a famous artist in the late Qing Dynasty seal altar, and his precocious maturity and the achievements of fusing Ding and Deng have already demonstrated the talent and height that are different from those of creators from beginning to end. But Zhao Zhiqian's characteristics lie in the fact that he is a Jinshi family with deep academic qualifications among the celebrities of seal carving in the late Qing Dynasty, and his research on the art of seal carving is not aimed at Indians.
The interaction between Zhao Zhiqian's literary circle and his own artistic interest for a long period of time naturally pushed his printing affairs to the realm of exploration under the vision of the Jin Shi family, and he traced the flow upwards, seeking the source of ancient methods, and searching and excavating became his most interesting academic games. On the other hand, most of his prints are engraved and given to teachers and friends, which is a more self-generating creative activity, which allows him to make free explorations and implement his own artistic ideas. And the recipient of the work is also mostly a confidant of the same love of gold stone writing, which is obviously more interesting to him in the process of exploration and creation.
Self-printing
From the last year of Xianfeng to the early years of Tongzhi, Zhao Zhiqian had a period of time with Friends such as Wei Jiasun, Shen Yunchu, and Hu Shu who immersed themselves in the study of the Golden Stone and the Study of the Tablets. A large number of Jinshi texts have injected new inspiration and sources of insight into his creations. At the same time, his ability to mobilize, refine and integrate the artistic elements in these original text resources is also unprecedented. Directly drawing the charm from the calligraphy of the golden stone inscription into the seal, he really stepped out of a road of "seeking printing outside the seal".
Zhao Zhiqian expressed his feelings about the changes in ancient and modern times in the "Giant Deer Wei Clan" seal made in the early years of Tongzhi: "The ancients had pens and especially ink, but today's people have swords and stones. "Pen and ink" is another important proposition in the aesthetics of Zhao Zhiqian's seal carving. He did not ignore the meaning of the sword and stone, but believed that more attention should be paid to pen and ink. Pen and ink are dominant, and pen and ink are sent by the spirit, which is the essential attribute of seal engraving as a literary art.
His life's work presents a system with rich meaning, varied forms, and high style. The various types in this system provided space for later printers to extend, expand, and strengthen.
Others use the seal
Seal engraving creation entered a peak period, but at this time, Zhao Zhiqian, who "swore not to rule the seal" after the second year of Tongzhi (1863), entered the peak period of his lifelong seal engraving creation. The appearance of his works is also more free and changeable.
It is particularly regrettable that Zhao Zhiqian left Beijing and entered Gansu at the age of forty-four, embarked on the road of eunuchs, prematurely alienated from the development of the art field, and swore not to practice the sword and seal since the eleventh year of Tongzhi (1872) carved into the "Golden Stone Record Ten Volumes of People's Home", until the eighth year of Guangxu (1882) at the request of Pan Zuyin, the seal of "Shi Lan Tang" was engraved, which became the masterpiece of his seal engraving artistic life.
According to existing information, the total number of Zhao Zhiqian seal engraving works is more than 380 square meters. Even with the partial annihilation and loss caused by the turbulent life, his life's work is still very limited. His works strive to be innovative and unique, and build an unprecedented Jinshijia printing style system and creative concept system in addition to the two veins of Ding and Deng. Zhao Zhiqian's practical demonstration and conceptual enlightenment have profoundly changed the aesthetic trend and creative path of the Indian population since the late Qing Dynasty, and modern seal engraving has thus created a more magnificent artistic peak. In this sense, Zhao Zhiqian, who is determined to "open a portal for the Six Hundred Years of The Seal Family", can have no regrets.