【Autumn Garden Book Club】
Chen Shuo question
Leave it to future generations to sweep away the flowers
——Idle reading of Zhu Fujie's golden stone art
Xu was due to the preset preparation before the seal engraving, or the limitation of physical energy during the engraving in his later years, Zhu Fujian left many pre-seal seal manuscripts. And these prints are almost the same as the seals after the seal is printed. From this, we can spy out a message: Zhu Fujian belongs to the seal carver and the Jinshi family who are more focused on seals. In the post-processing of knife engraving, there is little interest. This can be confirmed by the fact that many of the printed manuscripts and post-engraving seals in the book "Zhu Fujian Seal Inkblot" compiled by Brother Wen Kang can be confirmed.
The retention of the ink footprints of the printed manuscripts can be used as a material for understanding and studying the creative process of the previous generations of printers, which is quite precious. Among the ancient and modern Indians, there are not many printed manuscripts. On the one hand, the historical Indians only regarded the seal as a process in the process of controlling the seal, and did not treat it as the ultimate work. However, Elder Zhu replaced the engraving with the printing in the middle of the dispatch, so sometimes even the stone flowers were mottled, and it was also quite a feeling of carving with a knife, if not prompted, he did not dare to conclude that such a work rich in golden stone charm was a soft book.
The golden stone seal is carved together, that is, the two parts of the seal and the carving are combined, and "first seal and then carve" is almost the law followed by most Indians in ancient and modern times. In addition, judging from the large number of works handed down from generation to generation, such as Shang Jia, Zhou Ding, Qin Zhao, and Han Stele, most of them were also written and then engraved or recast. It can be seen that "seal" is very important in the art of seal engraving, and the high level of seal writing directly affects the advantages and disadvantages of subsequent engraving. Printed to the Yuan Dynasty, "painting expensive with ancient meaning" Zhao Mengfu is a literati calligrapher and painter and involved in printing, because of its high painting quality, at the same time proficient in calligraphy, so the jade seal written by him, after being engraved by the craftsmen, is quite quaint and considerable, so he opened the Yuan Zhu wen school and passed it on to future generations. Wen Peng and He Zhen, the pioneers of seal carving in the Ming Dynasty, were extraordinary in calligraphy, and He Zhen even shouted: "The six books are not refined and righteous, but can drive swords like pens, I don't believe it." Ding Jingkai Xiling's school is known for its good use of cutting knives, but its printing is high and simple, and it is still proficient in seal law and in line with the ancient Mu of Han Li, so its printing is "pen and ink". The successors practiced their method of cutting knives in vain, and gradually evolved into the evil way of "seeing the knife and the stone" and "revealing the blade for a while", one of the reasons for which was that he was not good at books. There are dozens of previous people who said that there are dozens of sword methods, Xuanzhi and Xuan, in fact, it is basically nothing more than two major methods of punching and cutting. However, if the subject does not pay attention to the seal posture, to express the true emotions, every tendency or clever decoration to confuse the world or make strange new, more emphasis on the mysterious knife method, it will inevitably lead to the production of a variety of false name knife methods, until it is caught in the fire. This habit abounds in the Ming and Qing dynasties, and this wind extends to the present. Zhao Yanguang, a Ming dynasty, sighed: "Today's people can't write seal books, how can they have a good seal." "Sincerity is a commandment. However, it is not enough to be proficient in "book seal", because the seal is divided into two doors: "book seal" and "seal". Wu Xiansheng, a Qing dynasty man, pointed out the disadvantages of those who only used "book seals": "Zhu Wen uses it a lot, but if it is written in white, it is too fluid." "The Anhui school opened by Deng Shiru and Wu Xizai, who are known for their calligraphy, have a habit of circling and circling too much in their white texts. Therefore, it is also necessary to pass through both the "book seal" and the "seal seal" and let the two complement each other. If this is the case, the strict and standardized "seal" will not fall on the board, and the stretching and flowing "book seal" will not lose its charm. The cleverness of Zhu Lao's intention lies in the integration of "book seal" and "seal seal". And the seal seal that is usually written idly, also uses paper to replace the stone, and the pen is like a knife, reflecting the charm of "carving" with the technique of "seal", picking a tube of softness, straight into the state of intending to be the knife first and the fun in the seal time.
Like all art in history, Zhu Lao's golden stone seal carvings have undergone several major evolutions.
Zhu Lao was born into a family of scholars. You Chengtingxun, Master Wang Binglan, and resume learning from Zhang Meiyi. The young man is intelligent, especially good at speaking the study of literature. He has been guided by Wu Changshuo, Kang Youwei, Zhang Taiyan and other famous people. Judging from the "stone drum" collection he made when he was seven years old, he has obtained the true source of the seal law. Therefore, most of the seals in the early days of his youth are the relics of the Ming and Qing dynasties, especially the two seals of Zhao Zhiqian and Wu Changshuo.
Zhu Lao's middle-aged printing style changed, and most of them focused on the three generations of Zhou Qin and the Two Han Dynasties in terms of taking the law, especially in the three generations of Jijin and Qin Zhao version texts. These acts of "printing from the book" and "seeking printing outside the printing" to trace the source of the source may be common in the eyes of today's Indians, but they are in the Republic of China printing altar dominated by genre printing, which may also be a kind of ancient self-consciousness that is not easy. Although this originated from the legacy of the Golden Stone Steles after Qianjia. However, as an Indian, it is really not easy to carve the golden stone inscription into reality and combine it with their own practice.
Elder Zhu first used a knife to focus on the weathering and mottled sense of the stele stone. Changing it to a punching knife mainly shows the beauty of the three generations of Jijin's ancient beauty, and at this stage, the printing style is ancient and introverted, graceful and refined. In addition, Elder Zhu has a superiority, that is, he is very good at seal printing, and the structural changes of large and small seals are easy to come by. The author recalls that when he was a teenager learning to seal the road, he had gained something in the ancient and simple place of the monument, but it was always difficult to swim in the cloth seal. He once held the imitation of Qian Shugai's "not revealing that the article has been shocked" a seal to seek advice, and after Zhu Lao's casual change, it was interesting and interesting, and it was not the same thing that was printed by his own family in the front, and at the same time, Zhu Lao also pointed out the mistake between the word "has" and "self" in the original seal.
The magic of the structure of Zhu Lao's seal carving lies in his ability to adapt freely under the premise of mastering the three generations, the pre-Qin and the two Chinese characters. Therefore, it is both a history and a creative addition, especially a double pen. Its knot is not lost in the strange and ancient elegance; its chapter is restored to the church in the Yang Rang Shen qu.
In his later years, Zhu Lao's prints can be described as entering a realm in which people's books are old and people's prints are old. The works of this period contain canghun old spicy in zhengda kuanshu; and the jijin characters are easy to round and square, and the seal is like a bell. The law is strict and self-serving, and the changes are repeated without falsehood. Occasionally, he also tried to introduce bronze ornamentation into the seal, and did not repeat it because it was not the main body. The seal of India is placed in the middle of each joy, falling generously, a solemn appearance of the temple.
"Knowing the right thing to change, the source of the source will flow." Looking at the printing altar from the Ming and Qing dynasties to more than 500 years in this century, there are many genres, famous artists, can be described as generations of masters, and excellent works are seen in the family prints. However, there are very few that can go back three generations, with the great seal as the main seal in Print and can form its own style. Elder Zhu is a person who is proficient in this way and has excelled in opening up the atmosphere. His young friend Mr. Sha Menghai praised his seal: "The lush changes, the desire to look at the first life." And "Today's book engraving, especially those who rule the ancient seal, should push the elder brother first, not face honor." It is an objective evaluation of Mr. Zhu Fujie's seal carving and Yu Guxi's achievements.
The art road is the way of loneliness, and Mr. Zhu Fujie, who lived in Mount Taishan in loneliness, once wrote such a poem to wait for those who came to follow the ancient style: "Patience will put our broom on the high pavilion and leave it for future generations to sweep away the flowers." ”
Tang Zinong in the studio
Encounter Heart Bridge photo
Tang Zinong
Born in 1963 in Pudong, Shanghai. Idle in the Lotus Wind Hall, planting lotus painting lotus, xi storing Han Wei stele Tuo, the book carving is clumsy and simple.
『 Thank you for watching 』