The word Xiuneng is from Xiuning, Anhui. Born around 1570, the year of death is unknown. He studied under Chen Jiru, Yinkeng and Bao Zhao, and became friends with Li and Zhao Huanguang. The famous seal engraver in the late Ming Dynasty enjoyed a high reputation in the world. Chen Jiru once commented: "Cultivate your own abilities and get to know them well, and you will pass. You believe in Liu Shu and Dong Hu, why not do it? " In the Qing Dynasty, Dong Xun called Zhu Jian "the first hand in the Ming Dynasty" in "On Many Wild Zhai Yin". Whether their evaluation is fair or not is irrelevant, but its historical position can be seen.
Extensive knowledge has given him great help in artistic creation and opinions. Zhu Jian was the first person in the Ming Dynasty to create a novel face by chasing Qin and copying Han. "Can take Zhao Fanfu's Biography of Cao as the case, and do not set up a portal. This is an independent family. A heroic and extraordinary spirit is indelible, peculiar and inseparable from truth. One of the seals has changed. " James Zhu nourishes seal cutting with his unique grass seal cutting, making seal cutting like grass and seal cutting like a book, enhancing the implication, echo and concern of brush strokes between points and strokes, and between words, resulting in rich and ups and downs of brush strokes. Zhu Jianyuan's pursuit of Chinese seal is based on Zhao Huanguang's Cao seal, and he pursues both internal and external repair, so that his prints are full of novelty, flat and dangerous, with strong artistic appeal. Liang Zhou recognized as: "There are many people who follow the minister, and they are obsessed with Zhu Xiuneng."
James Zhu's knife technique is even more innovative. It's hard to say whether carving with a short knife is the first one, but James Zhu was the first one who used this knife freely. This knife method is formed by repeatedly cutting the brush path several times. This kind of knife technique can't be expressed on the gold and jade printing materials, and it is also a technique that Wen Peng, He Zhen and Su Xuan failed to touch. The beauty of this kind of knife lies in its thick, smooth, light and heavy lines and irregular rhythm. The knife is short and long, and the knife is broken and full of meaning. It has a sharp, huge, old-fashioned and dangerous style.
Since Wen Peng founded the school, a large number of seal engravers and various schools have emerged as a literati school in Ming Dynasty. There are five schools in Ming Dynasty, namely, Sanqiao School in Wenpeng, Yuxue School in Hezhen, Surabaya School in Su Xuan, Zhu Jian School in Danger and Crown School in Yazhong. Countless literary artists led by them have made admirable and indelible achievements in the world of the rise of seal cutting, which dazzled the Ming Dynasty and had a far-reaching impact on later seal cutting.
The short knife cutting of bamboo slips had a great influence on the Ding Jing of Zhejiang School in Qing Dynasty. It is said that Ding Jing used the knife method six or seven times with bamboo slips.
Another great contribution of Zhu Jian is based on printing theory. As one of the aesthetic viewpoints of seals in Ming Dynasty, his theory of "brushwork expression" can be said to be an important theory to study the essential characteristics of seals in Ming Dynasty. At the same time, the theories of "sexual interest", "likeness" and "likeness" in seal theory all have the characteristics of * * * and other arts, while the only theory of "brushwork expression" is completely aimed at seals, which can be said to be an exposition of the laws of seal art itself.
He is the author of Seal Essentials, Seal Text, Seal Book, Collection of Chinese Characters, Notes on Seal Family, Seal Classic, etc. , as well as Ge Jun Tibetan printing and repair to Pu Yin printed.
Among them, the printed articles, which took 14 years to complete, discussed seal cutting's laws in many aspects, and their novel views and extraordinary courage were valued by future generations. The word "seal" was the seal of Shang, Zhou and pre-Qin dynasties, which was the mainstream view at that time. The Chinese seal and the ancient seal in the printed products are both beautiful in form and spirit. Later, Zhu Jian expounded his "theory of brushwork expression" in the seal sutra.
Let's take a look at the discussion of the meaning of the seal by several people before James Zhu:
Zhou Gongjin's "On Seal Characters" (considered to be the first mention of brushwork in the theory of seal characters): Jade people don't know seal characters, so they often can't write. The ancient Faton died, so it is not as good as a stone, and the knife is easy to enter, which makes me comfortable.
Gan Yun's On the Collection of Seal Characters: Its writing style should be elegant and vivid, not too thick, and too thick is vulgar.
Cheng Yuan's seal meaning: the pen is intentional, and the well-meaning person gallops; A knife has a sharp blade, and if you use it well, you can cut it. (at this time, the brushwork has been combined with the knife method, with the knife as the pen and the blade as the brushwork. )
Jin Guangxian's "On Printing": The knife method is noble and clear, and the blade is like a pen.
Zhu Jian first quoted Wang Shizhen's seal script theory in his seal script: seal script is not a knife but a book, and the word is not a front, but a bone. It's not wonderful, calligraphy must be in the chest first, which is easy to solve.
Zhu Jian's best footnote to the theory of "the expression of brushwork" of seal beauty is: the words are printed first, the words are printed first, the meaning is printed, and the words are written later. Knife, so the brushwork is also. Knife is smooth and harmonious, leaving no trace. You can taste it with a knife without a pen. Besides pens and swords, there are other interests and tastes. Those who have serrated blades are outsiders, and those who don't have wire blades like pigs are mediocrities.
The rise of seal cutting in Ming and Qing Dynasties formed two peaks of seal cutting in Qin and Han Dynasties. Yin Shi, knife technique and brushwork are its core features, which are opposite to the rules and seal cutting in Qin and Han Dynasties. The contribution of seal engravers in Ming Dynasty is indelible, which laid the foundation for the development of seal engraving. As a seal engraver, Zhu Jian made outstanding contributions to the theory of knife cutting and the brushwork of seal calligraphy, and was admired by future generations.
Seal: Longyou
Seal size: 22mm×22mm
Zhu's word "round" and the writing of the word "dragon" here are debatable. However, the neater the seal script, the more flexible it is to handle the bending of strokes, and the writing method of seal script is Tang seal script.
Seal: Yuan Chun
Seal size: 27mm× 27mm
Fine handwriting. The sealing mode is between needle-like sealing and conventional sealing. Among them, the brushwork of seal script is particularly prominent. In the Ming dynasty, the level of seal script was not very high, which showed Zhu Jian's attainments in seal script.
Seal: Baishizhai
Seal size:12mm× 42mm
Three-character white text printing with border. The writing method of seal script in printed language has a strong proper limit, especially in the treatment of the horizontal right end and the mouth of the word "stone". There is a trace of beauty in simplicity.
Seal: Banri Village
Seal size: 38mm× 38mm
Zhu San. The unique treatment of the word "half" in the composition is a model of unique composition in later generations. We can see the imitation of this seal in the works of many seal carvers later. The stroke meaning of printed characters is the embodiment of his theory of expressing stroke meaning.
Seal: Road flyover Baishi
Seal size: 23mm× 23mm
Four-character white printing. The treatment of density in composition is also very classic, with three characters with less strokes each occupying a corner, and the word "Dao" with more strokes is the place where the eyes are printed, and the red color is gradually left, such as the treatment of Chinese painting. The word "Dao" was written in Shi Guwen and found in the works of Wu Changshuo, a calligrapher and seal engraver in Qing Dynasty. In Shi Guwen, it can also be seen in the silk books of the Qin Dynasty.
From this point of view, the knife is like a pen, regular, not dull, seemingly dull, but actually natural and smart.
Sealing: claiming to have no intestines.
Seal size: 26 mm× 26 mm
In the five-character vernacular printing, the middle of the word "Wu" is completely symmetrical, separating the left and right. The strokes of Zi and He are somewhat similar, occupying the same area, as are Wei and Chang. Very neat layout, the strokes are treated with thick white body, with rounded ends and circles in the square, which is neat and vigorous. This shows the depth of his research on Chinese and white printing. In order to solve the stagnation feeling that is easy to appear in this kind of rough Chinese and white printing, some small rules are used. There are differences in symmetry between the curved strokes of the word "Wei" and "Chang", and what is more worth learning is the brushwork expressed by its seal. Although jade chopsticks and iron wire were the mainstream of seal script before Qing Dynasty, this thick white seal with ink feeling is a classic in China seal. Since the Ming Dynasty, the literati's own calligraphy and their own knife carvings can better show their understanding of calligraphy, which is more attractive than the works carved by many Chinese and Indian craftsmen.
Seals: The sea is wide and the lotus plumule is not polluted.
Seal size: 20mm×35mm
Look at Zhu. Composition is dense, and the size of words is determined by the number of strokes. Compared with Xiumei's round bead, this kind of bead is just a bead, such as Chinese and white printing, but it is just turned over. This kind of Zhu is more square than round Zhu and more feminine than coarse white.
Seal: Repairing Elm Industry
Seal size: 21mm× 21mm.
This kind of seal cutting method is a representative of ingenuity, especially the "he" part of the word "Bie", which is like a bronze inscription, looks quaint and natural, and the handling of other words is a little clumsy. This ingenious composition is difficult to deal with, and the so-called originality is likely to be self-defeating.