Mr Zhu's seal cutting was influenced by Wu Changshuo in his early years. They are all masters of various arts and are good at communicating with each other. Wu Changshuo's seal cutting became mature after he was forty-five. Teacher Zhu published seal cutting and copybooks at the age of sixteen or seventeen. Wu Changshuo praised and rewarded him for many times, introduced him to the Stone Calligraphy and Painting Society in maritime museum, and recommended the publication of Jing Niche Collection. Since then, he has been wandering at the top of the art hall all his life.
The Commercial Press published the Seal Collection of Silent Shrine. Mr. Wang is 25 years old. This is an early masterpiece. Some seals still follow the seal style of Ming and Qing Dynasties, but they also noticed the remains of the Warring States, Qin and Han Dynasties, and began to make ancient seals, imitating the seals of China. Completed at the age of 50, the album "Carving a Hundred Butterflies by the Wangs in Downtown" is a masterpiece from middle age. A masterpiece of the rise of the printing world with high standards. 1986 "Zhu Fukan seal cutting" was personally approved and published, mainly in the middle and late period, and some works in the early years were also compiled. We can use this to explore the development of his seal cutting creation. Mr. Xu also wrote and printed with a pen, leaving a lot of works. After his death, Mrs. Xu collected the posthumous works and presided over the editing and publishing of Zhu Fukan's seal script, which was also close to printing and fell off, enough to tie for * * *. In addition, there are many posthumous works dedicated to those who have never been to Fu Zi. From these works, we can see his learning and upbringing, his wisdom and his mind, which implies his inner tremor. There are also traces of life experiences.
In his later years, Mr. Wang reviewed his previous works and wrote in the preface of Handprints Collection: "The early stage is not mature enough, the middle stage is not exquisite enough, and the later stage is more vigorous." On the endless artistic road, I have been pursuing self-improvement by constantly denying myself, and finally I have achieved vigor, simplicity and perfection. On the margin of the quasi-ancient seal carved by both sides for wangtong, he wrote: "The seal of mixed lent is also a superior seal." "If you see this in a false order, you will think that the three generations of objects unearthed in Jincun are also extremely sure."
A group of quiet niches can give us a glimpse of this young artist. It marks his early artistic level.
Instead of writing "Xu Mei Caotang" and the border paragraph "Xu Mei Caotang (read the picture)", it belongs to "Ren Xu Xia Baixing self-carving", which was originally a collection of quiet niches and seals, and was later included in Zhu Fukan seal carving. Xu Mei Caotang is Mr. Zhu's early study, and the scholar in the hall is Mr. Zhu himself. In Meixingshan Township, Yin County, it seems to be reading, and it seems to be sitting still and daydreaming. The picture full of classical flavor seems to be studying the collection of traditional classics and history. It is the epitome of his reading life in his youth. Talent comes from the spirit of the earth, and the specific humanistic environment of Mei site gave birth to the growth of the master. Ren Xu is 1922. Mr. Wang graduated from Aurora University, but he attaches great importance to traditional culture. The teacher who guides him to study and study books in his temporary post is Zhang Youlao. Carefully cultivate this young man and repeatedly ask him to study hard. He once wrote: "Read more books and you will be enlightened naturally ... You are like a toddler, my wife will guide you, and then the future will be bright instead of dark." He laid a solid educational foundation in his early years, and he confidently advocated: "What is engraved? Just studying. " His seal cutting works bear profound knowledge, calligraphy skills, talent and wisdom.
"Reading for half a day, sitting for half a day" was printed in the year of weak crown. The meditator is absorbed in thinking. The combination of learning and self-cultivation with erudition and ingenious thinking constructs a strong aesthetic interest and shapes the thickness and depth of the work.
The quiet niche is engraved with the tender age and goes straight to the author's palace. Wu Changshuo, a Shanghai engraver, is 80 years old, and his niche 18 years old. His attainments have already matched Chang Shuo, and sometimes even surpassed him. There have been many stone carvings in the past few days. Some guests showed their prosperity, while others praised their abilities. Thinking about those, Chang Shuo couldn't say goodbye, so he gave a speech and the guests smiled at each other. Jing Xiaosheng's genius is unparalleled, and his achievements in different times are infinite.
Up to now, the valuation of a seal carving retouching sheet that Zhang painted for him in those years is higher than that of Wu Changshuo. In Shanghai, where the master is like a forest, the style is unique and the skill is exquisite, which is "winning the seal".
Mr. Wang's seal cutting is because of "Stone Drum" and also because of Qin carving and Qin imperial edict. "Qin Copper Measuring Building" is a seal for one party's own use, and the seal is one or two reduced versions. He once said: "There are many imperial edicts unearthed, and the merits and demerits of calligraphy can be learned. Pick out the good words and write an imperial edict, which comes from the imperial edict and is higher than the imperial edict. " This imitation of the past is actually a kind of creation. In his early years, Mr. Wang was known as an expert on imperial edict edition because he was eager to learn and make good use of it. Uneven imperial edict features are obvious in his calligraphy style and seal cutting works. Draw lessons from ancient sculpture, highlight personality and form unique artistic characteristics. In Mr. Zhang's seal script works, the method of taking is very obvious in the imperial script of Qin Dynasty.
Thanks for the bronze inscriptions of Shang and Zhou Dynasties. It is another important aspect of Mr. Wang's seal cutting creation. He said, "(After listening to Lao Jian's words), he recited 9,353 words of Shuowen and copied Shigu and the imperial edict every morning. On this basis, I went back to the three generations of bronze inscriptions (In Memory of Wu Changlao and Calligraphy 1984.5), so I was fascinated by ancient times. Among his works of various styles, his imitation of seals is particularly elegant and is valued by the world. Mr. Sha Menghai commented: "Today's book engraving, especially the handling of ancient seal, should be pushed first." .
Mr. Wang imitated many calligraphy styles in his early years. Later, cursive calligraphy benefited from the two kings, the big seal was inherited by three generations, and the small seal was inherited by Qin and Han dynasties. Being good at seal cutting is directly beneficial to his seal cutting.
The antique seal works with strong personality take French, Shang and Zhou ancient seals in form, and the words used are similar to his unique bronze calligraphy, which makes the works unique. Ma Guoquan commented on Zhu's works in Biography of Modern India: "Jin Wenxi's works in the late Shang Dynasty and early Zhou Dynasty are majestic and dignified. Every time he adjusts the center of gravity of the characters by adding more points and knives, or corrects the strokes to be oblique, straight and circular, but he moves them aside and turns them into antonyms, from left to right or up and down, which is also common, and he is not familiar with Yi Ming's chest. The skill of writing a book is in the shade of reality, in the alternation of length, in the buckling and dazzling, in the opening and closing. Although he is very old, he still swallows bullfighting. Yin Gang's spirit is amazing, which is rare for all calligraphers in the past. " His seal cutting aesthetics advocates that, just like calligraphy, words written with a pen have the same spiritual character as words carved with a knife.
A calligrapher who creates profound harmony must pay attention to the writing effect, reprint the fine layout of words and carve words with a knife, which is just a means of expression. Carve a person's life, and in his later years, he said, "wield an inch iron knife like a pen", carve a stone, use a seal carving knife as an iron pen, use a knife as a ghostwriter, and "have a knife like a pen", as if written on Yin Shi, writing vivid and emotional lines, graceful and changeable glyphs, and writing magnificent momentum.
Mastering ancient philology is the premise of seal cutting. Mr. Zhu has been practicing calligraphy since he was a scholar, and his narrative art is the ancient style "Poem on a White Head", which begins with the following words: "I was born in Jiangnan Cloth, and I loved golden stone carvings since I was a child (later changed to' calligraphy and painting'). ) I heard that the granddaddy said that stone carvings should be studied by calligraphy first (later changed to' calligraphy should be engraved by stones first'). Bury yourself in Xu Shen's book and chew it carefully. " "You must learn Chinese characters first", and the word "Tong" means deep research, intensive research and broad communication, which is very weighty. Starting with Xu's Shuowen, we can understand six books and prove the evolution of ancient Chinese characters. For ancient Chinese characters, more than 9,300 words in Shuo Wen Jie Zi are "absorbed from beginning to end". At the beginning of lettering, we must attack this solid basic knowledge. Seal script and seal script are rigorous and prudent, and can stand the test of philology standards. At the same time, we attach importance to the study of ancient Chinese characters and solve many difficulties in using Chinese characters in ancient seal characters.
Magnificent and rich in connotation, creating a touching effect. On the one hand, he regards seal cutting as a "gadget", which is credible. He also attached great importance to this art form, devoted himself to elaborate creation in a square world, showed his wisdom and perfect form, and showed his personality, his mind and broad mind, thus creating brilliant seal cutting works.
Knowledge into seal cutting, although square, but mellow, the highest taste. Printed in literary theory, The Tale of Big Fan is exquisite in words, profound in meaning, meaningful in aftertaste and thought-provoking.
"I have no taste, and I am the first among people" is also a combination of seals, Buddha statues and inscriptions in regular script. This kind of works, pictures and texts complement each other, but also the role of reading, painting and engraving. It is a creative expression, connecting the past with the future and bringing forth the new.
Multi-word border paragraphs are Mr. Wang's specialty. For example, cutting the full text of the stone drum and cutting Qin Ershi's letters are all very complicated projects. They like to make a fuss about border money, which is more important than printing. Since Yu Xiansheng's early years, they have greatly expanded the capacity of seal border money, enriched the form and content of border money, and showed their calligraphy skills. Compared with printing, he even spent more energy on seal cutting calligraphy.
The overall characteristics of Zhu seal cutting are vigorous and simple, vigorous and broad-minded, such as the overall momentum of "a strong man singing like a cloud", abundant vitality, strong visual impact, great appeal and shock. In addition, there are many beautiful and steady works in the works, which have some aesthetic taste.
"Quiet niche collection" is a summary of early printing style. The ancient seal Cultural Relics of Shanghai War Reform-through-Labor Army was written at the age of 38. The 50-year-old "The Special Seal of King Xiacheng" marks the formation of personal seal style. Close to his seal cutting works in his later years. Compared with his calligraphy, the seal cutting style was formed earlier.
Mr Mages's mastery of art and his attention to style are due to his personality and temperament, which can be found in his calligraphy and seal cutting, in the imitation of ancient seals and in the imitation of China seals.
Harmony and unity are engraved with various seal scripts, which are harmonious and not contradictory to each other. Mr. Wang's printing is the most important. He is familiar with six books, and his writing is complicated and changeable.