Appreciation of Chu's Calligraphy Works
Pictures of Chu calligraphy works 1
Pictures of Chu calligraphy works 2
Picture 3 of Chu's calligraphy works
Figure 4 of Chu's calligraphy works
On the beauty of brushwork in seal cutting
The seal cutting method in seal cutting embodies the beauty of calligraphy structure, and the seal cutting method embodies the beauty of brushwork, which is the most fundamental difference between seal cutting and craft carving. Craft carving only has the beauty of spatial image, but not the beauty in the process of time. Seal cutting not only has the beauty of architectural space image, but also has the beauty of music sequence along the way of knife and pen. Calligraphy, like seal cutting, has the beauty of combining time and space. A Qing Xu Jian said in "Yin Dai Shuo": composition, shape, knife and spirit. Form can be copied, but God can't. ? Understanding Xu Jian's words with today's time and space, the spacious composition shows the form and quality of seal cutting, and the beauty of time sequence between knife and pen can better convey the inner spirit of seal cutting. Therefore, Xu Jian thinks: Therefore, the knife method is also organized, and the knife method is more difficult to organize. ?
Ancient seal cutting contains the beauty of calligraphy. Whether it is the ancient seal in the Warring States period or the seal in the Qin and Han dynasties, the popular characters at that time were used in the seal, and its structure only showed aesthetic feeling after being transformed to adapt to the seal form. In addition, the lines on the surface of the seal also contain the beauty of writing sequence, but this beauty is not directly expressed, but indirectly expressed through the production and use of ancient seals with different characteristics. Give two examples: which one is it? Ye Mei? This seal is very noteworthy in a large number of ancient seals in Qin and Han Dynasties. In the seal cutting structure, it maintains the structural beauty of calligraphy, but it is not completely limited to the square printing surface, which shows the naturalness of calligraphy beauty to some extent. Look carefully, isn't the seal made? Alienation? The brushwork and stippling gestures echo each other, showing the beauty of writing sequence, with both knife meaning and pen meaning, similar to the characteristics of knife and pen in Wu Xizai's seal cutting later. On the other side? General Fu Bo? It seems to be a seal between Wei and Jin dynasties. Its seal cutting broke the relatively rigorous pattern of Han official seal, and the material and engraving method of metal seal were hasty. Alienation? The original form of Indian and China's calligraphy beauty has been revealed, but its inherent calligraphy beauty is stubbornly expressed in another form. After careful reading, we can still clearly appreciate the rhythm of calligraphy pen in the scribbled knife marks, and still feel the obvious calligraphy in the scattered side of the structure and the starting and ending weight of the knife marks, but what Sun said can still be subtly reflected in the irrelevant stippling on the printing surface? Make it emotional? The beauty of seal cutting in India and China seems to be loose, but there is a flesh-and-blood connection between strokes.
After the Song and Yuan Dynasties, literati seal cutting rose. At first, they had a clear understanding of seal cutting, but their understanding of knife and brushwork was very vague. Wu's "Thirty-five Movements" is the earliest seal cutting work, in which only the methods of seal cutting and printing are used, that is, how to write seal script well and how to transform seal script into seal face, without mentioning knife and brushwork. At this time, the seal cutting was delivered by the literati to the special seal cutting craftsman according to the seal. The concept of brushwork in seal cutting was clearly put forward by Zhu Jian in Ming Dynasty. He said:? Knife, so the brushwork is also. ? It is the blood relationship between seal cutting and calligraphy that can convey the brushwork, but does this brushwork necessarily come from the knife method? Pass? Instead of directly imitating the shape and quality of writing on the stone with a brush, it requires the knife and pen to be muddy. The concept of using knife to convey the meaning of the pen is clear, but seal engravers of different periods and schools have different understandings of it, and have formed different styles of seals of Ming and Qing Dynasties with different characteristics of knife. Looking back now, from the aesthetic point of view, there are probably three forms of knife-cutting: one is to carve stones with a knife to reproduce the ancient meaning of stone inscriptions in ancient seals, which can be represented by the short broken knife of Zhejiang School; The other is to express the beauty of seal cutting structure and the beauty of pen rhythm on printing surface with knife method, which can be represented by Deng school; The third is to express the interest of cool knife marks and stone flowers, and to understand the meaning of writing through the interest of knife and stone can be expressed by Qi Baishi. Of course, this division is relative. Looking at these three categories, it can be said that the characteristics of Deng school's knife are closest to Zhu Jian's knife theory.
Contemporary seal cutting creation, in order to strengthen the sense of form of printing surface, make the works stand out from the contrast of many works in the exhibition hall, and show a strong sense of design, often at the expense of? So calligraphy? At the expense of knife method, strengthening the design of space and the craftsmanship of techniques will inevitably weaken the rhythm of printing sequence, and the result of works is often that they can only be read by people's eyes and ears, but not by people. Is the work of literati seal engravers more important? Reading? Word, the seal cutting works of today's artists are more important? See? There are many thought-provoking changes in Chinese characters.