The seals used in calligraphy and seal cutting are all handmade, and the materials used are all fine stone materials, which are moist, delicate and easy to carve, such as Qingtian stone, Shoushan stone and feldspar stone. Commercial seals are carved by computer laser, so those engaged in calligraphy seal cutting generally do not engage in commercial seal cutting. Both are refined and popular. I suggest you learn to use seals for calligraphy and seal cutting. Ah! Remember, calligraphy should be handled well. A person who doesn't know calligraphy can't carve a good seal. Now there are almost no hand-carved commercial seals, because ordinary commercial seals are plexiglass. The wholesale price is several cents. It's not as expensive as you said if the stone used for seal cutting is carved in batches. Carve out an ordinary stone as long as 50 yuan. A good stone twisted by a lion or a tiger costs 100 yuan. You must understand the development history of Chinese characters. General seal cutting is based on seal cutting. What kind of seal cutting do customers need? You have to carve it. Don't print two or more fonts of different dynasties on one side, that is, you must write a reason.
The following is my knowledge of the head. You can have a look. Please forgive me if it is not perfect.
Printing style of the person in charge of Huang Mufu school: the charm of the devil label: seal
Seal has a long history in China. The existing physical proof, as early as the Yin and Shang Dynasties as a symbol of the credibility of rights and social interaction, has used the seal. In addition, in the process of making pottery, the Tao Pai and seal used by ancient laborers are the same, or it is one of the important sources of seals. The seal as a trust and the seal as a labor tool have merged in the long-term development and become the foundation for the existence of seals for thousands of years. In the practical seal stage, the Qin and Han dynasties were the heyday. Since the Six Dynasties, seals have become attached to the art of calligraphy and painting.
The academic origin of Huang Mufu's seal cutting.
In Qing Dynasty, there were two important figures earlier than Huang Mufu. One is Ding Jing, who founded the Zhejiang School. One is Deng, who founded Deng School. Among the Zhejiang School, Chen Hongshou had a great influence on Huang Mufu's early seal cutting. Among Deng School, Wu Xizai had the most direct influence on him. There was also a seal engraver who had a great influence on Huang Mufu in the late Qing Dynasty. He was born 20 years earlier, and Zhao, a combination of North and South, is unique. Of course, the origin of Huang Mufu and seal cutting is not only his contemporaries, but also an important aspect is that he borrowed a lot of classical art and inscriptions from ancient China and India. Huang Mufu's early seal cutting benefited from several masters.
Huang Mufu's Artistic Experience
Huang Mufu was born in 1849 at the age of 59. Mu Fu and Mu Fu were his exact words. He was born in an intellectual family in Anhui, and his father Huang Zhonghe was good at seal script. This cultural atmosphere undoubtedly played a role in his later art. It is said that he began to learn seal cutting at the age of eight or nine, and this period was the beginning of his seal cutting at the age of 34. The Seal of Heart Sutra is his masterpiece of this period. At the age of 36, she went to Beijing imperial academy South School to study. In the past three years, he has absorbed the epigraphy of Wu Daying, Wang and others, and gradually became calm and agile with his knife. Then his seal cutting style was established and matured.
Analysis of Huang Mufu and Seal Cutting
He had contacts with many stone inscriptions and studied in imperial academy, which laid the foundation for his seal cutting. Printing from books is Huang Mufu's creative view, and writing with reasons is his characteristic. Paying attention to the role of composition is the expression of commercial position in painting seal cutting, and strengthening the role of composition is a breakthrough of Ming and Qing literati in seal cutting. He draws nourishment from inside or outside India, and always interprets the ancients and reformers from the established aesthetic angle. Compared with Zhao, his style is monotonous. In the late Qing Dynasty, he had a distinctive style and a unique personality.
Attitudes of Huang Mufu and Wu Changshuo to School Printing in Ming and Qing Dynasties
They are all innovators who combine the achievements of Zhejiang School and Deng School, but Wu Changshuo has the greatest influence on Wu Xizai and Zhao. Wu Xizai's outstanding feature is to express the charm of calligraphy "writing" through rich knife changes, which is a model printed from books. Zhao is good at bringing all kinds of inscriptions outside printing into printing, which is a typical example of seeking printing outside printing. Although Wu Changshuo is eclectic, he focuses on the charm of calligraphy, while Zhao focuses on the formal features. In contrast, there are more ink on the surface of Erwu seal, and the knife stones printed by Zhao and Huang are more obvious. The former takes the meaning of calligraphy, while the latter takes the form of art.
Comparison of the Characteristics of Knife Techniques between Huang Mufu and Wu Changshuo
Although both of them benefited from the stone carvings, it seems that Wu Changshuo got more from the "stone" and Huang Mufu got more from the "gold" when carefully evaluating the texture of the prints. Wu used a blunt knife to pursue the freehand brushwork lines of coarse clothes. Magnolia is as old as mottled inscriptions or ancient gold and bronze. Huang uses a thin blade to produce a knife, seeking a fine brushwork effect like bright eyes and white teeth, which is refreshing and elegant, just like the "fluency and discontinuity" of cutting jade. Wu Yuxiu is simple and clumsy, and Huang Yu is simple and clever. Wu is bold and unconstrained, and Huang is finely crafted. Although Huang and Wu's two works have different faces, they both have "work and writing" and are consistent in the integration of nature and labor.
Aesthetic Embodiment of Huang Mufu and Wu Changshuo in Seal Carving
Wu expressed the traditional concept of seal cutting by literati, emphasizing not only the beauty of China's calligraphy, but also the overall beauty of composition. But Wu's careful handling shows that his composition conforms to the natural state and complete beauty of China's calligraphy. Seal script shows that characters are inseparable from characters and integrated with nature, which is the characteristic of seal script in China and India. Huang's creation is quite artistic, which is far from the literati temperament embodied by Wu. In addition to the knife technique, Huang Yinfeng's composition is characterized by the mutual concession between words and the collocation of Fiona Fang, seeking a seamless body. The composition features are similar to the ancient seal, so it can be said that the keynote of yellow composition lies in the ancient seal.
Printed matter (i.e. printing blank) is the most basic material in seal cutting. Before the Song and Yuan Dynasties, gold, silver, copper, jade or aquatic products, rhinoceros horn, ivory, bamboo and so on were used as printing materials. It was not until the Yuan Dynasty that Wang Mian began to use Elaeagnus as a seal. Because of its delicate and moist texture and easy to be stabbed, Elaeagnus has become a common material for literati who are good at painting and calligraphy. In the Ming Dynasty, lithograph materials were widely used by Indians. Lithography is brittle and easy to be used, and different knife methods will produce richer artistic effects than other printed materials, so it is favored by seal engravers in past dynasties. Since then, lithographic printing has been used as the main material for carving and has continued to this day.
Qingtian stone, Shoushan stone and feldspar stone are the most common stones used in past dynasties, as well as Inner Mongolia stone and Northeast stone, which were recently introduced into the altar. Due to different producing areas, the texture, nature and color of Zhong Shiyin are different, each with its own characteristics. A gem seal is not only valuable in itself, but also has high artistic aesthetic value, so many people are collecting precious Yin Shi.
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Qingtian stone is produced in qingtian county, Zhejiang Province, hence its name. Qingtian stone is exquisite, moist, easy to use, and full of knife interest. It is one of the favorite printing materials used by seal engravers. Qingtian stone is blue, yellow, reddish and blue-gray, among which light freezing, white freezing and loose freezing are more precious, and the above products are the most famous.
Shoushan stone is produced in Shoushan, Fujian. Due to the different production pits, the texture of various Shoushan stones is not the same, and some even have great personality differences. Shoushan Stone can be divided into Tiankeng, Shuikeng and Shankeng. As far as quality is concerned, tiankeng is the first, followed by puddles and mountain pits. There are many kinds of Shoushan stone, such as Bai Furong jelly and brain fat rouge jelly. Tian Huangshi, nicknamed "the king in the stone", is a leader among Shoushan stones, with Huang Chengcheng on the surface and rules in the muscles. Among them, "golden yellow" and "orange peel yellow" are the rarest and the highest price, while "loquat yellow", "osmanthus yellow" and "cooked millet yellow" are also treasures. For Tian Huangshi, there has always been a saying that "gold is easy to get, but Tian Huang is hard to find". Ordinary Shoushan stone is not as fine as Qingtian stone, and the knife has a rough feeling.
Changhua fossils are produced in Changhua County, Zhejiang Province. Its stones are also divided into puddles and dry pits. The puddle stone is smooth and clean, and the dry pit stone is rough and stubborn, often coexisting with sand nails. However, whether it is a puddle or a dry pit, the overall feeling of cutting is tight and stagnant. There are three colors of fossil: red, yellow and gray, which are often intertwined. Among them, there is a kind of "lotus root starch jelly" (Changhua jelly) that looks like cooked lotus root starch, and there is also a kind of "bloodstone" that condenses in stones like chicken blood. Among the "bloodstone", the better the texture of the stone bottom, the more blood, the fresher, the more vivid and the more precious it is. If there are black, white and red blocks on a stone, it is also called "Liu Zhang Guan" (that is, the metaphor of Liu Bei, Guan Yu and Zhang Fei). If a stone is covered with chicken blood, it will have the reputation of "Dahongpao", which is the rarest and most precious.
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Inner Mongolia stone, also known as Mongolian stone or Bahrain stone, is a new stone variety in the market in recent years, named after it is produced in Inner Mongolia. This kind of stone was originally used as the raw material for stone carving of arts and crafts, and was later introduced for trial use and identified as a printing material by experts. Mengshi is crystal clear and colorful. The best products in stone are not as good as those in Qingtian and Shoushan, so they are favored by Indian sculptors.
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Lithographic materials have always had two values. Practically speaking, it can be used to carve seals, but at the same time, it is a pleasing art collection. Therefore, since ancient times, there has been a saying that "one seal in the hand, one stone and one stone are together", and its significance is pointed out from the perspective of life mascots.
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For seal cutting, how to choose printing materials is a science. The experience of material selection can only be obtained from the actual number of products that are often in contact with physical objects and constantly compared. When choosing printing materials, we should first know the origin of Yin Shi. Very good. Printed materials must come from a reliable place of origin, in other words, if they are not produced in the above-mentioned large Japanese places of origin, the grade of Yin Shi will not be mentioned.
After determining the origin of Yin Shi, it is important to observe the transparency and uniformity of Yin Shi itself. In general, the higher the transparency of a Yin Shi, the higher its uniformity and cleanliness; The cleaner the stone, the more delicate its texture and easy to be cut by the blade. In addition, no matter where Yin Shi is produced, it is best to produce it in Laokeng. The so-called old pit refers to a stone pit with a long history, which is famous for its large output and fine quality. According to most people's experience, to identify whether the stone seal is produced in a new pit or an old pit, one is to identify it with the naked eye, and the other is to weigh it by hand.
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Because the old pit has a long history and formed for a long time, the stone produced from the old pit looks warm and turbid on the surface, and the internal heat fades to show a natural state. This situation is like an antique with a long history, and people can know its generational depth at a glance. Because the new pit stone has been formed for a short time, it often gives people an intuition of thin texture. Although some of them are eye-catching, they are boring and flashy when you look closely. The stones in the old pit are meticulous and heavy; The new pit is loose, rough, soft and tender, and it is easy to be damaged by a slight bump. Therefore, under the premise of cleanliness, transparency and uniformity, heavier printed matter is better. Some "lightweight" stones with obvious hand feel, even if they are smooth and delicious, are not expensive enough or even portable. In addition, when choosing printing materials, we should also pay attention to whether there are hidden nails or cracks in the stone. The so-called dark nails refer to hard particles as big as fingernails captured in Yin Shi. Although it is small, it is so hard that it is impossible to cut it. There are more cracks in the stone. In recent years, explosives are mostly used in stone mining. After grinding and molding, they are soaked in oil wax, and the dark lines formed are not easy to detect, so more attention should be paid. The identification method is to wipe off oil stains or scrape off wax skin after purchase, repeatedly reflect and squeeze under strong light, and identify good shows in time to avoid being fooled.