For the genre and development history of seal cutting, please read Sha Menghai's History of Indian Studies in detail, which is a classic in the history of seal cutting. The first step in learning seal cutting is to learn seal script, and the first step in learning seal script is to know seal script. Shuowen Jiezi is an indispensable reference book for us to understand seal script. In ancient Chinese, philology was the "primary school" and the foundation of the foundation. Therefore, for example, great scholars in the Republic of China, such as Zhang Taiyan, Luo Zhenyu and Wang Guowei, all recited Shuo Wen Jie Zi, which is also a compulsory course for those who study seal cutting and seal script. Whether Qin Zhuan (Taishan Stone Carving, Yishan Stone Carving, etc.) belongs to ""began with seal script (Deng, Zhao, etc.) in Qing Dynasty. ). Objectively speaking, seal script in Qing Dynasty was easier to start with, more suitable for learning, and many people took this road. Qin Zhuan, on the other hand, has extremely high requirements on the strength of lines, and no deviation is allowed, which can easily make beginners lose confidence and interest. Therefore, we don't support this as a starting point, but we should learn from it in the future.
Seal cutting is inseparable from the study of seal script. People who are eager for quick success without learning calligraphy will not achieve much. Seal cutting is based on the knife method, and there are many kinds of knife methods. We mainly use knife punching and knife cutting. These contents are introduced in detail in the book "How to Learn Seal Cutting" by Mr. Li Zao, a member of Xiling Printing Society and deputy editor-in-chief of Xiling Printing Society. The book is illustrated and clear, which can help beginners solve many problems! If you want to improve your knowledge and understanding of seal cutting, you can refer to "A Hundred Lectures on Seal Cutting" by Mr. Gu, a member of Xiling Printing Society, which contains a large number of classic seal cutting works and systematically classifies seal cutting techniques. Usually, I still have to look at a lot of prints and draw nutrition from my predecessors. I think this process is full of fun and enjoyment. Faced with a seal cutting work, some people may be unable to interpret it (unable to get information from it), which is the so-called aesthetic "aphasia". So, how should we proceed to interpret it? Since it is aesthetic, there must be some objective criteria besides some subjective factors. Based on my own experience, I try to talk about how to read classic seal cutting by using six aspects that are usually used to judge dishes: color, aroma, taste, meaning, nutrition and shape, which may inspire some novice seal cutting friends.
First, "color". Mainly refers to visual effects, perception. When we face a seal cutting job, we should first focus on the overall situation. When reading a work, you should trust your first feeling. Composition to see if the dividend is visually balanced, eye-catching, safe and even, and vivid. The method of writing depends on whether the printing is unified and harmonious, whether the deformation is moderate, whether the exaggeration is excessive, and whether they take care of each other. Knife depends on whether the technique is used properly and naturally, whether the knife and pen are integrated, whether the meaning is conveyed in place, and whether Ji Xu has a sense of rhythm. In short, we must first grasp a basic positioning in the big visual effect.
Second, "fragrance". Refers to "aroma", which originally refers to the olfactory effect of dishes. When used in seal cutting, we can understand it as the "breath" or "breath" of seal cutting works. We need to see whether the works have the spirit of stones, books, mountains, villages, rivers and lakes, temples, arrogance and strangeness, and even hostility, vulgarity, craftsmanship and habits. Thick or light, clear or turbid, far or near, vulgar or elegant. The breath of seal cutting works is the embodiment of the temperament and taste of the works, and it is often an important criterion to judge the quality of a seal cutting work.
Third, "taste." It is the taste, which falls on the seal cutting works, that is, the style positioning of the works, whether it is mellow or spicy, elegant, peaceful or lively, smart or ethereal, difficult to swallow or dull, similar to chewing wax or endless aftertaste, light or choking. Although ups and downs have their own tastes, everyone's tastes are different. It is possible to make a whole dish by grasping the seasoning heat. When we interpret works, we can have our own taste preferences, but we should also try our best to comment on tastes and become a gourmet.
Fourth, "meaning." It means attitude, rhythm, artistic conception, intention and creativity. "Meaning" is an important factor to judge whether a work has vitality, expressiveness and artistic appeal. No matter whether it is freehand brushwork or neat, seal cutting works that lack meaning and interest are unsuccessful creations. Natural intentions, avoid affectation or obvious intentions.
Fifth, "raise". It means nutrition. As far as seal cutting works are concerned, it refers to the roots and foundations of the works, whether the methods are positive, whether the predecessors' experience is fully absorbed, whether the roots are young and red, whether calcium-deficient cartilage is iron-deficient and anaemic, whether excess fat leads to obesity, whether malnutrition is sluggish, whether endocrine disorders lead to peas all over the face, whether qi stagnation and fire deficiency lead to impetuousness, whether it leads to precocious puberty, whether it falls into a lump, and whether it is unbalanced in nutrition.
Sixth, "shape". Refers to some visible external features such as shape, form and style. The three elements of seal cutting, that is, composition, figures and knife cutting, will be expressed through a certain "shape". We need to see whether the form used in the work is appropriate (such as random modeling and the use of bonus columns), whether the female engraving and male engraving are properly used, whether the layout of the seal is reasonable, whether the rules, characters and knives are coordinated, whether the sidebar and the seal are harmonious, and so on.
The exertion of the above six aspects directly affects the effect of the work. In addition, each art has its own characteristics, but there are also some * * things between them, such as the artistic conception of seal cutting in literati painting, the interest of seal cutting in calligraphy, the melody rhythm of music and dance, the spatial structure of seal cutting in architectural sculpture, etc., which provide us with a broader associative space for interpreting seal cutting works, and we can "read outside and seal inside".
In a word, the process of interpreting seal cutting works is complicated and interesting. In a sense, interpretation is a kind of "second creation". When we master a set of interpretation paths, we can analyze and understand a seal cutting work from the outside to the inside, and then the process of interpretation becomes a good way for us to continuously improve our own level. The seals of pre-Qin, Qin and Han dynasties were used as symbols and vouchers of power in ancient people's communication. In addition, seals such as auspicious words, filial piety and Huang Zhang also reflect the customs of ancient social life and people's ideology.
At that time, regardless of rank, they were all called seals. There are two kinds of seals: Zhu Wen (raised character, also called Yang Wen) and Bai Wen (concave character, also called Yin Wen). Ancient seals vary in shape and size, with special shapes such as rectangle, square and circle. The content includes official position, name, Kyrgyz language and Xiao pattern. Ancient seals were made by seiko, chiseled or cast; The seal is fine and the composition is vivid. Zhu Wenxi's sidebar is a little wide, and Bai Wenxi has many bounded squares. There is also an ancient seal with Zhu, which is also very unique. It can be seen that the production of seals was mature at that time. Three items similar to ancient seals were found in Yin Ruins in Anyang, Henan Province. Some people infer that the origin of ancient seals should be in Shang Dynasty, but further discussion is needed. In the Qin dynasty, the emperor's seal was called seal, and the common people's seal was called seal. Qin Zhuan is a copy, similar to Xiao Zhuan in Qin Dynasty. Qin seal cutting is solemn and beautiful. The distinctive feature of Qin seal is a square official seal with a mouth and a field, and a rectangular seal with a Japanese font. Besides official seal and private seal, Qin seal was also printed in official language, which created a precedent for later generations to print casually.
Modern seal engravers constantly explore the development path of seal engraving genre art, learn from the excellent national artistic traditions, break through the seal engraving norms in Qin and Han Dynasties, Ming and Qing Dynasties, be brave in innovation, and constantly explore, thus opening a new page in modern seal engraving. There are Ding Ren, Wang□, Yi, Wang Daxin, Qiao Zengmao, Qian Shoutie, Zhao Shuru, Shou Shigong, Lai Chusheng, Fu Baoshi and Huang Qi, among which Qi Baishi is the most influential. His seal cutting began to learn from Ding Jing and later imitated Zhao and Han. He also incorporated Han and Wei calligraphy, such as "The Monument to Sangong Mountain" and "The Monument to the Temple of Heaven", into his seal cutting. He created a surprisingly ups and downs, dripping and vigorous charm with concise single-knife method and the charm of "urgent chapter" in Han Dynasty.