Artists in China, especially the great artists, often reveal a Taoist color or style in their works, that is, "the big voice is rare, the elephant is invisible, the big skill is clumsy, and the big wisdom is stupid". Master Liu Xing's seal cutting has this style. The ink manuscript printed on the stone surface by the teacher is very casual, but it is very casual. Disciples gave full play to some regularity revealed in Master's many seals, and deliberately concentrated many contradictions in composition, such as cleverness and clumsiness, simplicity and justice, emptiness and reality, danger and concealment, which made the contradictions and conflicts of seals clearer and more dramatic. I think this may also be the reason why beginners prefer the seals of Han Zhiyong and Wang Haijiao. Just as the masters were Balzac and Tolstoy who wrote novellas, his disciples were O 'Henry, Chekhov and Pu Songling who were good at writing short stories and mini-novels.
In fact, everyone in the industry knows that in his early years, Mr. Liu Xing carved Yuan Zhuwen to the extreme by adhering to the cliche that "work is the foundation of writing and writing is the extreme of work". Master Liu Xing's round bead Wen Yin is skillful in knife work and meticulous in layout, which reveals a quiet and elegant charm and embodies the beauty of seal cutting skills.
Since Zhao, Wu Changshuo, seal engravers have paid more attention to establishing their own personal styles, expanding their horizons to remains such as inscriptions, broken bricks, broken tiles, clay prints, etc., and each of them has gone to the farthest place with his own sensitivity to art, especially influenced by Fu Shan's theory of "preferring ugliness to flattery". Some people are eager to show their uniqueness and do not hesitate to dress up as ugly to show their uniqueness. But Liu Xing's artistic faces are Zheng Dan and Mei Lanfang.
Mr Li Gangtian once commented that Liu Xing's seal cutting "opened up a new realm for modern Indian studies". According to my staging, Liu Xing is actually the first person to establish his own style in the history of contemporary Indian studies. Liu xingfu's seal after the age of 20 is characterized by strangeness and agility, which deals with strangeness and smoothness just right, with quietness, strangeness and smoothness in movement. The seal of the master can reveal the breath of Wu Rangzhi and Huang Mufu, but the opportunity for the evolution of master Liu Xing's style is the inscription of several Han dynasties, such as Zhang Qianbei's. The lines of "Jiang Yikang Seal" are smart, and Fiona Fang uses them synchronously, and some of them bend and stretch, such as some strokes in the word "different"; Some are subtle and concise, such as some strokes in Jiang and Xi, which are meaningful and beyond pen and ink. The lines of the whole seal are mostly round and vigorous, because there are subtle changes such as thickness, fluctuation and Fiona Fang between strokes, which are not weak in quality, but have the feeling of combining rigidity with softness. The dynamic range of lines is not large, which can make people feel strong. Printed from a book. Liu Xing's master seal has been fully displayed in his seal, especially on Zhu. Just like the seal of "swallowing Wan Li like a tiger", the pen and ink interest of calligraphy is vividly displayed, just like flowing water, picturesque in Mr. Lu's pen. Confucius' curves are different from those of Deng, Wu Xizai and Liu Xing. It has its own spicy and peculiar changes, and has an elusive passive rhythm, which is neither round nor square, and can make people memorable. I think Liu Xing's teacher Bai Wen is better than Zhu Wen. Master used flowing foundation to manage all the white prints, and the effect was particularly good. This is probably also the truth of "singularity". Liu Xing's lines are "odd" and restless, which need to be controlled by "positive". The "Ban Ki-moon Seal" engraved on 20 12 is a successful example of the organic combination of strangeness and righteousness, and the whole seal is neither literary nor popular. Cutting Zhu Wen with a big seal, though with a strong personality, can't help feeling overbearing. As the initial stage of style formation, I think I should have the courage to let Japanese works go too far and too extreme, otherwise it will be difficult to distinguish them from others if they follow others' plans and take no risks. However, after completing the style of Lu school, Confucius should think behind closed doors, dilute the concentration of personality, and strive to return to nature and enter the realm of returning to nature. The success of Master Liu Xing once brought a strong shock to the printing industry, followed by many imitators, and there was once a sigh of Master Liu Xing in the seal cutting industry. The appearance of Master Liu Xing has undoubtedly injected a spring breeze into the Indian altar eager for innovation and change. The significance of Master Liu Xing is not only to provide a school for seal cutting, but also to mature before the upsurge of calligraphy and seal cutting. From this point of view, Master Liu Xing has almost become a banner in the contemporary printing industry.
There is a proverb in Pu Shu that "people and books will grow old". The meeting of seal cutting usually comes earlier than calligraphy. In middle age, some seal engravers basically formed their own style in youth. Therefore, the pace of upgrading the seal cutting industry is particularly fast. Although there are only six or seven years left, Liu Xing, Sun and Wang Haijiao on the printing altar seem to become classical and traditional at once. With the increase of professional newspapers and periodicals of calligraphy and seal cutting and the rapid transmission of information, a wave of popular printing styles has been blown up in the seal cutting industry. However, "printing Qin and Han dynasties" has become a means of "holding the emperor to make the princes". Fewer and fewer people surrendered to the "Emperor Xian of the Han Dynasty" printed in the Qin and Han Dynasties, and it was replaced by a new method, just like the romance of the Three Kingdoms in the world of seal cutting under Liu Xing, Sun and Wang Haijiao. Especially since the end of 1980s, a large number of young people have galloped in the field of seal cutting, and many young people have become quite impressive. Shungan in Fujian and Yangyangang in Sichuan were both developed on the basis of Liu Xing's official seal style in China, especially in the comparison between Bai Zhu and Bai Zhu, the knife method was more fierce and unscrupulous. The handling of the party black in Shungan Baiji is particularly wonderful, with solid lines and picturesque simplicity. In Jiangxi, Liu Xing's early general printing style is often adopted. White characters are not limited to one hand, which increases the calmness of the jade seal. Zhu Wen's words are casual, the lines are old-fashioned, and the overall effect tends to be decorative. Deng in Liaoning used a clean knife to collect coins, especially on the basis of the big seal script written by his teacher Liu Xing and the arrangement of Han bamboo slips. Guo Xianrui of Heilongjiang is quite accomplished in Yuan Zhuwen and flower and bird seals. Yuan Zhuwen and Bird Insect Print have passed Liu Xing and Wang Haijiao, and the new space is already very narrow. Guo Xianrui combines the two, and the printing surface is slim and smart. LAM Raymond in Zhejiang adopted the pure calligraphy appreciation style of Oracle Bone Inscriptions and seal script that Liu Xing couldn't understand, creating a feeling of seal.
Guangdong Li's lines are made by a cutting machine, and Liu Xingti's Wei Bei's square-folded oblique pen makes the printed face stubborn and bitter. Yuan Ronghua, Liu Wei, Di Jianruo, Lv Zhichun, Liang Zhengqi, Luo, Li Daixuan, Gao, Hui Shibao, Liu Bingqing and Liu Xing's other disciples also have considerable places. This rising star has shown the "postmodern" nature of Indian style in two recent national exhibitions. They despise the laws of art, pursue the freedom of creation, and have an impulse to destroy. Among them, the traditional concept of seal cutting is "the ritual collapses and the music is bad". They are opposed to copying the ancient times, resisting the sublime and unwilling to be mediocre. They pursue visual impact. In their eyes, stability, demure, exquisiteness and impeccable seem to be one of the most hopeless problems. They prefer creativity to integrity. They no longer examine each other's skills in seal script, and even rarely write seal script. Judging from the effect of the exhibition, they may think that writing is secondary and seal cutting is primary. As for the study of stone carvings, they may arouse suspicion that it is a waste of life. As long as the predecessors have not printed it, whoever engraves on the printing surface first will win applause. They are pursuing the value of their own independent existence. They pay attention to visual effects and packaging, and feel that layout and composition are more important than lines, and creativity and ideas are more important than kung fu. Of course, this is a tendency, not all. It takes some time to calm their boiling passion. Although seemingly competing for ideas, it is different from others, but it can support endurance for a long time, but it is very suitable for the culture of this era.
Under the leadership of Master Liu Xing, more and more people will go further and find their own personal language. This is Liu Xing's contribution to the whole society as a master and educator of Chinese studies. Here, please allow me to bow deeply to Master Liu Xing.
Master, you have worked hard. On September 65, 1965, at 438+03, Yi Zhongtian wrote an article in Xiamen University.