Why is Li He a genius? It is not because of his long eyebrows and claws, nor because of his untimely death, but because of his unique poetry, which presents a mysterious artistic conception with its rich imagination and novel language. One of the biggest characteristics of ghosts is that they are different from others. The biggest reason for saying that Li He is a genius is that his poems can break away from people's habits and find their own way. The characteristics of Li He's poems are also the artistic characteristics of Shikai's seal cutting. It is said that Shikai's seal is haunted. First, it means that his seal can break away from the ancient style of Qin and Han dynasties, from his master, from the vulgar style of the people, and open up a new realm. And the opening of this new realm was initially completed when he was in his twenties. He said: I think the artistic style should be finalized as soon as possible, and finalization is the beginning of artistic life. After shaping, try your best to seek infinite richness and change in this big picture, just like exploring the sea. Once the new continent is discovered, it must be built ashore for a long time, and the new continent will become a happy truth. Although his ideas were different from many people's, Shi Kai went on his own way and achieved great success. Of course, the establishment of style can not be designed in advance, and not everyone can establish a distinctive style in their twenties, so it should be natural. "At the meeting, people and books are old", in which "people" does not necessarily refer to people's age, but to the age of accumulation and experience. If we only refer to age, then Wang Xizhi, Sun and others are not old, and Wang Chong lived for 39 years and died. Everyone has established their own mature artistic style. How do you explain this? Shi Kai/Kloc-started carving at the age of 0/6, and he had ten years' study and creation experience in his twenties, which laid the foundation for his creation style. Besides, Shi Kai is an elf, diligent and confident, so it is not surprising that he naturally established a mature artistic style in his youth.
A passage written by Mr. Lu before Shikai seal cutting accurately analyzed and summarized his origin: "Shikai metallurgical seal has a unique method. Looking for its source, he published Qin Quan's imperial edict and Qin and Han urgent chapters. The center is straightforward, without tinkering, and the density structure is self-contained Only by combining preciseness with ellipsis can we obtain the beauty of nature. His Zhu Wen is close to the Han Dynasty. He doesn't wear clothes or shoes or decorate anything, but it is dull and interesting, covering up the old and changeable, and can be as new as possible. Taking it as the way of pen and ink, it shows tradition without being bound by tradition, which is consistent with the printing and storage of Shi Kaizhi. The so-called pension reform is not about face, if it is reasonable, so it is considered that the way of pen and ink is out of tradition and not bound by tradition, which conforms to the law of stone opening and sealing. The so-called progress, no excitement, no scratching, no complacency. Its extreme, has its own natural joy ... "Then compare Shikai's seal cutting, and Lu is always right.
During the Qin and Han Dynasties, it was in the form of Shikai seal cutting, but it was not obvious where the ancient seals of France, Warring States and Ming and Qing Dynasties were printed. Cutting the Qin and Han seals into large areas, he took the French Qin seal and Han Ji seal, which is the source of lithograph cutting. Investigating its seal cutting methods, Lu Lao said that "it is the whole imperial edict, and the Qin and Han dynasties are urgent chapters". Both of them are outside India and inside India, which are generally more than this, and the methods are very extensive. At first glance, the meaning of Shi Kai's writing is obvious. If you look carefully at every word on the seal, it is not written by Qin. It can be said that "the grass looks close and there is nothing." Shikai has grasped the natural interests of this kind of Taoist seal structure. It is scattered concession, inclined to Fiona Fang, dense and sparse, and changed into a new body, which is both primitive and wild. From the perspective of composition, it has decorative beauty. Basically, Bai Wen came from the Han Dynasty and Zhu Wen came from the Han Dynasty, which shows its density change to a greater extent. If the ancient seal method is more important than stability, and the patchwork is its intentional or unintentional performance, then the composition of stone carvings can obtain the aesthetic impact of works on people's vision more than the change of density, which is the embodiment of modern artistic creation concept.
Studying the knife method, Shi Kai is in "Big False Me"
Self-evaluation in Yi Yin's border section: "Chinese copper is rotten, Chinese jade is cool, for the sake of seeking feelings." He tried to find a new way between the mottled and vigorous copper wire and the bright and clean jade wire in He Shuang. Looking at his prints, his early years were dominated by elegance, and in the last two years he sought some hazy beauty in elegance. As a teenager, the stone was printed by two teachers: Xie carved it with a cutting knife and Chen Zifen carved it with a punching knife. Shi has a lot of practice in knife technique, which makes him have strong performance ability under the knife, among which punching is his main knife technique. However, it is not easy to measure the lines of stone carving with the formula of punching knife or cutting knife. Stone carving knife method has its own set. If you look at the printed surface carefully, there are many other non-knife carving methods, which are the basis for the rich lines of stone carving.
Shi Kai's seal cutting seems to come from the traditional way, but when they are combined, they give birth to the novel and weird spirit in Li He's poems, which is vivid and touching and full of artistic life. A few years ago, I carved a seal, which said, "It's easier to draw ghosts than people". Nowadays, there are many "surprise attacks" in the book world, either distorting fonts or twisting pens, which are uncharacteristically dazzling. This generation of smart people all know that it is easy to draw ghosts but difficult to draw people ... Here, "people" is regarded as the artistic law and expression form of traditional calligraphy, and the border paragraph satirizes those ghost paintings that unilaterally emphasize the lyricism of calligraphy and abandon the excellent tradition, taking the pen as the body and gathering ink. This spring, I read the old work and this work: it suddenly occurred to me that if I analyze this seal from a new angle and at a higher level, it will have some new ideas, so I added a supplementary note on the other side of the seal: "People have a certain shape, so it is difficult to draw, but I can do it myself with deep kung fu, but the shape of ghosts is uncertain, so it is easy to draw, but it is difficult to find something fishy." The "ghost" mentioned here is an unprecedented artistic creation, which requires a keen sense of artistic form and creative ability. Don't look at the ghosts in Pu Songling's works. They are all human beings, and they all smell like superhuman ghosts. Therefore, it is really difficult to draw an elf ghost that originated from human beings and is higher than human beings. The "ghost" in lithographs is the soul of his painting style, and it is a spirit that people who are obsessed with painting "people" can't reach. Ghosts are different from others.
Therefore, Shi Kai said: First, I don't think it is necessary to predict and practice the future development of seal cutting. If we grasp the two laws of "deformation" of seal script structure and "line change" of knife method, the innovation of seal script style will be endless, and new styles and schools will emerge constantly. Shi Kai grasped the core part of seal cutting language, that is, writing method and knife method, and he had to write an article to innovate. As far as Shikaiyin village is concerned, the characters in Shikaiyin village have basically formed a kind of "Shikaiyin style", and although their line features have been discovered to be different from others, they have not cultivated into "ghosts" and have not broken through the ancients and contemporary people to form their own styles.
In recent years, Shi Kai seems to have a deep understanding of this and is committed to the innovation of seal cutting lines. Since the publication of his works, obvious changes have taken place. The white prints of some lines, such as rubbings and rubbings, are not very refreshing, which is different from the mottling of rotten copper seals, making them thick and hazy; Zhu's poems, like cracks in the house, pop up from time to time, which is different from the harmony of pipa and has its own meaning, and has made unprecedented innovations. How to comment on this new world, let it go, anyway, Shikai has already done so. Due to the pursuit of unprecedented line texture, he also made a lot of explorations in carving techniques. Traditional knife techniques such as punching and cutting are not enough to shape the lines in Shi Kai's recent works. I haven't seen how Shikai carved it, but by examining its imprint, I can infer that he used many other techniques besides knife carving, which can be described as unscrupulous to achieve his ideal line beauty. Shikai pays attention to seal cutting and cutting, not to mention anything else. In fact, Shi Kai is also struggling in the form of composition or further extension from composition. Earlier, in order to decorate beautifully, he occasionally carved a rivet-shaped dot on each corner of the frame, or carved a small right angle similar to a 90-degree geometric mark (this form is also from ancient artifacts), which is now rare. But we also see new structures, such as Zhu Wen's dirty bottom when printed, leaving a hazy ink mark in a large blank after printed (this form can be found in rubbings such as seal mud). The lines of Bai Wenyin broke through the boundaries of lines, and the lines and surfaces merged together to construct the whole printing surface, sometimes thick and thin, sometimes refreshing, sometimes fuzzy, and sometimes the large Bai Wen printing surface left red, hazy and white. The mottled red on the back of Zhu Wen's seal and the hazy white on the back of Bai Wen's seal have pushed seal cutting from a simple calligraphy-style line structure art to an artistic plane structure art, which can be said to be a qualitative breakthrough for predecessors.