Among the four major styles of Chinese seal carving, Yuan Zhu Wenyin is the most beautiful and elegant, and its warm and quiet style is quite popular with everyone.
Professor Shen Leping of the China Academy of Art comprehensively sorted out the occurrence and development of Yuan Zhu Wenyin from the Sui and Tang dynasties to modern times, and combined with more than 20 years of seal carving teaching experience and seal carving creation practice, systematically analyzed the essence of Yuan Zhu Wenyin's creation.
The following is an excerpt from the preface by Wang Lixiang, former president and editor-in-chief of Shanghai Painting and Calligraphy Publishing House, editor-in-chief of "Calligraphy" and "Calligraphy Research", and president of Duoyunxuan Painting and Calligraphy Institute, for the book "Yuan Zhu Wenyin". Let's follow Wang Lixiang's perspective and walk into Yuanzhu Wenyin together.
Yuan Zhu Wenyin talked about it
Written by Shen Leping.
November 2023.
Price: 158 yuan.
Pratt & Whitney
Price: 126 yuan.
Signed edition
Price: 158 yuan.
About the Author
Shen Leping
Professor of China Academy of Art, master's, doctoral, and postdoctoral supervisor.
He is a member of the Xiling Seal Society, a member of the Chinese Calligraphers Association, a director of the Zhejiang Calligraphers Association, and a professor at Gifu Women's University in Japan.
Preface to "Yuan Zhu Wenyin's Vertical and Horizontal Talks".
Text: Wang Lixiang.
Chinese seal carving has a long history, and the creation of seals and seals, which is regarded as having the active behavior of artists, began in the Song and Yuan dynastiesZhao Mengfu's first Yuan Zhu WenyinIt is regarded as the flourishing art of literati seal carving. After 700 years, the art of seal carving has been continuously and forcefully developed, so thatMing and Qing genre printsRegarded as another peak after the Qin and Han dynasties, many people have devoted themselves to creation, not only artistic genres, but also classics. Also thanks to the participation of literati, the creation of Yuan Zhu Wenyin has made great achievements, and many seal carvers are famous all over the world for being good at Yuan Zhu Wenyin. Under their continuous exploration, the round, ethereal, and flowing Yuan Zhu Wenyin has become one of the most important style features in the aesthetics of seal carving. Yuan Zhu Wenyin, a seemingly insipid name, has clear artistic characteristics because of its direct direction, and it is also unique because of the dominance of literati. Their perseverance, tracing the origin of the two Han Dynasty, sustenance of the ancient, thus building a number of peaks of this vein seal carving style, making the Yuan Zhu Wenyin art rich in nutrition and profound cultural heritage. Therefore, history has turned into modern times, although the survival situation of traditional art has changed greatly, and the creation of seal carving, especially Yuan Zhu Wenyin's creation, has not shown decline, but has become more colorful, and there are more top Indians specializing in this art. It is gratifying that this style still plays an important role in promoting the creation of contemporary seal carving.
Zhao Mengfu used the seal of Zhao's book.
Zhao Mengfu used the seal Song Xuezhai.
Wen Peng Wen Peng's seal.
Wang Guan, Dong Qichangyin.
Lin Gao The seal of Lin Gao.
Therefore, when I learned that Brother Leping was going to revise his 2010 book "Yuan Zhu Wenyin Commentary" and hand it over to the Shanghai Painting and Calligraphy Publishing House for publication, I expressed my great appreciation and support for it. Topics such as the origin, germination, foothold and continuous evolution of Yuan and Zhu Wenyin are placed in the history of Indian studies and even the history of art, and many phenomena are very thought-provoking. However, unlike the prosperity of Yuan Zhu Wenyin's creation in modern times, the special research on Yuan Zhu Wenyin is relatively weak. Brother Leping's book can be said to be the earliest systematic discussion of Yuan Zhuwen's work, which provides rich content for students in the seal carving world and professional colleges, and inspires people's understanding of the overall appearance of Yuan Zhu Wenyin. In my humble opinion, since the first edition of the book, no new book of its kind has been published. Therefore, after more than ten years of cultivation, Brother Leping's teaching and research have become more sophisticated, and his creation has reached a higher level.
As a sneak peek, I would like to briefly describe a few features of the newly revised work.
Comparison between the old and new versions.
Look at history
Sort out the historical coordinates of the occurrence and development of Yuan Zhuwen
Taking Yuan Zhu Wenyin as the research object, it is necessary to sort out its historical origin and motivation. Brother Leping's book is divided into three parts, the first part is entitled "The Historical Context and Development and Evolution of Yuan Zhu Wenyin", and analyzes and discusses the key points of Yuan Zhu Wen's introduction, formation, development and evolution in six subsections.
Table of Contents
Former Yuan Zhu Wenyin period.
The rise of literati seals in the Song Dynasty and their influence.
Retroism - the stereotype of Zhao Mengfu and Yuan Zhu Wenyin.
An investigation of the two stylistic tendencies of literati seals in the late Yuan Dynasty.
The development and evolution of Yuan Zhu Wenyin in the Ming and Qing dynasties.
Chen Julai: The ultimate in technique and the end in the aesthetic sense.
What is very valuable is that the author not only hooked the materials about the Yuan Zhu Wen Yin and sorted out the context, but more importantly, revealed the profound significance of the Yuan Zhu Wen to the history of seal carving art. He pointed out: "As a specific art category, the seal has gradually separated from the functions of relying on letters, calligraphy and painting, and connoisseurship, and has shown its independent artistic character, which is also the two major internal factors for the formation of the Yuan and Zhu seals - the formation of the Yuan and Zhu seals must be completed under the condition of taking the literati as the main body." That is to say, the creation of Yuan Zhu Wenyin, not only formed a distinctive form and style, and then became one of the mainstream printing styles in later generations, but also promoted the transformation of the seal to pure art, and its protagonist changed from the casting craftsman to the literati who liked the elegance of calligraphy and painting, and their theoretical core and aesthetic orientation is the retro thought and standardized ancient seal method proposed by Zhao Mengfu. The direction of this point of view shows the author's insight into the history of the development of seal carving art, reveals the internal motivation of the germination of Yuan and Zhu Wenyin, and constructs the coordinates of the whole book to discuss the development of Yuan and Zhu Wen's first vein.
Han Ju Cai 10 million.
The seal of the Tang Dynasty scribe's department.
Five dynasties of Hejiang Chuan Yuan.
Ke Jiusi used the seal Ke Shi Jingzhong.
With commentary
Try to establish a genealogy of the Yuan Zhu style
The middle part of this book takes "Indians and Prints" as the main body, and narrates itZhao Mengfu, Wen Peng, and the following until the contemporary Wang Fuchang and Chen JulaiMore than 70 Yuan Zhu Wenyin masters, commenting on more than 300 masterpieces.
Table of Contents
A large Zhu Wenyin since the Northern and Southern Dynasties.
The first generation of "Indian scientists" - Mi Fu.
In the text: the meaning of Zhao Mengfu.
Since the very "Wen Peng".
A master of both creative practice and theoretical research: Zhu Jian.
Wang Yinzi is elegant and peaceful.
Liang Yuan, Cheng Pu, Hu Zhengyan, Gan Yang.
He Tong and Ding Liangmao's "into the old and out of the new".
Han Yousu didn't let the eyebrows go.
Lin Hetian is gentle and elegant.
The first four in Xiling.
Xiling after the four.
Deng Shiru: Printed from the book, strong and graceful.
Make the knife like a pen Wu Xizai.
Xu Sangeng's contradictions.
Zhao Zhiqian - a new height of "pen and ink".
A brief overview of the Qing Dynasty.
Inheriting the past and connecting the future, Uncle Zhao.
Stable and strict Wang Fu factory.
Chen Julai - the beauty of style and the ultimate of technique.
Although this part of the content is based on people and works, the author's vision is not limited to one person and one work, but places them in the long history of Yuan and Zhu Wenyin, so as to see their origins and creative contributions, which shows that the author has both the ability to collect and analyze historical materials and appreciate artworks.
Zhao Mengfu used the seal of the Tianshui County Book.
Wen Peng, Dr. Kuniko Liangjing.
Wang Fuchang takes Merlin as the source.
Chen Julai is loafing.
Such as on the source of the Yuan Zhu Wenyin, it is necessary to mention Mi Fu "self-made" said. The author devotes a section to detailing Michael's "significance in the history of Indian studies as well as being a pioneer", which is acceptable. For example, in view of the genre printing style that emerged in the middle of the Ming Dynasty, the author also tried to place the Yuan-Zhu Wenyin in the system of "source" and "flow" to distinguish the relationship between various information, so as to build a genealogy between the Yuan-Zhu Wenyin people and the Yinfeng, which is obviously a valuable effort made by the author to stand on the requirements of today's academic development.
Mi Fu with Indian millet.
Mi Fu with the seal of the surname of Mi.
For example, in the section "A Brief Overview of the Qing Dynasty", the author points out that "the Qing Dynasty was a period of extraordinary activity in seal carving creation, a period of diversification of styles and genres. After 'Wen and He', there are many famous families, Zhao Zhiqian and others are the first level, and the above-mentioned families can be described as the ...... of the 'second echelon'There are also a large number of authors, constituting a large creative group ......They are also an indispensable part of this three-dimensional, pyramid-shaped 'creative group', and there are also many figures in it, who have their special place in the history of seal carving at that time or today."
Gu Ling: It is a building.
Zhang Yanchang Peach Blossom Lake Water.
Lin Qi is 8,000 years old for spring.
Wending back mountain.
Ding Jing Yuan's water stop.
Jiang Ren, Xiang Yong.
Deng Shiru Shaozhi.
Zhao Zhichen Zhilan Room collects books.
Zhao Zhiqian, Compassion.
When it comes to Zhao Shuru, it is pointed out that "thanks to Wang Guan and Zhao Zhiqian, the fine round Zhu Wen seal is smooth, neat and fine", and its printing style "is an indispensable stroke in the history of modern seal carving". And so on, all of which are precise.
Wang Guan Songyuan Dao people.
Uncle Zhao is a virtual scholar.
Chen Julai is a native of Riba.
The evaluation is more about the author's strengths. Commenting on Wen Peng, he said that "the seal text posture is soft, the fine brush is round, the chapter space is sparse and dense, and the straight lines and arcs intersect to form a classical and delicate picture", and on the basis of image understanding, it also gives concrete and intuitive cognitive guidance. Commenting on Wang Guan's comparative method, "he took a completely different path from Zhu Jian", "the work of taking the Han seal is exquisite, elegant and steady, so the style is quiet, steady, meticulous and mellow". Commenting on Lin Gao, he analyzed his calligraphy "mostly using parallel lines to deal with space, boldly using the technique of repeating line groups", "subtle changes in details and a small number of ** arcs interspersed and interspersed, dotted in between, and the sidebar is broken and nihilistic, with the prominent text as the center, the whole print suddenly becomes lively and lively......".These reviews are relevant to the learning needs of today's readers.
Wen Peng Wen Shou Cheng.
Wen Pengqin, leaning on the pine to play with cranes.
Lin Gao: There is Huang Tingzun and wine.
Lin Gao: The sunny window looks back a few times a day.
Innovation and research are compatible
Jinliang of the Yuan Zhu Wenyin Dengtang was established
Another feature of this book is that it organically integrates the research, study and creative guidance of Yuan Zhu Wenyin. In the second part, the author has set up two sections, "The Copying and Creation of Yuan Zhu Wenyin" and "Yuan Zhu Wenyin's Creation Notes", which make a step-by-step and corresponding analysis of the study and creation of Yuan Zhu Wenyin.
Table of Contents
About the copying, creation and others of Yuan Zhu Wenyin.
Yuan Zhu Wenyin's creation notes.
The former selects the classics, and the latter talks about the author's practical experience, from the design and printing to the knife, and then to the final engraving, step-by-step reminder of the essentials, if the reader can carefully figure out and practice diligently, he will be like a Jinliang and enter the Yuan Zhu Wenyin art of the mystery.
Copying creations
Creation Notes
It is impossible not to mention Brother Leping himself. This talented man of national beauty, who has both character and art, has not been confused before we met for more than ten years, and now it shows the unique temperament of the integration of art and intellectuality, elegant and contained, which is very consistent with the style of his book and seal. Every time I go to Hangzhou, I would like to invite him to talk, and I love him with the style of a gentleman. In his more than 20 years of teaching career, Brother Leping has educated people, created and written books, sharpening himself to become more wise and more educated. Looking at the whole book, we can find that the author's combination of teaching, research, and creation has brought great advantages to the writing of this book. He applied the practical experience of Yuan Zhu Wenyin to the analysis and judgment of many issues, so his pursuit is not limited to talking about the pure academic topics of the past and the present, but also is willing to contribute his comprehensive understanding of Yuan Zhu Wenyin to the guidance of Yuan Zhu Wenyin's study and creation. It is precisely because of this strength that we have more recognition and appreciation of the author's exposition in this book.
Shen Leping: The precept is in place.
Shen Leping nourishes his energy.
Shen Leping: If life is only as it first sees.
The ancients had a history and a literature on art, and they were free, but in modern times, the disciplines have been refined, the requirements for laying out are well-founded, the discourse has tended to be rigorous, and the way of learning has changed greatly, which is a great test for artists who are still obsessed with traditional art and strive to be good at all aspects. It is in this disciplinary context that Brother Leping has achieved his achievements. The writing of this book breaks through some of the current academic barriers, and is more oriented to the reading needs of readers, it is based on clear rationale and solid historical materials, and expounds on multiple clues and complex problems of Yuan Zhu Wenyin. Its time span is up and down for thousands of years, involving more than 70 characters, and analyzing more than 300 square meters of Yuan Zhu Wenyin's masterpieces, so when this book is about to be revised and published, it will be renamed "Yuan Zhu Wenyin's Vertical and Horizontal Talk", which I think is more appropriate.
For more than half a century, the development of seal carving art has also experienced ups and downs. In the nineties of the last century, as well as the art of calligraphy attaches importance to the tradition of "two kings", the art of seal carving also tends to return more to the tradition, in this context, the style and style of Yuan Zhu Wenyin are particularly popular, which can be said to be a kind of classical revival. This is quite in line with Zhao Mengfu's efforts to advocate classicism 700 years ago. Teaching and research in professional colleges have played an important role in promoting this return. Brother Leping's work more than ten years ago, today, is undoubtedly one of the important contributions. In recent years, the study of gold and stone has been more prosperous, and the art of seal carving has ushered in a more active situation, so the revision and publication of Brother Leping's book is the right time to meet again, and it is especially gratifying and congratulatory!
The Double Ninth Festival in the year of Renyin is held in the wing of Dingxiu Garden in Shanghai.