The change of printing materials is one of the fundamental reasons for the rise and development of the Wen** seal.
Wang Mian (1287-1359), the character Yuanzhang, the number of Zhu Zhai, boiled stone mountain farmer, also known as the food in the Weng, plum blossom house owner, etc. A native of Zhuji Fengqiao (now Shaoxing, Zhejiang). Yuan Dynasty painter, poet, calligrapher, seal carver.
In the history of Chinese sealing, there is a saying that "Wang Mian pioneered the introduction of flower milk stone into the seal" and "Wen Peng opened the stone seal atmosphere". At the end of the Yuan Dynasty, the famous painter Wang Mian painted the boneless lotus flower to a god, but in the early Ming Dynasty, Zhu Yuanzhang asked him to be an official, and he resolutely refused to give in, and fled to the mountains of Fujian, calling himself "boiled stone mountain farmer", and made a living by carving flower milk stone seals. At the beginning of the Ming Dynasty, Liu Ji said in "Fei Xuelu": "At the beginning, there was no one, and those who carved with anther stones began from the mountain farmers." However, Wang Mian was born at the wrong time, when the society was in turmoil, and people sighed for the existential crisis all the time, who would ask a mountain farmer hiding in the mountains to carve stone seals? In the middle of the Ming Dynasty, the calligrapher Wen Peng once got four baskets of light frozen stones (i.e., Qingtian and Shoushan stones) in Nanjing, and then cut them into printing materials, and used the knife to govern the seals.
After that, the literati themselves carved the seals and were called the protagonists of the printing world. They took the Qin and Han seals, borrowed from the Han monuments, and referred to the weight, edict, tile, and bell and ding characters, forming many genres. Through the exploration and efforts of seal scholars in the Ming and Qing dynasties, the school seals of the Ming and Qing dynasties have become another glorious milestone after the seals of the Qin and Han dynasties. The difference is that almost all of the people who sing the leading role in the Indian world are literati. For example, He Zhen, a contemporary of Wen Peng, is also a teacher and a friend. But He Zhen is not confined to one faction of things and learns from many aspects. He is different from Wen Peng's double knife method, the first engraved edge of the single knife method, so, he changed Wen Peng's elegant style, drive the knife like a god, with a sharp knife carved out of the vigorous and clumsy works, known as the "Hui School" in history.
In the Ming Dynasty, in addition to Wen and He as the founding masters, there were also Zhu Jian and Wang Guan, two seal carvers with contrasting significance. The two of them were able to get rid of the shackles of Wen and He, devote themselves to the development of sword techniques, and each made their own extremes, chasing after the Qin and Han dynasties. Zhu Jian pioneered the "cutting knife method" engraving, which was printed as a strong ancient mystery. He entered the seal with Zhao Xiaoguang's grass seal method, and a heroic and extraordinary spirit was indelible. The introduction of the grass seal in the calligraphy makes the strokes of the seal have the meaning of writing with ups and downs, and the dots echo each other, which is very dynamic. Zhu Jian's cutting knife, a stroke is carried several times to complete, just like the calligraphy pen in the reverse astringent line, frustration, astringency push, the line shows a strong sense of movement, "there are ups and downs, there are turns, there are light and heavy", the square fold is strong, the knife marks are clear, with a sharp, clumsy, dangerous beauty. Zhu Jian seeks to print in India, but also seeks to print outside India, the carving knife in his hand is like a brush, although the knife is short and the meaning is longer, the knife is broken and the meaning is enough, the knife is written on behalf of the pen, so that the knife is like a pen, rich in a pen and ink taste, so, Zhu Jian said: "The knife is also, so the pen is also transmitted." "He really understands the relationship between the knife and the pen.
Wang Guan, on the contrary, is a master who is good at "punching knives", printed as elegant and beautiful. At that time, Indians copied and engraved Han seals, often focusing on the ancient meaning of gold and copper. For example, after Wen Peng carved a seal every time, "it must be placed in the coffin, so that the boy will shake it all day", so that the seal peels off and has an antique color. However, the erosion of the Han seal is the natural erosion of the vicissitudes of history, and the original Han seal is still intact. Wang Guan is not stained with the times, and works the integrity of the Han seal, and uses the punching knife to reproduce the charm of the Han seal, which makes people refreshed. He also pioneered the "parallel strokes", because the strokes are combined, the contrast between large white and large red is formed, which is not bloated and has the meaning of the brush.
Zhu Jian, a seal carver in the Ming Dynasty, said that "making a knife is like a pen", and Lin Sanzhi, a contemporary calligrapher, emphasized that making a pen is like a knife. Lin Sanzhi has a poem: "You can chase the knife from the penmanship, and you can enter the Han people from the Qin people." He goes on to further explain in the poem's "Parallel Preface": "Calligraphers, it is advisable to trace the knife technique from the penmanship; Carving stone family, it is advisable to trace the penmanship from the knife. The two rely on each other, go hand in hand at the same time, and know the ancient stone carving masters, all know calligraphy. Mr. Yi'an, more than 80 seals before and after the reign of Qiming, peaceful and generous, strong and graceful, although in and out of the Qin and Han dynasties, and can have their own style, not in vain to dazzle people with the situation, can really understand the wonder of the pen of the book. Yu can't carve, but a little bit of calligraphy is like that. The quality of the easy hermitage, I don't want to say that Hansi. Lin Sanzhi's calligraphy has a strong literati atmosphere, but there is no slightest problem of delicate and timidity, which is directly related to his penmanship of being good at turning tablets into the post, and he successfully integrated Han Li's penmanship into cursive, so that cursive overcomes the problem of delicate and timidity, and its core is the way of astringency.
Eight families in Xiling.
First, the seal carving of Ding Jing, the leader of the Zhejiang faction, is inspired by the "broken knife method" of Zhu Jian of the Ming Dynasty, the broken knife is shortly cut, the edges and corners of the knife are visible, the sharp edge is exposed, and the lines show a kind of undulation and ripples, creating the style of Zhejiang seal carving art. Most of his works are dull and simple, sharp and reckless, and there is no lack of delicate and vigorous, quiet and thick. In the Qing Dynasty, the ancestors were comforted by the seal carver, and the gold inscriptions on the bronze were copied and engraved, which was almost chaotic. His knife technique is also derived from Zhu Jian's ups and downs, ups and downs, and his knife is very "astringent".
So, what is "astringent"? Liu Xizai of the Qing Dynasty said it well: "The author is accustomed to hearing the astringent pen, but I don't know how to get astringent." However, if the pen wants to do it, if there is something to refuse, try to fight with it, Si is unexpectedly astringent and self-astringent. "Calligraphers in the process of running the brush, as if the friction of the paper is very large, must be the main body of the will to overcome and overcome it, constantly have resistance, and continue to overcome, after overcoming at the same time and produce new resistance, and then overcome, and then forge ahead, so that the progress is progressive, astringent forward, produce full friction, the pen and paper because of friction and rustling sound, just like Zhu Jia's so-called "astringent spring cannibalization leaves, Shen Xiong ancient clumsy natural birth".
This kind of brushwork is Zhu Jian's knife method of moving a stroke several times to complete it. Astringency is not because the paper is particularly rough, but because the writer creates a kind of technical restriction on the mind, and then overcomes it with the strength of the subject's will, which is very similar to the Confucian attitude of "knowing that it cannot be done", so it can inspire people.