Su Haiqiang/Wen
"Theory and Research" of Chinese Seal Engraving published the first part of this article
In the history of Chinese seal engraving, Fu Shan is really a mysterious figure: although he began to be engraved for more than 60 years from the age of eighteen or nineteen until his death at the age of 79, his seal carvings have only been publicly published so far in the original seals of the Xiling Seal Society; although he is well known in the cultural circles, even scholars who specialize in fu shan are not well known; although ancient documents praise his seal carvings, Huanghuang's seal carving history does not even mention his name.
What is the reason for this? What is the face of Fu Shan's seal carving? What is the level of its printing art? In the past four years, the author has had the privilege of seeing more than 30 rough seals of Fu Mountain hidden by Hoe Yue Lu. After carefully examining these seal stones, repeatedly tasting the artistic style of these seal stones and the seal carvings on the side of Fu Shan's inheritance and the imprints on his surviving calligraphy and paintings, and deeply studying Fu Shan's life and his artistic ideas, the author thinks that since the school of printing was indiscriminate to the Republic of China period, in the northern region where printing art is relatively poor, Fu Shan seal carving can be said to be a lone peak; its seal carving, especially the level of white seal art, can be completely comparable to He Zhen, Deng Shiru and other seal carving masters.
Fushan seal carved rough stone (partial)
The essays in the lone chapter converge into mysteries
Fu Shan (1607-1684), initially known as Dingchen, the character Qingzhu, changed to qing lord, and also had aliases such as Zhenshan, Huanweng, and Shiren, han chinese, taiyuan people in Shanxi. Ming Zhusheng. Ming died as a Taoist monk and lived in seclusion in the tumu to adopt his mother. Thinkers and calligraphers of the Ming and Qing dynasties knew everything about philosophy, medicine, Confucianism, Buddhism, poetry, calligraphy, painting, golden stones, martial arts, and evidence.
Regarding the seal carvings of Fu Shan, those who are fortunate enough to see it today, the Xiling Printing Society has the original stone of the white text seal "Han Yan Private Seal", and its subordinate book is written on the side of the cloud: "The Green Lord was made in the Frost Red Niche". In the Qing Dynasty Lingnan collector and seal engraver Pan Yizeng's "Qiu Xiao'an Seal", there is a Zhu Wen seal "PiYun" seal. Although this seal is not engraved by Fu Shan, it is accompanied by a four-sided cursive side ink engraving by Fu Shan. His paragraph yun: "A large brush went away, this person is suspected to be Qin Han hand." PanMaMo air is like a dragon, feihong splashing water falling layers. The sword is drawn and crossbowed, and the long snake tail is looking down. Whoever makes a difference, who cherishes what he has. ”
In addition, in the 06th issue of Cultural Relics World magazine in 2007, an "International Symposium Album commemorating the 400th Anniversary of Fu Shan's Birth", the "Fu Shan Seal Carving" section, in addition to the above-mentioned "Han Yan Private Seal" seal, side motuo and "Piyun" print cursive side motuo, also included eight seals. They include a Zhu Wenyin "Fu Dingchen Seal", as well as three "Fu Shan Seals" with different appearances, one "Fu Shan", one "Qiao Huang Zhen Shan", one "Qing Lord", and one "Fu Shan Seal".
Fu Shan," where Hoe Yue Lu is hiding, has the seal of Qingbo at the opening of the heart source
At the 2007 Symposium to Commemorate the 400th Anniversary of Mr. Fu Shan's Birth, Mr. Bai Qianshen, an expert in Fu Shan's calligraphy research and professor of the Department of Art History at Boston University, put forward "some questions about Fu Shan's research". In particular, it is mentioned that "the seals of Fu Shan and the rest of the Fu clan should also be compiled according to reliable works, and an assessment of the level of seal engravings should be made." Due to the development of digital technology now, if you can make a database of Fu Shan, Fu Mei and other seals, it is also conducive to the identification of Fu Shan's calligraphy and painting works. Inspired by this, Mr. Wang Xinde, a native of Fushan, has collected more than 80 self-use seals of Fushan from books such as The Complete Collection of Fushan Calligraphy, The Rhyme of Frost And Red, and Research on the Art of Fushan Calligraphy since the winter of 2012. However, whether these self-use seals are self-engraved by Fu Shan is worth exploring.
The art of seal carving on Fu Shan is mostly recorded in ancient documents. Li Guo of the Qing Dynasty mentioned in the "Preface to the Collection of Frost Red Niches" that Fu Shan "can carve all the golden stone characters on the seal"; in the "Notes of Qianqiu", the Qing Dynasty classics master Yan Baishi praised the learning of Fu Shan's golden stone relics; in the late Qing Dynasty, Qin Zuyong said in the "Tong Yin Treatise on Paintings" that Fu Shan "works poetry, and the long division of the book, especially the seal carving, the richest collection of gold and stone, distinguishing between true and false one hundred, called the contemporary giant eye." Under the "Fu Shan" article in the Dictionary of Chinese Names and the Dictionary of Chinese Artists, it is noted that Fu Shan is good at identification and proficient in seal carving.
Fu Shan's "suddenly cheerful" seal hidden in Hoe Yue Lu
The author searched extensively for relevant history and literature, of which there was no mention of Fu Shan's seal carving. Whether it is the "Biography of Mr. Fu Junfu" written by Fu Shan's friend Guo Jun, the "Biography of Fu Shan" written by Cai Huang of the 28th year of Kangxi, the "Biography of Shi Daoren" written by Dai Tingyu, a famous scholar and collector in the late Ming and early Qing dynasties, or the short biography of Fu Shan in the "Draft History of the Qing Dynasty, Liechuan 288 • Legacy II", there is no mention of Fu Shan's seal carving. Guo Juan, Cai Huang, Dai Tingyu and others faced the majestic mountain of Fu Mountain, and still did not take into account the seal carving, which was called "carving insect small skills" by the ancients, and the "Draft History of the Qing Dynasty" with words like gold does not mention fu shan seal carving. It is even more regrettable that the "Biography of the Indians" written by Zhou Lianggong, a contemporary of Fu Shan, the "History of Printing Studies" written by sha Menghai, a close friend, the "History of Chinese Seal Carving" co-authored by Zhao Changzhi and Zhu Zhu, and the "Printing Style of the Ming Dynasty" and "The Printing Style of the Early Qing Dynasty" compiled by Huang Wei, a doctoral supervisor of the Nanjing Academy of Arts, all have blanks about Fu Shan's seal carving.
In addition, in the "Commentary on Fu Shan" published by Hou Wenzheng, Hou Wenyi and Hou Pingyusan in October 1992, for Fu Shan's seal carving, he only quoted the sentence of the late Qing Dynasty Qin Zuyong in the "Tong Yin Treatise": "Gong poetry, and long division of the book, you fine seal carving, the richest collection of gold and stone, distinguishing between true and false, called the contemporary giant eye." He also said: "Fu Shan's seal engraving does not have a special seal notation, from his calligraphy and paintings with the seal, it is generally believed that his seal engraving patriarchal Qin Han advocates the beauty of dragon pan and tiger leaping, vivid and lively, and thanks to the insight of epigraphy and the skill of calligraphy, it has formed a simple and thick, strong and healthy style, and can often convey interest outside the sword and pen." ”
However, in recent years, there have been special articles on Fu Shan seal engravers. For example, "Fu Shan's Seal Carving" published by the signed "Taiyuan Dao" in Shanxi Daily, "Mr. Fu Shan's Seal Carving and Its Font Size - Talking About My Little Seal Carving Experience" published by Wang Xinde on his Sina blog, and "On the Potential Impact of Fu Shan's Seal Engraving Practice on the Transformation of His Calligraphy Aesthetic Thought" published by Ma Jingjing in the Journal of Hubei Academy of Fine Arts. In addition, Mr. Bai Qianshen, in his monograph "The World of Fu Shan", also seems to have a special chapter on seal engraving.
Mr. Bai Qianshen's book "Fu Shan's World"
However, since Fu Shan did not have a special seal, it was difficult to see Fu Shan's seal carving in the collection of other people's prints, and it was even more extravagant to see Fu Shan's original seal carving. Therefore, the ancients did not discuss the Fushan seal carving in detail except for the general evaluation of the above-mentioned only words. The researchers who can be used today are nothing more than the "Han Yan Private Seal" collected by the Xiling Printing Society mentioned above, the Fu Shan self-use sealed chrysalis contained in "The World of Cultural Relics", and the self-used printing stamping on Fu shan's calligraphy and painting works. Undoubtedly, these have become the main basis for the study and writing of "Taiyuan Dao", Wang Xinde and others.
However, the author believes that the commentary on Fu Shan in the "Commentary on Fu Shan" is purely "generally considered". However, because "Taiyuan Dao", Wang Xinde and others have no physical basis, they only rely on Fu Shan's own research on the seal, and it is inevitable that they will be "taken for granted". Let me ask you, Fu Shan's self-use seal must be Fu Shan's self-carving? It should be known that the ancients used him to engrave in calligraphy and painting, which is a habit of ancient literati to express respect and commemoration of friends. Even if people today are also good at calligraphy and painting seal engraving, the seals used in their calligraphy and painting may not all be their own hands. Since there is no rough to compare, we have all doubts.
Therefore, in the pen of Shiren, the Fushan seal carving that people see is still as mysterious as a beautiful girl with a veil. Even if the rigorous such as the scholar Mr. Bai Qianshen, or because he did not see "reliable works", it is "gu left and right to talk about him", only discussing "the influence of literati seal engraving on calligraphy", and believes that the phenomenon of ink rise in Fushan calligraphy comes from the influence of the literati seal carving's pursuit of golden stone qi. In his thousands of words of discourse, he did not give the slightest substantive introduction and comment on Fu Shan's seal carving art itself.
Hun Rong Pu Hou Yi Grandmaster
In this way, Fu Shan's heirloom prints seem to be only credible in the "Han Yan Private Seal" held by the Xiling Printing Society, and the ten seals (paragraphs) published in the 06th issue of "Cultural Relics World" in 2007. However, after repeated research, the author believes that except for the "private seal of Han Yan", the other seals contained in the "World of Cultural Relics" are not trustworthy. At a glance, those who know the seal know that the level of other seal printing arts is completely not above the same level as "Han Yan Private Seal", and can even be crowned with the word "mediocre", is it the work of Fu Shan of "You Jing Seal Carving"?
In this way, the only people who can study fushan seal carvings are "Han Yan Private Seal" and "Pi Yun" printing edges.
It is precisely the inheritance of this square seal stone and this side ink tuo that makes it possible for people to glimpse the world of Fu Shan's seal carving. If the world of FuShan's seal carving is likened to an extremely closed dark house in the dark night, just imagine, if there is no "Han Yan private seal" and "Phi Yun" printing edge of the light of the guide, Fu Shan's seal carving world is afraid that it will forever be sealed in the darkness of history and become an insoluble mystery.
In the darkness, perhaps it is precisely because of the guidance of this bright light that the author had the opportunity to communicate with Mr. Luo Yunting, the owner of the genre Yinyuelu, at the end of 2010, and was fortunate to be able to play with and study the rough stones of fushan seals hidden by the hoeing moon lu day and night.
Before making an overall evaluation of the Fushan seal carvings, we may wish to start with the "Han Yan Private Seal" collected by the Xiling Seal Society.
In the fourth issue of Calligraphy magazine in 1983, in an article entitled "A Brief Discussion on the Art of Seal Engraving in the Ming and Qing Dynasties", the authors Lu Jianzhi and Pan Dexi commented: "The knife is pure and calm, the lines are not very thick and slightly twisted, but the feeling is thick, subtle, and intriguing. The author believes that the evaluation of the two gentlemen has not yet discovered the subtleties of this seal.
At first glance, this seal, the four characters are evenly divided into printing surfaces, mainly straight lines, and the whole gives people a sense of flatness. However, in this overall "positive" pattern, there are "three moves" to break the stagnation that may be revealed by the flatness: First, the turning point is slightly rounded, so that the square is rounded and there is movement in the stillness. The second is the blunt knife astringency, so that the stone flower naturally cracks, forming a "house leak mark" stroke, breaking the stroke that the fast knife may bring smooth and uniform. Third, the spacing of strokes is not evenly treated, the three words of "Han", "private" and "Yin" are relatively sparse, the word "rock" is relatively tight, and the lower right corner of the word "rock" is slightly blank, which echoes the blank space of the three words of "Han", "private" and "yin" that are relatively loose.
Fu Shan "Han Yan Private Seal" hidden by Xiling Printing Society
In this way, the entire printing surface forms a pattern of white cloth with the white space left in the lower right corner of the word "rock" as an air eye, and radiating to the other three printing angles one by one. What is more elaborate is that the sparse "Han", "Private", and "Yin" characters are white and shaped according to the characters, and each has its own variations: the lower right corner of the "Han" character cloth white is symmetrical with the upper left corner, the right part of the "private" word is vertical cloth white, and the lower part of the "print" word is horizontal cloth white. The full printing gives people the overall effect of being strange in the middle, moving in the still, and changing in the peace.
In addition, following the bright light of "Han Yan's private seal", we took the seals of Fu Shan in several directions, such as "Water Stone Babbling Wind and Bamboo Swallowing", "Qingfeng Making Water Moon Mountain", "Independence and No Migration", "Hungry and Tired of Sleeping", "Only Suitable", "Detached from The Shape", "Songju Open Three Paths", "Wind and Quiet Bamboo Peace", "There are Qingbo at the Beginning of the Heart", "Suddenly Cheerful", "Long Roaring Wind", etc., to explore the mysterious Fushan seal carving world.
Fu Shan 'Jade Bone Transmission Heavenly Heart' seal hidden by Hoe Yue Lu
Among the above seals, except for Zhu Wen on the side of "Jade Bone Transmission of Heavenly Heart", the rest are all white text. The above seals taken by the author seem to be bland, but the subtleties have their own ingenuity.
"Water stone babbling wind and bamboo swallowing" eight-character seal, rectangular, the word is divided into two lines, four characters each, vertical rows are horizontal. The two lines are equally divided into printing surfaces, although the lines are clearly distinguished, but due to the differences in the length of each line, the connection between the lines is strengthened, and the "babbling" and "water" parts are damaged and the "phase" characters are sticky, and the whole print is integrated.
Fu Shan "Water Stone Babbling Wind bamboo swallowing" seal hidden by Hoe Yue Lu
The four-character seal of "independence and non-migration" uses the words "independence" and "migration" with more strokes and "standing" and "not" with few strokes as diagonal symmetry, forming a dense contrast, and the overall feeling of being sparse and dense is not allowed to be needled.
Fu Shan's "independence and non-migration" seal hidden by Hoe Yue Lu
The "hungry meal and tired sleep" seal makes the word "hungry meal" closely on the right, the word "tired sleep" loosely on the left, and the right part of the word "hunger" is slightly sparse to echo with the left side, and prevents the horizontal painting of the left part of the "hunger" word from being extended and forcing the right part to be equally tight, resulting in a visual imbalance between the left and right of the whole India.
Fu Shan "Hungry and Sleepy" sealed rough stone hidden by Hoe YueLu
……
Looking at the above seals, the lines of each drawing go straight and straight, the knots of each word are bland, and the layout of each print is flat and even. It should be said that this is a big taboo in the creation of seal engraving, and Fu Shan has undoubtedly set dangerous traps for himself. If it is not handled in a high-level way, it is bound to be difficult to turn "danger" into "yi", and eventually make the printing work fall into the abyss of stagnant and vicious customs. And look at how Fu Shan turned danger into destruction and turned danger into magic: it seems that the rough blunt knife is astringent to increase the strength and simplicity of the line, such as the "house leak marks" stroke of the insect erosion wood and then give the line thick and rounded god, and then add the subtle changes of the chapter method to win the strange victory, so that the printing work is finally harmonious and simple. With the magic of the knife method, the flatness of the lines, the clumsiness of the lines to make the strokes straight, and the strangeness of the chapters to make the body straight. In this way, Fu Shan's side of the seal, the peace in the middle of the danger, the middle of the Han qi, clearly into a "calm appearance under the active volcano".
Fu Shan "Qingfeng Lane Water Moon Mountain" seal hidden by Hoe Yue Lu
Intellectuals believe that artistic creation is the process of constantly creating contradictions and resolving contradictions. The author believes that Fu Shan can undoubtedly be called the holy hand of this. Sending magic to the ordinary, the change in the ordinary. By yes, Fu Shan printed, "seemingly the most strange of the ordinary"; Fu Shan printed, "look at the mountain or the mountain".
The intellectuals believe that any kind of art has five levels: learning, learning, refining, mastering, and refining. The author believes that the Fushan seal carving should belong to those who have already "transformed" the realm.
Fu Shan 'Chang Xiao Sheng Feng' seal hidden by Hoe Yue Lu
If according to the level of printing art, the Ming and Qing dynasties are divided into three levels: masters, masters, masters, and masters, in the author's mind, those who can be classified as masters by entering the history of genre printing are He Zhen, Deng Shiru (Stubborn Uncle), Zhao Zhiqian (Uncle Huan), Wu Changshuo (缶翁), and Qi Baishi. Although Fu Shan did not enter the history of genre printing, with his level of printing art, he should be classified as a "master" alongside the above five sons. He Zhenmengli, Stubborn Bo Wanjian, Uncle Zhenli, Gong Weng Canggu, Bai Shi Qi, and Fu Shan alone competed with the five sons. Among the five people, the author believes that the artistic realm of Bai Wenyin is the most important than He Zhen and Deng Shiru. He Zhen was born as an engraver, and his books, texts, poems, and paintings are unknown; although Deng Shiru's books are called giants, the names of his texts, poems, and paintings are not obvious. Therefore, although the two seal carvings are perfected, they are inevitably partial to "work", and the so-called "divine skills" are also. And Fu Shan's poems, texts, books, and paintings are all exquisite, and they are also profound in thought, so those who are perfected by his seal carvings are more partial to "god", and the so-called "gods are his 'gods'".
Clues reveal the true mountain
Some people will ask, "Qing Lord" and "True Mountain" are not false for Fu Shan, but the 30 rough seal carvings signed "Green Lord" and "True Mountain" hidden by Hoe Yue Lu must be Fu Shan's authentic products? Could it be a forgery by someone else?
In the appraisal of calligraphy and painting and antiques, even if they are faced with the same treasure, the viewer will have completely different appraisal results because of their different emotions in character knowledge, artistic literacy, aesthetic taste and even appreciation. For the identification of the authenticity of these seal carvings hidden in hoe yuelu, just like the identification of calligraphy and paintings and antiques, many people look at the truth and many people express doubts. Skeptics often make assumptions after a cursory look without the slightest study: Mr. Luo Yunting can collect more than 30 rough stones of FuShan seal carvings by himself, which is completely impossible.
Fu Shan hidden in Hoe Yue Lu "sheds the shape of the" seal
Mr. Luo Yunting once told this writer that Fu Shan began to engrave the seal at the age of eighteen or nineteen to his death at the age of 79, a total of more than 60 years, in order to reach the height of the seal carving of Fu Shan, the engraved stones should be at least in the thousands. More than 30 rough stones carved by Fu Shan are indeed enough compared to the fact that there is only one party in the Xiling Seal Society in the country; but compared with the engraved stones carved by Fu Shan for more than 60 years, it is really too few.
The seal of Fu Shan "Pine Chrysanthemum Open Three Paths" hidden by Hoe Yue Lu
A little research is not difficult to find such a rather interesting phenomenon: just like the situation where Fushan calligraphy and painting are more circulated and seal engravings are very rare, it seems that most of the artists who are good at calligraphy, painting, painting and seal engraving have existed since the genre was printed indiscriminately. Deng Shiru, Wu Rangzhi, Zhao Zhiqian, Wu Changshuo, Qi Baishi, and the sages. According to historical records, Wu Rangzhi, Wu Changshuo, Qi Baishi and others have engraved seals in their lifetimes. However, incredibly, their calligraphy and painting works are common, while the original seal carvings are extremely rare.
For example, according to common sense, seal carving works carved in stone should be easier to keep than calligraphy and painting works written and painted on paper and silk, and it is reasonable that seal carving works should circulate more than calligraphy and painting works. But why are there fewer seal engraving works handed down than calligraphy and painting works? The author analyzes that the core reason is probably that seal engraving is more niche than calligraphy and painting, and its creation and appreciation threshold is also higher. Seal engravers and connoisseurs not only need to have a deep cultivation in calligraphy, history, literature, aesthetics, and painting, but also must have solid knowledge of paleography and epigraphy. As far as paleography is concerned, many ancient literati still have a gap, let alone today's people.
Nowadays, the discipline is increasingly subdivided, and seal engraving has become a kind of hidden science. Even if a wonderful seal engraving work is placed in front of them, the vast majority of people will often turn a blind eye.
As a collector, he also collected the seals of the literati genre, including Fu Shan's seal carvings. When talking about the "Hidden Seal of hoeing the moon", he commented: "The hoe moon lu is hidden for five hundred years. In the face of those who doubted the collection of Hoe YueLu, he sighed to the author and said to the author, who had been obedient to Rong Geng, Shang Chengzuo, Huang Wenkuan, Fang Jiekan, and Tang Yunzhuxian. In Chinese art, seal carving is the most difficult, the most test of a person's cultivation and understanding, and its creation and appreciation require deep cultural accumulation. ”
Sincerely! The author has engraved it for many years, but then had to give up this beloved art because of eye disease. Years of seal engraving practice make the author know very well, how easy is it to talk about seal engraving? Seal engraving is no better than calligraphy and painting, and calligraphy and painting can be filled with double hooks and copied. The seal carving should be fake, it seems to be similar to not, and once the knife is taken, there is no room for maneuver. Moreover, the texture of the lines reflected in the rapid movement of the knife, the depth of the words reflected in the size of the force, the thickness of the strokes reflected in the angle of the knife, the root of the calligraphy embodied in the knotted seal method, and the layout ingenuity embodied in the chapter arrangement... The calligraphy and words of the printed side section that are in line with the original author's style, as well as the seasons, characters, and ages that may be involved in the creation of the original author in the side section, will become the "roadblock" in front of the counterfeiter.
It should be said that copying the ancient prints of one side, because there is a "gourd" of the original work that can be used to "look like", it seems that it is not difficult to achieve the description of the original seal and the original seal. However, even if it is copied, it is not easy to achieve the texture of the lines of the rough seal, the depth of the words, the thickness of the strokes, the ingenuity of the layout and the style of the side sections, etc., and the original author's print to describe the cool portrait, let alone the counterfeiter to create a false seal consistent with the imitation of the seal knife method out of thin air. There is also literary and historical knowledge such as the engraving time corresponding to the age of the imitated person at the time, the character involved in the printing and the imitator's travel, and the printing material button coinciding with the characteristics of the times? Moreover, these are only "metaphysical" technical problems. As for the problem of "metaphysics"----------------------------------------------------------------------
Nevertheless, the author has gone through a difficult and iterative process of the Fushan Seal Stone hidden by Hoe Yuelu from doubt to believing and doubting to completely seeing the truth.
To argue the authenticity of the Fushan seal engraving hidden by Hoe Yuelu, the author still has to start with the "Han Yan Private Seal" hidden by the Xiling Printing Society. As for the source of "Han Yan's private seal", the author has to mention the story of a person and this person's "marrying a little daughter".
Ge Changyao (1892-1963), a native of Pinghu, Zhejiang, was a collector. Zi Shu Zheng, Number Zhu Nian, Don't Sign Zhu Dao Ren, Yi Zuo Chang Ying, Zi Shu Zheng, No. 1 Yan Lu, No. 1 Wang ye. Rich in books, the name of its "Chuanpu Tang" collection is comparable to Fan's "Tianyi Pavilion" and Liu's "Jiaye Hall". Especially good seals, such as ancient seals, Han seals and the works of famous seal engravers since the Ming and Qing dynasties, all of them are intentionally collected, and the "Chuanputang" Tibetan seal has been praised by the seal engraving community as "the best of the moment". There are 6 volumes of "Yan Lu JiYin", 6 volumes of "Song Yuan Ming Xiang Xi Seal Liu Zhen" in 1925, and 12 volumes of "Chuanpu Tang Tibetan Seal Jinghua", Wu Changshuo signed the book "Chuanpu Tang Seal Spectrum", tong Danian inscription, Luo Zhenyu order. In 1931, Wu Xizai and Zhao Zhiqian engraved and printed 10 volumes of "Wu Zhao Yincun". In 1939, together with Ding Ren, Gao Shishi and Yu Ren, he compiled 20 volumes of "Ding Ugly Robbery Yu Yincun", starting from Wen Zhengming and Wen Peng's father and son, down to ye Yusen and Gao Yi of the Republic of China, a total of 273, and printed more than 1900 parties. In 1944, he and Hu Gan compiled "Ming and Qing Celebrity Engraving and Collection" in 12 volumes. Most of the books in the collection were destroyed at the beginning of the War of Resistance Against Japanese Aggression, and some rare books flowed into Chen Qun's "Ze Cun Library".
In the early 1950s, Ge Changyao successively gave some of the Tibetan seals of "ChuanpuTang" to Wuxi Hua Du'an, who later donated these seals to the Shanghai Museum. According to Ge Changyao's own account, in the summer of 1962, he finally "married" his "little daughter" - donating 43 treasures that could be called exquisite in the Chuanputang Tibetan seal, including Fu Shan's "Han Yan Private Seal", to the Xiling Seal Society. These 43 treasures, including Wen Peng's "Qin Qiao Leaning on the Pine Playing Crane", He Zhen's "Listening to the Depths of the Oriole", Deng Shiru's "The Sound of the River Flow Breaking the Shore Thousand Feet" and other iconic works in the history of seal engraving, have now become the treasures of the society.
Xiling Printing Society's Collection of Wen Peng "Qin Strike Leaning On Pine Playing Crane" seal
From Ge's donation of 43 treasures such as "Han Yan Private Seal" to xiling printing company as "marrying a little daughter", we can see that he cherishes and attaches importance to this batch of seals, including "Han Yan private seal". As precious as it is, the seal has lacked the necessary professional attention. Because this seal is the only product of Fu Shan seal carving that has been publicly published before, limited to the research practice of "isolated cases are not evidenced", coupled with "the most difficult seal carving in Chinese art", except for lu Jianzhi and Mr. Pan Dexi in the fourth issue of "Calligraphy" magazine in 1983, there is the above-mentioned rough appreciation, researchers have been entangled so far, and there is almost no systematic study of this seal and Fu Shan seal carving.
In the history of Chinese seal carving, since the end of the Yuan Dynasty, wang crown tried to engrave flowers and milk stones, and the stone slowly became a new stage for the literati to show their talents. However, from the printing end of the literati genre in the middle and late Ming Dynasty to the Qing Dynasty for a long time, due to the discovery of stones as printing materials and limited excavations, the stones suitable for seal carving were concentrated in a few places, coupled with the inconvenience of transportation, the printing family had no more choices in the stone printing materials funded by seal carvings. In terms of printing buttons, although most of the ancient seals have buttons, and since the Han Dynasty, turtles, camels, horses and other buttons have been used to distinguish between emperors and hundreds of officials, but the button is only a symbol used in ancient times to distinguish official positions, identities and auspiciousness, and ward off evil spirits. At the beginning of the genre, the seal has been transformed from practical to literati and elegant play, and most carvers only engrave words without carving buttons; people's appreciation of seals also focuses on the art of seal engraving itself. Later, with the large-scale mining of Qingtian, Shoushan, Changhua, Bahrain and other printing stone materials, the stone materials, textures, and colors were developed and used, and the carving button gradually became a new craft industry that matched the seal carving.
The original stone carved by Fu Shan seal hidden in Hoe Yue Lu
At the time of the ming and qing dynasties, the stone used for seal carving must also be consistent with the characteristics of this period. Looking at the collection of Hoe Yue Lu, we can see that Fu Shan is extremely unimpressed about the printing button and the printing stone material, and the body of the seal of "water stone babbling wind and bamboo swallowing" has not even been smoothed. Among the more than 30 kinds of printed stones, except for the buttons on both sides of "an autumn moon light and sunny river" and "hungry and tired", the rest are all square strip stones, and most of the stones used are ordinary Qingtian stones, and a few are miscellaneous stones in places that cannot be named.
Look at the side section. Since the ming Dynasty Wen Peng's initiative, the wind of the seal side has been opened. For a long period of time, the number of seals is more short, the fewer are only two or three words, the more are not more than ten words, or only the first name and surname, or the address, year and month are added. Except for Wen Peng's "Qin Qiao Song Playing Crane" seal and Fu Shan's engraving of the "Phi Yun" seal with a long edge, it is rare to see long models. By the beginning of the Qing Dynasty, the paragraphs gradually grew, and the Xiling families, long paragraphs became the norm. Wen Peng created a double knife side model, and although He Zhen, a student of the Wen clan, pioneered the single knife side model, it was not until Ding Jingchun single knife that spanned the three generations of Kangxi, Yongzheng and Qianlong and Deng Shiru's pure double knife during the Jiaqing period of the Qing Dynasty that the seal engravers showed their magic in the style of using knives in the creation of the side section. And between Wen He and Ding Deng, the contemporaries of Fu Shan, such as Zhou Lianggong, Cheng Yi, Ba Weizu, Hu Tang, and Wang Zhaolong, their money recognition is not a double knife short.
Fu Shan Seal engraved edges in the Hoe Yue Lu collection
The 30-sided seal stone of Fu Mountain hidden by Hoe Yue Lu, its side section undertakes Wen Peng Yuxu, short, double knife, like a small inscription, the knife marks are not obvious. Or engrave "Qing Lord made in the Frost Red Niche", or add the year number before it. Most of the characters are double-knife lishu, and the characters are quaint and elegant, and the strength is exquisite. Some also signed the "True Mountain" with a double knife book, such as "A Statue of Autumn Moon Light Qingchuan" White Text Seal, and the side section is "Xin You March True Mountain Seal". The characters are like Fu Shan brush small lines, a naïve, sneaky Lu Gong pen meaning.
Fu Shan seal engraved edge ink Tuo in hoe Yue Lu
The stone materials and buttons of the seal carvings signed "Qing Lord" and "True Mountain" in more than 30 ways in Hoe Yue Lu are in line with Fu Shan's era, and their side signatures are consistent with Fu Shan's character number, and their style of writing and knife are in line with the "Han Yan Private Seal" style, which is consistent with the "Han Yan Private Seal" style, which is highly consistent with fu Shan's consistent artistic style.
Cut the moon and perfect the clouds
Fu Shan was born in the 34th year of the Ming Dynasty (1606 AD) and died in the 23rd year of the Qing Kangxi Dynasty (1684 AD). In 1644, at the age of 39, the Jiashen Rebellion occurred. First, the flag of Li Zicheng's peasant rebel army was planted at the head of Beijing, and the Chongzhen Emperor hung his own locust branch on Banzai Mountain; then the Manchu Qing iron hooves crossed the mountain customs and immediately crossed the Central Plains. What kind of era is this? Fu Shan's poem "The Disease Manifests Mei Ren" writes: "Swinging Qiankun disease, grasping the heart and reaping the burden." It vividly and generally depicts an era of intertwined contradictions, fierce turmoil, and the collapse of the world, and the painful soul of a sober intellectual.
Cover of the magazine "Chinese Seal Engraving" that published the second part of this article
Great contradictions and great turmoil contain great pain of blood and tears, and also nurture and temper great talents. In such an era, China produced a large number of outstanding talents in the ideological and cultural circles, such as Gu Yanwu, Huang Zongxi, and Wang Fuzhi. They were concerned about the sufferings of the people and the rise and fall of the nation, advocated the practical study of the world, and exalted the people's foundation, forming a progressive trend of thought in the second half of the seventeenth century. From the perspective of academic achievements and ideological influence, Liang Qichao referred to Fu Shan, Gu Yanwu, Huang Zongxi, Wang Fuzhi, Li Yan, and Yan Yuan as the "Six Masters of the Early Qing Dynasty". Among the six people, if we consider the degree of ideological emancipation, the breadth of the academic field, the achievements of artistic creation, and the attainment of medical and Taoist medicine, Fu Shan is even more "looking horizontally into a peak on the side of the mountain."
In the life of Kao Fushan, there were three major events that have to be said: In the early years, for ZhaoXueping to oppose Yuan Jixian's unjust case, to oppose the tyranny of the castration party, as a student leader in Shanxi, he led all the students of the province to petition in Beijing, which lasted for half a year, becoming the precursor of the student movement in early modern China; in middle age, he engaged in secret anti-Qing activities for more than twenty years, was arrested and imprisoned at the age of 49, after more than a year, after several severe tortures, he was determined to die, resisted unyieldingly, went on a nine-day hunger strike, and finally was released, and after he was released from prison, he hated himself, and his poem "Overseas Chinese in Wangcun Village in the Disease of the Mountain Temple" poem Yun: In his later years, he mainly engaged in writing, resolutely did not cooperate with the Qing court, went on hunger strike for seven days at the age of 73, refused to go to the Qing court to open a special erudite branch to attract Han intellectuals, and refused to be an official of the Qing court.
Published a catalogue of Chinese Seal Engravings in the second part of this article
Challenging the castration party and refusing to be clean was Fu Shan's moral and political choice. In the current dynasty to challenge the castration party, justice finally triumphed over evil, and Yuan Jixian's unjust case was revealed; however, being in a different dynasty and refusing to be able to do so doomed Fu Shan to suffer for the rest of his life. As time went on, the Manchu rule became more and more stable, and Fu Shan saw that his refusal was insignificant to the situation. Therefore, in art, back to the source, let the aesthetic taste trace back to the ancients, become the spiritual sustenance of Fu Shan, and the anti-Qing fighters turned to the advocates for pursuing and undertaking cultural orthodoxy.
Despite the spiritual sustenance of art and scholarship, the corpse of Chongzhen hanging on the branch of the Banzai Mountain and the deep-rooted idea of loyalty and patriotism made the inner loneliness and sadness become Fu Shan's incurable heart disease. Because at the same time that he refused, he also saw with his own eyes the many sentient beings who were eager for fame and position. According to human feelings and common sense, he knows that he cannot stop others, nor does he have the power and ability to block others. Fu Shan once wrote a biography for the father of a Shanxi Wenyou, and after praising the old man's high style and bright festival, he lamented an embarrassing fact with great heartache: "Ding Ugly List Shanxi Fan Nineteen people, since Jia Shen, Xiaoyi Zhang Gongyuan Fuju died outside the city, and at the time of the source, he raised shame for Shanxi, and only two people." ”
This lingering sense of shame made a "positive" character the core artistic idea of Fu Shan.
It is this "positive" qi in his heart that makes Fu Shan clear the source in the art method and pursue the right pulse of art. He said, "The letter does not come from the eight points of the seal, that is, the servility is insufficient. "The letter does not know the change of the seal, and it is written in a wonderful state, and it is ultimately a common style." "I don't know that the seal has always been about calligraphy, and I have always studied calligraphy, and I have slept." He believes: "Zhizheng is straight, and calligraphy is common to shooting." ”
It was this "righteous" qi in his heart that made Fu Shan lead Yan Zhenqing, a loyal and martyr minister who maintained his honor to death, as an idol, and he was just and upright all his life. His poem "Writing words to show children and grandchildren" reads: "Writing characters first becomes people, and people have strange characters since ancient times." Gang often rebels against Zhou Kong, and the pen and ink cannot be repaired... Before learning the Lu Gongshu, first look at the Lu Gongju. The plain qi is in the middle, and Mao Ying's feet are swallowed. ”
It is this "positive" atmosphere in his heart that makes Fu Shan's artistic path unswerving, and the weather is big and positive. He said: "Writing is only not arrogant, stroke by stroke, smooth and stable, the structure has to go, there is nothing to do." He also said, "There is no kitsch in writing, only clumsiness." Positive pole strange birth, attributed to the great coincidence is already clumsy. ”
FuShan calligraphy
However, if Fu Shan's artistic thought is simply understood as a "positive" word, it will be shallow. Under the tone of "positive", Fu Shan has a more extraordinary spirit of innovation to seek "strange". The natural manifestation of Fu Shan's innovative spirit is his shocking analects: "Ning is not clumsy, rather ugly than charming, rather fragmented than slippery, Ning Zhen is not arranged, enough to return to the pool and fall into the storm." ”
It can be said that in the history of Chinese calligraphy, the person who has brought into full play the dialectical unity of the contradiction between "positive" and "strange" is Fu Shan. There is a sentence in his "Three Songs of Qingyang An": "Since it is for the mountain to be peaceful, I have come to Tim Er a peak of qing." He added: "Writing is not good where there is no change, but how easy it is to change." If you don't come in, you can't conjure up. But if you can get right, you don't have the arrogance of and vulgarity. "Therefore, his calligraphy is really grass and seal, all-encompassing, heroic and uninhibited, and a little strange. Dai Tingyu commented on Fu Shan's calligraphy in the "Letter with Zhang Ergong": "Above Wang Duo. "His paintings are quaint and elegant, and his freehand music is as good as it can be. Xia Wenyan commented in the "Illustrated Treasure Book": "His talent is unmatched in the sea, and people cannot fully understand it." ”
Fu Shan is like this in the art of calligraphy and painting, as well as in ideological scholarship and literary art. In terms of ideology and scholarship, Fu Shan enters from the "positive" and exits from the "odd". He studied the Zhengyi Lineage, read the history of the Sutras, participated in the study of the Buddhist Taoist Scriptures, pioneered the Zhuzi Studies, was proficient in phonology and famous studies (logic), and was good at the study of the Jinshi Relics. Not only can it be on a par with Gu Yanwu, Huang Zongxi, and Wang Fuzhi, but it is also more ideologically liberating than them. In opposing the theoretical teachings that regarded taoism as Taoist and breaking through the shackles of traditional Confucian thought, he was more militant and original, so much so that Bi Liangsi said in the Northwest Anthology that Fu Shan "swept away the centuries of impurities and obscenity, and insisted on going his own way." And the Qing dynasty Xu Kun commented on Fu Shan in the "Outer Edition of LiuYa": "Pedantic heavenly man, Tao and Immortal Interpretation". In terms of literature, Fu Shan also "zheng" means "odd", "positive" and "odd", and his poems are both directly directed at reality, extremely ideological, righteous and awe-inspiring, and informal, willful and straightforward, ancient and old, generous and desolate, and strange and interesting, forming a unique artistic style.
This kind of "positive" means "strange", "strange" anti-"positive" art and academic thinking reflected in the art of seal engraving, which is Fu Shan's signature poem printed on the "Phi Yun" on that side: "A large brush is dripping with shins, and this person is suspected to be a Qin Han hand." PanMaMo air is like a dragon, feihong splashing water falling layers. The sword is drawn and crossbowed, and the long snake tail is looking down. Whoever makes a difference, who cherishes what he has. "This poem can be described as a concentrated interpretation of Fu Shan's academic and artistic thought in the field of seal engraving." This person is suspected to be a Qin Han hand", "Woo Woo, The Work of The Mountain, He Dai Wu, Who Cherishes What He Has", etc. say exactly what Fu Shan Yinzong Qin Han 's "Zheng", and "The brush is dripping and walking", "Pan Ma Mo air is like a dragon, FeiHong plays with water and falls on the layer of Xue. The phrases such as "sword pulling and crossbow tension, long snake tail gu shou" are "odd" that arises after the "positive" phase and the "positive" method is taken.
To sum up, the "righteousness" of Fu Shan's seal engraving comes from the "righteousness" of taking the law, from "one stroke and one painting, smooth and stable, and the structure must go", from "writing without kitsch, only positive clumsiness", from "but can be correctly entered".
So how does the Fu Shan seal carving "positive pole strange life"?
In the middle of the seventeenth century, China underwent a dramatic change of dynasties between the Ming and Qing dynasties. At the moment of this historical reality, China's intellectual elite also completed an aesthetic Revolution on rice paper, completing a profound turn from the thesis tradition to the tradition of epigraphy. In his book "The World of Fu Shan", Mr. Bai Qianshen talked about the influence of genre printing on calligraphy, believing that the phenomenon of ink rise in Fu Shan's pen came from the influence of the literati seal carving's pursuit of golden stone qi, but did not say that the literati seal carving was the calligraphy written on the stone with a carving knife, and the epigraphic calligraphy in turn could also affect the literati seal carving. "The seal engraver should be the calligrapher first," this is what it means.
Fu Shan "Ya Yi Yi Suit" seal hidden by Hoe Yue Lu
We may wish to take another look at the FuShan "water stone babbling wind and bamboo swallowing", "there is a clear wave at the beginning of the heart", "Yayi is suitable" several seals hidden in the Hoe Yue Lu, through blunt knife astringency, the natural collapse of the stone flowers, so that the smooth and stable knots sometimes appear "blind pen", showing a mirror image of snow and thunder. Isn't the "blind pen" and colorful stone flowers that naturally collapse outside the strokes exactly the ink-raising brushwork that Fu Shan and Wang Duo wrote into the aesthetic taste of steleology? Compared with the damage carved by He Zhen, Wu Changshuo and others in addition to the strokes, it is believed that Fu Shan's damage is more natural and more interesting.
In fact, the difference between Fu Shan and He Zhen, Wu Changshuo and others is that Fu Shan, like them, imprinted the Qin and Han Dynasties, but infiltrated his unique understanding of epigraphy into the seal carving, and forged the cultivation of learning, opened up the sister art bloodline, and also combined his lifelong legend and the "Four Nings and Four Don's" super insight, expressing the hills in his chest, starting with "positive" and "strange" birth, and finally attaining the melting realm of "seemingly the most ordinary and strange", "looking at the mountain or the mountain".
Huanghuang Seal History was actually a pearl
According to the three bronze seals recorded by the antiqueist Huang Jun in the 1930s, it is speculated that the origin of the seal was around the Yin Shang period. From then until the Yuan Dynasty, the seal was cast by craftsmen, and few people left the names of craftsmen. At that time, the printing materials were all copper, gold, silver, jade, ivory, and animal bones, and the materials were fine and hard, and it was difficult to make a knife, and it was necessary to undergo special technical training. Even at the end of the Song Dynasty and the beginning of the Yuan Dynasty, Zhao Mengfu used his own seals, mostly wrote his own ink manuscripts, and handed them over to craftsmen to cast. At the end of the Yuan Dynasty, the crown of the king tried to engrave the seal with flower milk stone, and the literati began to find a place to use between the inches. Subsequently, in the Ming Dynasty, Wen Zhengming, Wen Peng, Wang Pet, Li Liufang and the like began to use Qingtian stone, and also used local miscellaneous stones to show their talents. Since then, the wind of lithography has blazed, and the literati genre has been indiscriminately coveted.
A genre of indian history, can be said to be brilliant. Literature, how to descend, genres are diverse, famous artists are born. Among the schools of seal engraving, well-known people include the Wenhe school, the Anhui school, the Zhejiang school, the New Zhejiang school, the She school, the Yishan school, the Loudong school, the Rugao school, the Yunjian school, the Surabaya school, the Yushan school, the Wu school, and the Beijing school. From the beginning of the genre yin xiansheng by Wen Peng and He Zhen in the middle and late Ming Dynasty to the creation of the Beijing school by Qi Baishi in modern times, it has lasted for more than 500 years. During this period, there were more than 40 influential Indians.
It is not difficult to study the seal carving school and its representative figures to find that almost all the above seal carving schools and their representative figures are in Jiangsu, Zhejiang, Anhui, Fujian, Guangdong and other southern regions. Even in the late Ming and early Qing dynasties, that is, in the era in which Fu Shan lived, there were also southern Indians represented by Cheng Wei, Ba Weizu, Hu Tang, Wang Zhaolong and other southern Indians who carried out the printing of altar cattle ears. In the northern region, except for Wang Duo in Henan, Gao Fenghan in Shandong, and Zhang Zaixin, who have quite famous names, there seems to be few seal engraving masters. Some people believe that the exquisite Fushan seal carving was thus overwhelmed by the lackluster northern seal carving.
The seal of "Landscape Bamboo Peace" in FuShan, which is hidden in Hoe Yue Lu
They also attributed the reasons why Fu Shan's seal carving became a mystery: First, the development of excavated stones in the north was lacking, the literati's atmosphere of governing the seal was not strong, and the printing science was underdeveloped; second, Fu Shan's seal carving had its own personality, and the ruling class was confined to aesthetic limitations and could not appreciate Fu Shan's seal carving; third, Fu Shan would never easily rule the seal for the "ruling class without a line"; the circulation was small, and the influence was naturally small; fourth, the successor of Fu Shan seal carving should push his philosopher Fu Mei, and Fu Mei unfortunately died early, which made Fu Shan seal carving a desperate sound; fifth, Fu Shan's work in classics, poetry, medicine, Calligraphy and painting and other aspects of fame are too great, so it drowned out the achievements of seal engraving.
The author believes that the above reasons naturally have a reasonable part, but such an explanation is too superficial. The second and third two are very far-fetched. Just imagine, the aesthetics of the ruling class have limitations, how prosperous the culture and art of the Qing Dynasty were, and the "people who know the goods" can be described as a rambling, is it because the ruling class's "one leaf" is obstructive, and the entire cultural and artistic circles will not see Fu Shan's seal carving of this "Taishan"? Since Fu Shan disdained to rule the seal for the "ruling class without a line", was the only way to spread the art of printing as the "ruling class without a line"? Then why is Fushan calligraphy widely circulated? Is Fu Shan happy to write books for the "ruling class without a line"? The fifth article is particularly absurd, since Fu Shan is well known in the fields of scripture, poetry, medicine, calligraphy and painting, according to the ecological logic of Chinese art, even if the standard of Fu Shan seal carving is not high, it will be sought after by people because of the "expensive people", not to mention that Fu Shan seal carving is originally very good.
In China, the evaluation of an artist's artistic standard has always been closely related to people's subtle political psychology. From Cai Jing of the four "Su, Huang, Mi, and Cai" calligraphy song families who gave way to Cai Xiang, who did not have much of a Song people's "Shangyi" style of writing because his character was disdainful, to the calligraphy of Zhao Mengfu, a descendant of the Zhao and Song Dynasties who was conscripted into a high-ranking official in the Yuan Dynasty, whose calligraphy was criticized as "vulgar", to the calligraphy of Wang Duo, a "second minister" who was demoted from the Ming Dynasty to an official, he was once cold-eyed, all of which show that the concept of "art is character" has penetrated deeply into people's marrow. However, this "character" is all branded with politics, and it has become an alienated "character" that is still chaotic with political scissors.
Cai Jing calligraphy
Fu Shan, like Wang Duo, was at the same time as the ming and qing dynasties. However, the absolute difference between Fu Shan and Wang Duo's demotion to the position of official was that he not only did not surrender as an official and secretly lived, nor did he seek to hide himself in the mountains and forests, but instead spared no effort to oppose the Qing Dynasty and restore the Ming Dynasty. This made the contemporaries have a certain complex feeling about Fu Shan: both admiring his talents and learning, but also afraid of his "anti-bone"; both wanting to be close to Fu Shan and having to maintain a "safe distance" from Fu Shan. This kind of emotion doomed them to be inseparable from Fu Shan. Fu Shan's Shanxi compatriot Chen Tingjing and the Qing Dynasty Xiangguo are an example. Shi Zai, Chen Tingjing admired Fu Shan, and when he occasionally returned to Shanxi Province to visit Fu Shan in person, he could only "privately meet" to avoid suspicion. Even the "private meeting" was followed by secret agents sent by the Shanxi Governor and reported to the imperial court. This was still the case with Fu Shan, and the collection of Fu Shan's seal engravings, which would undoubtedly leave evidence of "anti-thieves" for adultery, was probably avoided by the literati and doctors who were officials in the Qing Dynasty.
Wang Duo calligraphy
It was precisely because he saw through this kind of "little ninety-nine" in the hearts of these literati and doctors that Fu Shan did not have many contemporaries, and the only people who had evidence were Gu Yanwu, Sun Fengqi, Li Yindu, Li Yan, Yan Ermei, You Xitang, Qu Dajun, Pan Cigeng, and other wild literati and scholars, as well as Zhu Yizun, Wang Shizhen, Yan Ruoxuan, and others who had not yet been cleaned up at that time. There are even fewer people who can make Fu Shan rule the seal, and it seems that the only people who have evidence to examine it are the calligraphy and painting seal engraver Dai Benxiao, the literary scholar Mao Peijiang, and others, which naturally affects the scope of his seal.
Another important reason why Fu Shan's seal carvings are not widely circulated is probably related to Fu Shan's aesthetic interest in stele calligraphy. In Fu Shan's time, although the Thesis calligraphy had slipped to the point of disgust, the beautiful and swaying, subtle and elegant Thesis calligraphy was still orthodox. As far as seal carving is concerned, the Zhuyin sects in the southern region of Wen He have always been holding the printing altar of cattle ears, no matter what kind of faction, whether they take the initiative to damage in pursuit of golden stone qi, they have taken the "apricot blossom spring rain Jiangnan" ingenuity and exquisite road. Fu Shan's seal carvings, which have no door and no sect and are independent and independent, naturally cannot enter the "dharma eyes" of the southern Indian school, plus Fu Shan is happy to be "lonely and open without a master", has no intention of circling with them, and it is expected that he will be "marginalized" by the Indian altar.
Dynasties change and do not want to "change", located in the north of the withering of Indian studies, the son died early and there is no successor to the printing art, and he has no intention of fighting for spring at all... All kinds of signs have converged into the enigmatic "heaven, place, and people" carved by Fu Shan's seal. Fu Mountain, a majestic peak carved in the seal, was almost overwhelmed by the rolling red dust of history. Fu Shan seal carving, a bright pearl in the Indian world, was almost abandoned by Huanghuang's seal carving history.
Review: Sun Shijian