Content introduction:
This book includes: longevity without borders: a collection of calligraphy with a hundred blessings and a hundred longevity; There is no limit to longevity: Jin Wen Bai Shou Seal Collection: and there is no limit to longevity: Bubo Wen Fu Seal Collection. Content abstract: Happiness and longevity are good wishes for life. I hope to live a long and healthy life and enjoy a harmonious and happy life in the world and at home. The sharing of longevity has been circulated for a long time in ancient China. Emperors and subjects in all previous dynasties praised it and attacked it, striving to live a long life. With the passage of time, the sediment became thicker and thicker, and gradually formed the characteristics of China traditional culture.
The Fu explained in Ci Yuan was called Fu, Ghost, Shou and Kao in ancient times. In the book? Hong Fan's interpretation of Five Blessingg: Long life for one day, wealth for two days, Kangning for three days, Xiu De for four days and death for five days. Therefore, since ancient times, people have lived in the world and sincerely worshipped the God of heaven and earth, hoping to be blessed by God and benefit others.
2. Wu Changshuo seal cutting and its composition.
Content introduction:
Wu Changshuo's seal cutting technique is characterized by the integration of his writing style, brushwork, brushwork and border, which not only inherits the tradition, but also integrates himself. Taking his calligraphy style as an example, it is against the rule of the Indian people in the Ming and Qing Dynasties that "the big small seal characters should not be mixed", and the big small seal characters, or the official script of Han seal characters, are comprehensively utilized and unified. This contradictory transformation, which complements each other, has just become one of the characteristics of Wu Changshuo's personal seal cutting style, leaving an unforgettable impression on the viewer. Others have his unique and creative application and play in the changes and unification of Chinese characters and the development and unification of prisms.
3. Dictionary of commonly used reverse characters in seal cutting
Content introduction:
Seal script is divided into small seal script, mimeograph, simplified Chinese characters, seal script, bronze inscription, Oracle Bone Inscriptions and other fonts. The books cited and referenced in the compilation of this book include Shuowen Jiezi, Kangxi Dictionary, Hanyinzi, Hanyinyun Collection, Bamboo Slips and Silk Slips, Compilation of Chu and Bamboo Scripts in Warring States Period, Ancient Seal Literature, Compilation of Ancient Seals, Ancient Pottery Vocabulary and Compilation of Ancient Chinese Characters. Some prefixes can't be found in various tool books of seal script, but have been written by the people for a long time, or according to the principle of "six books", we have properly used the method of radical combination, included them in the book and marked them with symbols for reference.
4. Dictionary of commonly used characters in seal cutting
Content introduction:
The dictionary of commonly used characters in seal cutting is compiled according to the radical retrieval method of Kangxi Dictionary, which is divided into radical index and word retrieval table. The words with the same radical are arranged in the order of the figures. The book contains the first 6050 characters of traditional Chinese characters in regular script, which is about 34000 words according to the weight of seal script. The seal script is divided into small seal script, mimeographed script, simplified Chinese characters, seal script, inscriptions on bronze and Oracle Bone Inscriptions. The books cited and referred to in the compilation of this book include Shuowen Jiezi, Kangxi Dictionary, Hanyin Characters, Hanyin Fenyun Co-edited, Bamboo Slips and Silk Dictionary, Chu Bamboo Slips in Warring States, Ancient Zhuzhuan Compilation, Ancient Pottery Dictionary and China Ancient Literature. For some prefixes that have not been posted in various tool books of seal script, we either adopt the customary writing method that has been circulated and established by the people for a long time, or use the method of radical combination appropriately according to the principle of "six books", which is included in the book and marked with "○" symbol for reference.
5. Interpretation of Wu Changshuo's Indian theory.
Content introduction:
Wu Changshuo (1844- 1927), a native of Anji County, Zhejiang Province, is a famous master of modern calligraphy and seal cutting in China, and the first president of Xiling Printing Society, the world's first printing group. Formerly known as Jun,, the word Changshuo, and the word Cang Shi, alias Lu, Kutie, Dalong, etc. Follow this word after 70 years old. Zhejiang Anji people. Tongzhi for four years (1865), the scholar was appointed as the magistrate of Andong County, Jiangsu Province, and didn't go until January, marked as "January Andong Order". Wu Zeng studied exegesis, poetry, books and seal cutting under Yu Yue (182 1- 1906) and yang xian (18 19- 1896). Although he claimed to be "studying poetry in his thirties and painting in his fifties", he began to learn painting in his thirties. 19 13, Hangzhou west cold society was formally established and promoted to president. Its paintings are very famous and appreciated by the Japanese. There are many publications, such as Luan Lu Ji, Luan Lu Shi Cun, Luan Lu Yin Cun and so on. Wu's poems, books, paintings and seal cutting are all excellent. The book is full of stone drums, uninhibited and unrestrained. Rockett was taken from seal cutting, Qin and Han dynasties were taken from seal cutting, and the knife was blunt and strong. He is good at painting flowers, fruits and vegetables, landscapes and so on. , absorbed the influence of Xu Wei, Yuan Zhen and Li, and was also influenced by Zhao and Ren Bonian. Especially epigraphy calligraphy is used in painting, such as bending iron. His paintings are full of pen and ink and thoughts, rich in color and mellow in spirit, which contributed to the wind in the late Qing Dynasty and opened up a new scene of modern freehand brushwork. His seal cutting began in Zhejiang School, then he specialized in Chinese and Indian, and was influenced by Deng, Zhao and others.
After 3 1 year-old, he moved to Suzhou and wandered between Jiangsu and Zhejiang. He experienced a lot of inscriptions, seal cutting and calligraphy and painting, which was an eye-opener. After that, he settled in Shanghai and collected poems, books, paintings and prints extensively. In his later years, he became a master with outstanding style. His achievements in seal cutting are of epoch-making significance to seal cutting and China, mainly because he combined poetry, calligraphy, painting and printing in one furnace, which opened up a new realm of seal cutting. His achievements mainly come from artistic accomplishment and thoughts, which are embodied in the following aspects: poetry is integrated into seal script. He likes to write poems in blunt language, and he forced them into the engraving room with a blunt knife. He wrote poems, printed the north and south peaks of the West Lake, and integrated poems and seals. The door and white clouds he carved in Anji County, Huzhou are all in one seal, which is the first sentence of Tang Zhou Pu's poem about the water in Anji Dongling. The following sentence is that Li Yu is not everywhere, and the sound of the river flows west. He appreciates this poem very much and thinks that these ten words are without words. You need to daydream every time you print it out. This sentence is engraved in India, which means there is no word, which is quite implicit. It is true that there are poems in India. The painting melted in the seal. His paintings are ups and downs, good at blank space, or diagonal, with strong sense of composition and block. Books melt in printing. His seal script has a strong personality, and the characters in the seal script are full of brushwork, and the knife melts into the pen. Therefore, his seal cutting often shows the characteristics of male and charming, clumsy and simple, ugly and beautiful (this ugliness is mainly broken), ancient and present (like ancient seal cutting, this is new), and changed and corrected (many changes conform to the form).
There are many people who study Wu Changshuo seal cutting today. From 1898, Kawai, a Japanese seal engraver, asked Wu Changshuo for advice and introduced him to the Japanese seal engraving world, which had a great influence. Wu Changshuo is the author of Lu Lu Ji and Lu Lu Yin Village.
6. Wu Changshuo seal cutting and its cutting method.
Content introduction:
This book is a chapter in the series "China Seal Cutting Techniques", which mainly introduces Wu Changshuo's unique seal cutting techniques, and introduces in detail the basic strokes, edges, boundaries, patterns and losses of seal cutting. The book is rich in content, covering all aspects of Wu Changshuo's and China's cutting techniques. Take printed music as an example to illustrate. Vivid and easy to understand, it is an excellent teaching material for seal cutting enthusiasts to learn seal cutting.
7. Seal cutting in Wu Changshuo and its boundary.
Content introduction:
Wu Changshuo was born in the late Qing Dynasty and grew up in the late Qing Dynasty and the early Republic of China, which not only enabled him to learn from the successful experience of many previous Indians directly, but also had many newly unearthed cultural relics for reference. In addition, his accomplishments in poetry, calligraphy, printing and other aspects enabled him to fully inherit and develop the cutting-edge art of seal cutting, and further enrich and improve it on the basis of predecessors. But this kind of enrichment and perfection is not achieved overnight, but a kind of development and maturity. Although there was inheritance and understanding in the early years, the performance of the model was rather blunt and incomplete; After middle age, Fang gradually enriched and matured, forming his own unique artistic style.
8. Liu Jiang Oracle Bone Inscriptions Seal Carving and Liu Jiang oracle calligraphy Seal Carving.
Content introduction:
In the early years of Guangxu in the Qing Dynasty, in the ruins of the old capital of Yin and Shang Dynasties (now Anyang, Henan Province), local farmers accidentally found some tortoise shells and animal bones engraved with strange symbols while farming. Soon, these Oracle bones were sent to pharmacies and sold as medicinal materials. In the 24th year of Guangxu (1898), an antique dealer transported Oracle bones to Beijing. The following year (1899), Wang, a Beijing epigraphist, was the first to identify Oracle bones as an important ancient relic, and initially confirmed the historical value of Oracle bone inscriptions. 1903, Liu E, the author of Lao Can's Travels, published the first collection of Oracle Bone Inscriptions's Tieyun Tibetan Tortoise, which was regarded as the starting point of Oracle bone research. 1904, Sun Yirang wrote the first Oracle Bone Inscriptions, with Wen Qi as an example. Therefore, from the research of scholars such as Luo Zhenyu and Wang Guowei, from modern times to modern times, the excavation of Oracle bones and many people's textual research and research on Oracle bones have been going on, gradually forming a new discipline-Oracle bones.
Oracle Bone Inscriptions is a relic of ancient divination. In Shang Dynasty, due to the low level of social culture and productivity, the dominant ideology was witchcraft and worship of ancestors and natural gods. When people encounter difficult things and have to make a decision, they often ask God for advice. By burning tortoise shells or animal bones, they can see the cracks in Oracle Bone Inscriptions, thus deciding good luck or bad luck. The performer of each divination, the process of divination, the signs displayed and the final result must be recorded in detail and engraved on the occupied tortoise shell. This is Oracle Bone Inscriptions, which is the symbol on the tortoise shell that we see today. The vast majority of them are Oracle Bone Inscriptions, the "King Oracle Bone Inscriptions", who was asked by the Shang King. There are also a few Oracle Bone Inscriptions, a merchant aristocrat, asking questions, that is, "Oracle Bone Inscriptions, the non-king". Oracle Bone Inscriptions's content is quite rich, which fully reflects the political affairs of Shang Dynasty and the life of the royal family and nobles, supplements the shortcomings of historical documents handed down in Xia and Shang Dynasties, and can be verified with existing written materials, which is helpful for people to understand the changes of ancient social forms, systems, humanistic customs and historical geography, and has high social history, scientific history and philology value. Perhaps because of this, for a long time, people's research on Oracle Bone Inscriptions has been limited to the level of social significance, while ignoring the unique aesthetic and artistic value of the form of carrying the content itself-text lines. Oracle Bone Inscriptions is the oldest recognizable Chinese character in existence, but the traditional so-called "Six Books" have been basically possessed, forming a fairly developed system. There are many pictographic elements in Oracle Bone Inscriptions's font structure, which often change with the different habits of the book engraver and the convenience of writing. The radical strokes are either added or deleted, or moved or expanded, which is also "both sharp and ancient, so they are folded into poems". What we know now is that Luo Zhenyu first introduced Oracle Bone Inscriptions into artistic creation, and later he created Buwenyin with Confucian classics and Buwen as the link. Since then, there have been more and more followers, which have continued for decades and gradually become a trend, especially the establishment of various schools of Xiling Printing Society.
10. One hundred Tang poems written in seal script
Content introduction:
Mr. Liu Jiang was born in 1926. The 100 seal script works collected in this book are his meticulous works at the age of 72. The original is four feet three inches long. Tang poetry is chosen as the theme because it is a literary masterpiece loved by China people, and most calligraphy lovers like to play it. With the aim of serving the people wholeheartedly, many books published by our club are for people and calligraphy lovers, and this book is one of them. This book contains the Tang poems 100 written by the famous calligrapher Liu Jiang. The fonts of all posts are smooth, neat, reasonable in structure and rigorous in composition. At the same time, in order to make it easier for readers to read, this book adds explanations to each seal script, which is an excellent model for copying calligraphy hobbies. 1 1. Seal cutting technology
Content introduction:
This book is a theoretical book on the basic knowledge and techniques of seal cutting, which is based on the discussion and creation of famous artists in past dynasties and the author's experience in practice, in order to meet the teaching needs of art colleges and the learning requirements of amateur seal cutting enthusiasts. Explain the process and basic rules of seal cutting learning with concise words and more legends, which is convenient for beginners to understand and master. Legends are selected from the famous seals of past dynasties, and beginners can copy them.
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