Mr. Zhu Fukian has countless seal cutting works throughout his life, and nearly 2,000 seal cuttings remain. Among the collections of seal cuttings handed down from generation to generation, there is the "Jingkan Seal Collection" in the early years, the "Fukan Seal Collection" in the middle age (carved for Wang Tong of Miao City), and the "Zhu Fukian Seal Cutting" in the later years.
Mr. Zhu’s calligraphy and seal carving art was influenced by Wu Changshuo in his early years. Both of them were masters of various arts. Wu Changshuo did not mature into seal carving until he was forty-five years old; Mr. Zhu At the age of sixteen or seventeen, he started seal cutting and published copybooks. Wu Changshuo praised and rewarded him many times, introduced him to participate in the calligraphy and painting meeting of Haitijinguan, and recommended the publication of "Jing Ni Seal Collection". From then on, he traveled to the top of the art palace throughout his life.
The Commercial Press published "Jingchong Seal Collection". The gentleman was twenty-five years old. It was an early masterpiece. Some of the seals followed the sealing style of the Ming and Qing Dynasties, but they also paid attention to the relics of the Warring States and Qin and Han Dynasties. Started to make ancient seals and imitation Han seals. "A Special Collection of Engraving Hundreds of Buttons for the Wang Family in Qiancheng" was completed when he was fifty years old. It is a masterpiece of middle age. A work that has set a high standard in the printing world. In 1986, he personally approved and published "Zhu Fukan's Seal Engraving", which mainly focused on the middle and late works, and also included some early works. This can be used to explore the general development of his seal cutting creation. Mr. Xu also used a pen to write seals and left a large number of works. After his death, Mrs. Xu Wei collected his posthumous works and presided over the editing and publication of "Zhu Fukan's Seal and Ink Traces", which was also close to seal seals and was enough to be awarded the same title. In addition, there are still many works left by those who have not been published. From these works, we can see his education, wisdom and broad-mindedness, which hint at the trembling of his soul. There are also traces of life experiences.
In his old age, Mr. reviewed his previous works and wrote in the preface to a collection of hand-rubbing and seal cutting: "The early period was not mature enough, the middle period was not exquisite enough, and the late period was more than vigorous." On the endless artistic road, he has always been based on Constantly denying yourself and pursuing improvement will eventually lead to vigor, simplicity and perfection. In the postscripts on both sides of the imitation ancient seals carved for Wang Tong, he stated: "Honglie Guizhai's "Yinju" can also be regarded as a giant seal, outstanding." "If Guizhai saw this, he would have thought that the artifacts from the third generation unearthed in Jincun were also "Chuyu is extremely confident.
A "Jing Ni Seal Collection" can give a glimpse of this young artist. Marking his early artistic level.
The minor work "Meixu Thatched Cottage" and the side paragraph "Meixu Thatched Cottage (Reading Picture)" belong to "Self-engraved Hundred Lines of Renxu Xia." Originally in "Jingchong Seal Collection", later Compiled into "Zhu Fukan's Seal Engraving". The Meixi Thatched Cottage was Mr. Zhu’s study in his early years, and the scholar in the hall was Mr. Zhu himself. In Meixu Mountain Township, Yin County, it feels like reading a book or sitting quietly in reverie. The picture is rich in classical flavor, and it seems that he is studying a traditional collection of classics and history. It is the epitome of his study life in his youth. Talents come from the spirit of the earth, and the specific humanistic environment of Mei Xu nurtures the growth of masters. In 1922, Mr. Renxu had graduated from Aurora University, but he valued traditional culture the most. The teacher who guided him in studying and learning and studying calligraphy was Zhang Jiansuo. He carefully cultivated this young man and repeatedly asked him to study hard. He once wrote: "Read more, and you will naturally have a sudden enlightenment... You are like a child learning to walk. I will guide you, and then your future will be bright and you will not fall into darkness." . He laid a solid foundation for learning in his early years, and he advocated with great confidence: "What to engrave? It's just knowledge." His seal cutting works embody profound knowledge, calligraphy skills, talent and wisdom.
The seal "Reading half a day, sitting quietly half a day" was written in the weak years. Those who sit quietly are concentrating on thinking. The combination of knowledge, erudition and ingenuity creates a strong aesthetic taste and shapes the thickness and depth of the work.
The quiet niche is engraved with a weak age and goes straight to the author's hall. The person who engraves the Shanghai dialect recommends Wu Changshuo. He is already eighty years old, and he is eighteen years old in the quiet niche. In a short time, there were more than a few carved stones, and some of the guests held up the words to show how prosperous they were, and praised their abilities with Yang (feint), and thought of those who were indifferent. Changshuo could not be separated quickly, so they made condescending remarks, and the guests laughed at each other. Jing Guan's genius is unparalleled, and his achievements have never been achieved at the same time.
A seal engraving order drawn up by Zhang Jiansou for him has been preserved to this day. The price is higher than that of Wu Changshuo. In Shanghai, where there are many masters, he is unique in style and exquisite in skills. He is "competing to win the seal". ".
Mr. Seal Engraving owes its success to the Stone Drum, Qin Engraving and Qin Zhao. "Qin Zhao Tong Liang Zhi Lou" is a seal for one party's own use, and the seal is an abbreviation of the first and second imperial edicts. He once said: "There are many imperial edict editions unearthed, and we can learn from the pros and cons of calligraphy. If we pick out the good calligraphy and write one edict edition together, it is derived from the imperial edict edition and is higher than the imperial edict edition." Such imitation of ancient times is actually creation. In his early years, he was known as an "edict edition expert" because he was good at learning and even better at using it.
The uneven and scattered characteristics of imperial edicts are evident in his calligraphy and seal cutting works. Draw lessons from ancient carvings to highlight individuality and form unique artistic features. In his small seal seal works, the method adopted from the imperial edict editions of the Qin Dynasty is very obvious.
Essentially derived from Shang and Zhou Dynasty bronze inscriptions. This is another important aspect of Mr.'s seal cutting creation. He said: "(After listening to Mr. Fu's prompts,) I memorized the 9,353 characters of "Shuowen" by heart, and copied "Shigu" and imperial edicts day and night. Based on this foundation, I can trace back the bronze inscriptions of three generations. ” ("Reminiscence of Wu Changlao", "Calligraphy" 1984.5), thus fascinated by the ancient times, devoted himself to bronze culture, and opened up a new world in the field of imitating ancient seals. Among his various styles of works, his imitation seals are particularly unique and highly valued. Mr. Sha Menghai commented: "Today's calligraphers, especially those who deal with ancient seals, should be recommended to me. one.".
In his early years, he imitated various styles of calligraphy. Later, cursive script was inherited by the two kings. The large seal script was inherited from the three generations, and the small seal script was inherited from the Qin and Han Dynasties. Being proficient in seal script is directly beneficial to his seal cutting.
The imitation ancient seal work with strong personality is based on the ancient seals of Shang and Zhou dynasties in form, and the wording is similar to his unique style of gold calligraphy, which creates the unique spirit of the work. Ma Guoquan's evaluation of Mr. Zhu's works in "Modern Seal People" said: "Bronze inscriptions are written in the style of the late Shang Dynasty and early Zhou Dynasty. They are vigorous, solemn and solemn. Each time, the center of gravity of the characters is adjusted by adding points to fill in and adding weight to the strokes. Or you can correct the strokes to be oblique, straight to curve, change the square to round, move the radicals, change straight to reverse, change left to right or up and down, they are also commonly used, it is not easy to write it if you are familiar with Yi inscriptions. It is skillful in the contrast between virtual and real, the contrast between length and length, the twists and turns, the wide closing and the wide opening. Even in the old age, it still swallows the bull with anger, and its strong and powerful spirit is breathtaking, and it has impressed all the calligraphers of the past. See." His seal-cutting aesthetic proposition is just like calligraphy. The characters written by the pen and the characters carved by the knife have the same spiritual character.
When a sophisticated calligrapher makes seal engravings, he must pay attention to the writing effect. The layout of the reprinted text is meticulously arranged, and engraving with a knife is just a means of expression. I have been engraving for a lifetime, and in my later years there was a seal saying "wielding an inch of iron and a knife like a pen". When carving on the stone, I regarded the seal carving knife as an "iron pen" and used the knife instead of writing. "There is a knife like a pen", which seems to be writing on the sealing stone. Create vivid and emotional lines, write graceful and ever-changing glyphs, and write majestic and majestic momentum.
Proficiency in ancient philology is a prerequisite for seal cutting. Mr. Zhu has devoted himself to practicing calligraphy since he was in elementary school. His ancient-style narrative work "Baitou Yin" begins with: "I am a commoner from the south of the Yangtze River. I have been fond of gold and stone carvings since I was a child (later changed to 'calligraphy and painting carvings'.) I heard it from my ancestors. It is said sincerely that before carving stone, one must have a thorough knowledge of characters (later changed to "before engraving books, one must have a thorough understanding of metal and stone"). Study hard at Xu Shen's calligraphy and understand the pictograms carefully. "First, you must have a thorough understanding of characters." , it is called refined research, it is called broad-minded, it is profound and weighty. Starting from Xu's "Shuowen", he worked through the six books to prove the evolution of ancient characters. As for the ancient characters, he even included more than 9,300 characters in "Shuowen Jiezi" "from beginning to end." At the beginning of engraving, strive to attack this solid basic knowledge. The characters in seal script and seal cutting are precise and prudent, and can withstand the test of philological standards. While making seal seals, special emphasis is placed on the study of ancient characters, which solves many difficulties in the use of characters for ancient seals.
The majestic momentum and rich connotation create a touching effect. On the one hand, he regards seal carving as a "little gadget" and can be trusted to do it immediately with a knife. He also pays special attention to this art form and creates with great devotion in the small space, showing his wisdom and perfect form, which can be seen in his person, his heart and broad mind, creating a brilliant seal cutting art work.
Learning is integrated into seal cutting. Although it is a small space, it has a mellow capacity and a high taste. As far as the seal is concerned, most of the auspicious words are printed with many exquisite words, profound meaning, meaningful aftertaste, and thought-provoking.
"I have the three tastes without distinction, and I am the best among people." It is also a combination of seals, Buddha statues and regular script inscriptions. This type of work is supplemented by pictures and text, and has the functions of calligraphy, painting, and engraving. It is a creative expression that inherits the past and brings forward the new.
Multi-word margins are Mr.’s specialty, such as engraving the full text of "Stone Drum" in miniature, and engraving two imperial edicts of the Qin Dynasty in miniature. These are both complex projects, and he likes to make fuss about the margins, which are more important than printing. Wen originated from Mr. Wang's early years, which greatly expanded the capacity of the seal margin, enriched the form and content of the margin, and demonstrated his calligraphy skills. He even spent more energy engraving the inscription than sealing it.
Vigorous and simple, majestic and majestic, and broad-minded are the general style of Zhu School's seal cutting. It is as powerful as "warriors are like clouds singing in the strong wind", full of life vitality, strong visual impact, and highly contagious. Power, shocking power. In addition, there are many works with beautiful workmanship and stable workmanship, which have a different aesthetic taste.
"Jing Ni Seal Collection" is the conclusion of the early seal style. The ancient seal "Cultural Relics of the Shanghai War Laborers" was created when he was thirty-eight years old. "The Seal of the Wang Family in Qiancheng" was painted when he was fifty years old, marking the formation of his individual seal style. It is similar in appearance to his later works on seals. Compared with his calligraphy, the seal cutting style took shape earlier.
Magnificent Mr. Wang pays attention to style in his art, which is due to his personality and temperament. It can be seen in his calligraphy, seal cutting, imitation of ancient seals, and imitation of Han Dynasty seals.
Harmony and unity: All styles of seal script are engraved in a harmonious manner, and the styles are unified. There is absolutely no contradiction. This is the most important thing when making a seal. He is familiar with the six books, and the knots are complex and changeable, and he can do them with ease.