The Paper reporter Li Mei
Well-known calligrapher and seal carver, Shanghai Museum research librarian Sun Weizu recently won the 7th China Calligraphy Franchise Award Gold Medal (Theory research direction). This book is a selection of papers that he has invested in the study of ancient seals, seals, and seal cutting history for decades. It covers the discussion of the origin of seals, the dating method of ancient seals, the study of official seals and systems in the Sui and Tang Dynasties, and the study of private seals in the Tang and Song Dynasties. He made pioneering contributions in many aspects such as the study of private seals of Basiba characters in the Yuan Dynasty. In a recent exclusive interview with "The Paper Art Review" (www.thepaper.cn), Sun Weizu reviewed his artistic creation and seal research path.
"The research on Chinese seals includes two aspects: learning and art. The art of seal cutting that I was obsessed with when I was a boy, and the research work on the collection of seals in the Shanghai Museum that I later took on, decided that I must work hard to achieve both. "We all have hard goals." Sun Weizu said, "Actually, I really like to sit on the bench and don't like things that are too lively. When you see a chicken laying eggs, it hides in the grass nest. It needs to be quiet to do academic work." ', 'Loneliness' is the norm, and the same goes for creating. The best state is to sit back and wait, rather than hunting around.
Sun Weizu creates in the study
The Paper: Congratulations on winning the Chinese Calligraphy Lanting Award, Lanting Award will often win. has become a hot topic in the calligraphy industry, but your award has always been considered well-deserved by the industry. I would like to ask you to first talk about how you first embarked on the path of seal cutting and seal research? Who are the teachers who have had the greatest influence on you?
Sun Weizu: I have never thought about participating in the awards. This time, it was enthusiastically encouraged and recommended by the Shanghai Calligraphy Association. They sent people to help with many of the materials for the evaluation, which was both touching and humbling. So in a sense, I am just a representative of a group and an aspect. This gold medal is the achievement and reputation of the current Shanghai calligraphy and seal cutting group. This calligraphy and seal cutting group in Shanghai has been passed down from generation to generation for hundreds of years. Its artistic spirit, cultural tradition, and academic accumulation have always been an energy and a kind of memory in my heart since I entered this world of calligraphy and seal cutting. Reliance, a kind of guidance, a kind of height. The recognition given to one's name today should be a feedback to the fertile ground for the art of calligraphy and seal cutting on the sea.
Sun Weizu's "Selected Works on Sun Weizu's Seals and Seal Engraving Research"
Looking back on my artistic and academic path, it can be said that every link is important and seems accidental. I remember when I was a child, my father first asked me to write Yan Zhenqing " Duobao Pagoda " every day. In a calligraphy competition in the school in 1964, my work was selected. Teacher Weng Sixun called me to the office and asked me who carved the famous seal on the work and whether I liked learning seal cutting. I said I carved it myself. Teacher Weng asked where the stone came from. I said my grandfather's. Later, Teacher Weng organized a seal cutting interest group. There is also a photo of the red scarf seal cutting group and Teacher Weng in 1964. It was a spring outing in Nanxiang Guyi Garden. There were about forty people in one class, and we took a group photo, which I still keep. Teacher Weng pulled our three-person seal cutting team out and took another photo. A piece of film was very precious in those days. It can be seen that the teacher has a special expectation and care for us. This photo followed me to Jiangxi, moved many times, and finally brought it back to Shanghai. It can also be said that if it were not for a lifetime of artistic connections, perhaps this photo would not be preserved today.
Teacher Weng Sixun and the three-person seal cutting group photo
Teacher Weng guided us all the way, and asked his art friend Teacher Gu Maojun to teach us copying , design and creation every Saturday night in the office of Dachang Street Primary School. The three of us share a copy of "Liu Shu Tong" and "Selected Chinese Seals and Rhymes". The enlightenment textbooks are also from Teacher Maojun's own collection: Mr. Chen Shourong 's "How to Carve Seals" and Seal Cutting compiled by Nanjing Art Institute Handouts. It was my first taste of the fun of engraving. I was very enthusiastic and courageous. In the winter of 1965, Huang Jialong and I carved a set of seals from Mao Zedong's "Book of Fortunes: Yong Mei" and sent them to "Youth Literature and Art".The following year the "Cultural Revolution" broke out and the magazine rejected the article. That was my first time submitting a manuscript, and both the rejection letter and the printed manuscript followed me to Jiangxi and have been preserved to this day. At that time, rejection letters were accompanied by letters of encouragement, but now there is no such thing.
In 1966, after
, a rejection letter from a juvenile literary magazine, went to Jiangxi Junken Farm, he began to live in a dormitory and could no longer write. Soon I was transferred to the animal husbandry class stationed at the foot of the mountain, where I raised cattle, horses, chickens and geese. Two or three people lived in a small earthen house with a dilapidated table for eating. I thought this was good enough for writing. Teacher Weng also wrote to ask if I was still writing and engraving. So when I returned to Shanghai from a visit to relatives, I brought the sealing stones and knives that had been sealed up to Jiangxi, and the artistic fire that had been dormant in my heart "rekindled" again.
In 1973, Sun Weizu lived in a earthen house in Taipingshan, Jiangxi.
I sent my amateur calligraphy and engraving homework to two teachers for review every month. In 1972, the two teachers sincerely recommended me to teacher Han Tianheng , who was much younger than them, and asked me to write a letter for advice. Teacher Weng was born in the old hometown of Jinling and was an old-school intellectual. The letter reminded me to write to other seniors for advice and to include all etiquette details such as reply envelopes and stamps. He also encouraged me in the letter to "be a farmer in the future." It is also a national treasure.” After returning to Shanghai, Teacher Han taught me the art of printing and encouraged me to study more printing issues. He recommended me to participate in teaching, research, writing and other practices, and supported me to explore the theory of printing. I introduced Mr. Fang Jiekan, Mr. Mr. Fang Quji, Mr. Ma Chengyuan and other seal masters and scholars of the older generation, who encouraged me to broaden my horizons and become a teacher.
Han Tianheng’s correction of Sun Weizu’s work
Sun Weizu’s seal cutting work "Fragrant Plum in the Snow"
The Paper: Your seal cutting lines have a free and elegant style with changeable forms. Can you talk about it in conjunction with your seal studies?
Sun Weizu: My research needs to pay attention to the general trend and details of the development and evolution of Chinese seals. Not long ago, I emphasized to some students that we should not crowd on the same path, be homogenous, and follow the trend, as it will be difficult to achieve high goals. Let’s just talk about the exhibition, crowded together, the judges can only choose one or two pieces of each style type, and the rest are “heroic”. The style spectrum of Chinese seal art is actually very broad. You can find a type and reshape it to form your own style. Some types of ancient seals are not perfect art, but some of the artistic elements can be extracted, plus some other elements, to reshape them, old and new. This is what the predecessors called "casting". I have always believed that calligraphy and seal cutting are a kind of retro art, but retro should be understood correctly. It does not mean imitating the ancients completely, but it must have ancient meanings in spirit. It is impossible to throw away the classics and tradition in seal cutting innovation.
Shang Yaqin Shi Xi
Old Collection of the Qing Palace Western Jin Dynasty Copper Seal: Zhang Shen’s Seal Letter
I have been interested in literature, especially classical literature, and history since I was a child, and later I read Chinese. I am engaged in the research of cultural relics, and the combination of these structures has been of great help to me. It is a bit of a coincidence. In the past few decades, in addition to professional papers, I sometimes couldn't help but write some short prose in my spare time. In the early 1990s, scholars from overseas and other places met me several times and said that we thought you were sixty or seventy years old. What do I mean? They said that after reading your article, it looks old-fashioned. I thought to myself, no, don’t make the mistake of committing suicide.
Sun Weizu's seal cutting work "A Gentleman Does Not Use Utensils"
Sun Weizu's seal cutting work "Three Fragrant Residences" 2013
I am very curious about my seal cutting creation, and I explore here and there, trying not to follow a single and repetitive style. There are also types that I am more fond of: for example, the Chinese-printed styles that have changed a bit, such as the Sui and Tang Dynasty styles that I have modified, which I think are more lyrical and personal. Everyone feels familiar, but different from the ancients. It allows people to see "where it comes from", but some of my seal writing and knife language flows through it, and it also allows people to see "where it's going". This is roughly what I pursue.Before I knew it, I was nearly 70 years old. I stayed at home because of the epidemic last year. I sorted out the printed manuscripts I had accumulated over the past few decades. I actually retained nearly 10,000 pieces, plus several million words of professional articles, "Inhumans". "The ink grinds the people away." I have been doing this kind of work for almost my whole life. Some people in the seal-carving circle have already said that it is a frog or an amphibian. Think about it, you really can't have too many goals in life.
Sun Weizu's seal cutting work "Gongeran" 2013
The Paper News : How did you enter Shanghai Bo? What impact has the Shanghai Museum’s collection of seals and seals had on your academic and creative work? In what ways did Mr. Ma Chengyuan influence you?
Sun Weizu: In 1985, I participated in the "Literature, History and Museum Knowledge Competition" jointly organized by the "Liberation Daily", Shanghai TV and the Shanghai Museum and won first place. The assistant to the curator at the time came to ask me about the situation. Teacher Han immediately recommended me to Mr. Ma Chengyuan and asked him to guide me in conducting research on seal carving appraisal. That year, Mr. Xing Dongyuan of the Bronze Research Department of Shangbo was preparing to compile the book "An Examination of Official Seals of the Two Han Dynasties", and Curator Ma asked me to participate. The next year, Mr. Xing left, and Mr. Ma appointed me as editor-in-chief. The "Research on the Official Seals of the Two Han Dynasties", which took five years to complete, was an academic experience for me to truly enter the field of ancient seal seal history and chronological forgery research. During this period, teacher Ma Chengyuan gave us specific guidance and control on the physical identification and compilation style, and used Review all the gifts at night. Several years of careful advice and strict work requirements have not only improved and expanded my academic skills, but also changed the structure of my studies. Many of his suggestions, including some criticisms, are still the guidelines for my conduct as a student, and they also made me feel a deeper pressure.
Sun Weizu's seal cutting works "Seal Lamp"
The Shanghai Museum has a collection of more than 15,000 seal and seal cutting cultural relics. From the Western Zhou Dynasty to modern times, the system of various types of seal cultural relics is complete and the number of fine products is outstanding. It is second to none at home and abroad. As a professional, if you do not have the right to speak academically and do not have the commanding heights in research, then you are not well suited to this position. Academic responsibility becomes a pressure.
The Paper: The Shanghai Museum has been at the forefront of seal studies in recent years in its research on seals, seal seals, and seal carving history, and there is a "stand-alone spirit" behind it. Li Gangtian said something about you: "As a researcher who has been engaged in cultural relics work for a long time, Brother Weizu can practice the principle of 'sit on the bench for ten years' and independently and unswervingly dig a hole under his own feet." Shen Jing shows his calm academic spirit and personality charm. A series of his academic achievements come from this."
Sun Weizu: In fact, I really like to sit back and explore some problems quietly. I create quietly and feel happy inside. I don’t like things that are too lively, and I don’t care much about things other than art and academics. You see chickens hiding in grass nests when laying eggs, they need to be quiet. To be an academic, you have to be "on the bench". "Loneliness" is the norm, not to mention being high-profile. The best situation is to sit back and wait rather than hunt around. It’s hard to produce good work by hunting around. I always want to explore various historical issues and artistic issues in seals. The more I got into it, the more trouble I got, and I was stuck with it for half my life. So I can only be a "frog in the well" in an insignificant little world.
Sun Weizu’s exploration Han Dynasty Land sealed with clay unearthed
The Paper: After so many years of sorting out the history of seal studies, can you briefly talk about what new discoveries and results there are?
Sun Weizu: The study of sealing and the art of sealing are the whole of seal learning. They have a relationship and a division of labor. As an individual, you can choose different focuses, or you can move forward in complementary ways, of course you have to invest more energy. Because of my interests, personal conditions, and job role, I need to do research on both. In the past, it was customary to regard Chinese seal carving as just an "art", or to see that official seal represented power, and I became more interested in it. Last year, I talked about the ins and outs of Qin's " to pass down the national seal to " on the Shanghai Forum, and the response was very enthusiastic.
The Paper reporter Li Mei
Well-known calligrapher and seal carver, Shanghai Museum research librarian Sun Weizu recently won the 7th China Calligraphy Franchise Award Gold Medal (Theory research direction). This book is a selection of papers that he has invested in the study of ancient seals, seals, and seal cutting history for decades. It covers the discussion of the origin of seals, the dating method of ancient seals, the study of official seals and systems in the Sui and Tang Dynasties, and the study of private seals in the Tang and Song Dynasties. He made pioneering contributions in many aspects such as the study of private seals of Basiba characters in the Yuan Dynasty. In a recent exclusive interview with "The Paper Art Review" (www.thepaper.cn), Sun Weizu reviewed his artistic creation and seal research path.
"The research on Chinese seals includes two aspects: learning and art. The art of seal cutting that I was obsessed with when I was a boy, and the research work on the collection of seals in the Shanghai Museum that I later took on, decided that I must work hard to achieve both. "We all have hard goals." Sun Weizu said, "Actually, I really like to sit on the bench and don't like things that are too lively. When you see a chicken laying eggs, it hides in the grass nest. It needs to be quiet to do academic work." ', 'Loneliness' is the norm, and the same goes for creating. The best state is to sit back and wait, rather than hunting around.
Sun Weizu creates in the study
The Paper: Congratulations on winning the Chinese Calligraphy Lanting Award, Lanting Award will often win. has become a hot topic in the calligraphy industry, but your award has always been considered well-deserved by the industry. I would like to ask you to first talk about how you first embarked on the path of seal cutting and seal research? Who are the teachers who have had the greatest influence on you?
Sun Weizu: I have never thought about participating in the awards. This time, it was enthusiastically encouraged and recommended by the Shanghai Calligraphy Association. They sent people to help with many of the materials for the evaluation, which was both touching and humbling. So in a sense, I am just a representative of a group and an aspect. This gold medal is the achievement and reputation of the current Shanghai calligraphy and seal cutting group. This calligraphy and seal cutting group in Shanghai has been passed down from generation to generation for hundreds of years. Its artistic spirit, cultural tradition, and academic accumulation have always been an energy and a kind of memory in my heart since I entered this world of calligraphy and seal cutting. Reliance, a kind of guidance, a kind of height. The recognition given to one's name today should be a feedback to the fertile ground for the art of calligraphy and seal cutting on the sea.
Sun Weizu's "Selected Works on Sun Weizu's Seals and Seal Engraving Research"
Looking back on my artistic and academic path, it can be said that every link is important and seems accidental. I remember when I was a child, my father first asked me to write Yan Zhenqing " Duobao Pagoda " every day. In a calligraphy competition in the school in 1964, my work was selected. Teacher Weng Sixun called me to the office and asked me who carved the famous seal on the work and whether I liked learning seal cutting. I said I carved it myself. Teacher Weng asked where the stone came from. I said my grandfather's. Later, Teacher Weng organized a seal cutting interest group. There is also a photo of the red scarf seal cutting group and Teacher Weng in 1964. It was a spring outing in Nanxiang Guyi Garden. There were about forty people in one class, and we took a group photo, which I still keep. Teacher Weng pulled our three-person seal cutting team out and took another photo. A piece of film was very precious in those days. It can be seen that the teacher has a special expectation and care for us. This photo followed me to Jiangxi, moved many times, and finally brought it back to Shanghai. It can also be said that if it were not for a lifetime of artistic connections, perhaps this photo would not be preserved today.
Teacher Weng Sixun and the three-person seal cutting group photo
Teacher Weng guided us all the way, and asked his art friend Teacher Gu Maojun to teach us copying , design and creation every Saturday night in the office of Dachang Street Primary School. The three of us share a copy of "Liu Shu Tong" and "Selected Chinese Seals and Rhymes". The enlightenment textbooks are also from Teacher Maojun's own collection: Mr. Chen Shourong 's "How to Carve Seals" and Seal Cutting compiled by Nanjing Art Institute Handouts. It was my first taste of the fun of engraving. I was very enthusiastic and courageous. In the winter of 1965, Huang Jialong and I carved a set of seals from Mao Zedong's "Book of Fortunes: Yong Mei" and sent them to "Youth Literature and Art".The following year the "Cultural Revolution" broke out and the magazine rejected the article. That was my first time submitting a manuscript, and both the rejection letter and the printed manuscript followed me to Jiangxi and have been preserved to this day. At that time, rejection letters were accompanied by letters of encouragement, but now there is no such thing.
In 1966, after
, a rejection letter from a juvenile literary magazine, went to Jiangxi Junken Farm, he began to live in a dormitory and could no longer write. Soon I was transferred to the animal husbandry class stationed at the foot of the mountain, where I raised cattle, horses, chickens and geese. Two or three people lived in a small earthen house with a dilapidated table for eating. I thought this was good enough for writing. Teacher Weng also wrote to ask if I was still writing and engraving. So when I returned to Shanghai from a visit to relatives, I brought the sealing stones and knives that had been sealed up to Jiangxi, and the artistic fire that had been dormant in my heart "rekindled" again.
In 1973, Sun Weizu lived in a earthen house in Taipingshan, Jiangxi.
I sent my amateur calligraphy and engraving homework to two teachers for review every month. In 1972, the two teachers sincerely recommended me to teacher Han Tianheng , who was much younger than them, and asked me to write a letter for advice. Teacher Weng was born in the old hometown of Jinling and was an old-school intellectual. The letter reminded me to write to other seniors for advice and to include all etiquette details such as reply envelopes and stamps. He also encouraged me in the letter to "be a farmer in the future." It is also a national treasure.” After returning to Shanghai, Teacher Han taught me the art of printing and encouraged me to study more printing issues. He recommended me to participate in teaching, research, writing and other practices, and supported me to explore the theory of printing. I introduced Mr. Fang Jiekan, Mr. Mr. Fang Quji, Mr. Ma Chengyuan and other seal masters and scholars of the older generation, who encouraged me to broaden my horizons and become a teacher.
Han Tianheng’s correction of Sun Weizu’s work
Sun Weizu’s seal cutting work "Fragrant Plum in the Snow"
The Paper: Your seal cutting lines have a free and elegant style with changeable forms. Can you talk about it in conjunction with your seal studies?
Sun Weizu: My research needs to pay attention to the general trend and details of the development and evolution of Chinese seals. Not long ago, I emphasized to some students that we should not crowd on the same path, be homogenous, and follow the trend, as it will be difficult to achieve high goals. Let’s just talk about the exhibition, crowded together, the judges can only choose one or two pieces of each style type, and the rest are “heroic”. The style spectrum of Chinese seal art is actually very broad. You can find a type and reshape it to form your own style. Some types of ancient seals are not perfect art, but some of the artistic elements can be extracted, plus some other elements, to reshape them, old and new. This is what the predecessors called "casting". I have always believed that calligraphy and seal cutting are a kind of retro art, but retro should be understood correctly. It does not mean imitating the ancients completely, but it must have ancient meanings in spirit. It is impossible to throw away the classics and tradition in seal cutting innovation.
Shang Yaqin Shi Xi
Old Collection of the Qing Palace Western Jin Dynasty Copper Seal: Zhang Shen’s Seal Letter
I have been interested in literature, especially classical literature, and history since I was a child, and later I read Chinese. I am engaged in the research of cultural relics, and the combination of these structures has been of great help to me. It is a bit of a coincidence. In the past few decades, in addition to professional papers, I sometimes couldn't help but write some short prose in my spare time. In the early 1990s, scholars from overseas and other places met me several times and said that we thought you were sixty or seventy years old. What do I mean? They said that after reading your article, it looks old-fashioned. I thought to myself, no, don’t make the mistake of committing suicide.
Sun Weizu's seal cutting work "A Gentleman Does Not Use Utensils"
Sun Weizu's seal cutting work "Three Fragrant Residences" 2013
I am very curious about my seal cutting creation, and I explore here and there, trying not to follow a single and repetitive style. There are also types that I am more fond of: for example, the Chinese-printed styles that have changed a bit, such as the Sui and Tang Dynasty styles that I have modified, which I think are more lyrical and personal. Everyone feels familiar, but different from the ancients. It allows people to see "where it comes from", but some of my seal writing and knife language flows through it, and it also allows people to see "where it's going". This is roughly what I pursue.Before I knew it, I was nearly 70 years old. I stayed at home because of the epidemic last year. I sorted out the printed manuscripts I had accumulated over the past few decades. I actually retained nearly 10,000 pieces, plus several million words of professional articles, "Inhumans". "The ink grinds the people away." I have been doing this kind of work for almost my whole life. Some people in the seal-carving circle have already said that it is a frog or an amphibian. Think about it, you really can't have too many goals in life.
Sun Weizu's seal cutting work "Gongeran" 2013
The Paper News : How did you enter Shanghai Bo? What impact has the Shanghai Museum’s collection of seals and seals had on your academic and creative work? In what ways did Mr. Ma Chengyuan influence you?
Sun Weizu: In 1985, I participated in the "Literature, History and Museum Knowledge Competition" jointly organized by the "Liberation Daily", Shanghai TV and the Shanghai Museum and won first place. The assistant to the curator at the time came to ask me about the situation. Teacher Han immediately recommended me to Mr. Ma Chengyuan and asked him to guide me in conducting research on seal carving appraisal. That year, Mr. Xing Dongyuan of the Bronze Research Department of Shangbo was preparing to compile the book "An Examination of Official Seals of the Two Han Dynasties", and Curator Ma asked me to participate. The next year, Mr. Xing left, and Mr. Ma appointed me as editor-in-chief. The "Research on the Official Seals of the Two Han Dynasties", which took five years to complete, was an academic experience for me to truly enter the field of ancient seal seal history and chronological forgery research. During this period, teacher Ma Chengyuan gave us specific guidance and control on the physical identification and compilation style, and used Review all the gifts at night. Several years of careful advice and strict work requirements have not only improved and expanded my academic skills, but also changed the structure of my studies. Many of his suggestions, including some criticisms, are still the guidelines for my conduct as a student, and they also made me feel a deeper pressure.
Sun Weizu's seal cutting works "Seal Lamp"
The Shanghai Museum has a collection of more than 15,000 seal and seal cutting cultural relics. From the Western Zhou Dynasty to modern times, the system of various types of seal cultural relics is complete and the number of fine products is outstanding. It is second to none at home and abroad. As a professional, if you do not have the right to speak academically and do not have the commanding heights in research, then you are not well suited to this position. Academic responsibility becomes a pressure.
The Paper: The Shanghai Museum has been at the forefront of seal studies in recent years in its research on seals, seal seals, and seal carving history, and there is a "stand-alone spirit" behind it. Li Gangtian said something about you: "As a researcher who has been engaged in cultural relics work for a long time, Brother Weizu can practice the principle of 'sit on the bench for ten years' and independently and unswervingly dig a hole under his own feet." Shen Jing shows his calm academic spirit and personality charm. A series of his academic achievements come from this."
Sun Weizu: In fact, I really like to sit back and explore some problems quietly. I create quietly and feel happy inside. I don’t like things that are too lively, and I don’t care much about things other than art and academics. You see chickens hiding in grass nests when laying eggs, they need to be quiet. To be an academic, you have to be "on the bench". "Loneliness" is the norm, not to mention being high-profile. The best situation is to sit back and wait rather than hunt around. It’s hard to produce good work by hunting around. I always want to explore various historical issues and artistic issues in seals. The more I got into it, the more trouble I got, and I was stuck with it for half my life. So I can only be a "frog in the well" in an insignificant little world.
Sun Weizu’s exploration Han Dynasty Land sealed with clay unearthed
The Paper: After so many years of sorting out the history of seal studies, can you briefly talk about what new discoveries and results there are?
Sun Weizu: The study of sealing and the art of sealing are the whole of seal learning. They have a relationship and a division of labor. As an individual, you can choose different focuses, or you can move forward in complementary ways, of course you have to invest more energy. Because of my interests, personal conditions, and job role, I need to do research on both. In the past, it was customary to regard Chinese seal carving as just an "art", or to see that official seal represented power, and I became more interested in it. Last year, I talked about the ins and outs of Qin's " to pass down the national seal to " on the Shanghai Forum, and the response was very enthusiastic.In fact, the Chinese seal is first of all an "institutional instrument", which contains academic information such as ancient officialdom, geography, ethnic relations, military affairs, territory, surnames, and characters. "Sealing it for learning" means studying and interpreting this information.
For example, in the past two decades or so in the study of Qin seals and official seals, eight or nine previously unknown or unconfirmed Qin counties have been newly discovered, most of which have been supported by historical records or unearthed slips. The conclusion that Qin had 36 and 42 counties mentioned before has been broken through. Among them is Zhejiang County. There is no clear history, so I don't know that there is such a county. Because of the solution to the dating problem of the bronze seal of "Zhejiang Dushui", and then the research on the affiliation and nature of the official name "Dushui", as well as the mutual verification of similar official seals and sealing clay characters, I am sure that Zhejiang was in the Qin Dynasty The name of the county was once set instead of Zhejiang as the water flow. I found a relevant text from "Historical Records " and re-wrote the sentence. It can be said that Zhejiang Province has obtained two conclusive evidences. After the article was published, it was affirmed by the historical geography community. There are also new materials from many other Qin counties, as well as administrative and cultural system issues related to the sealing mud with Chinese characters found in the Korean Peninsula and central Vietnam, all of which provide new historical facts and new conclusions for historical research. The Qin Dynasty's "Zhejiang Dushui" bronze seal is now on display in the Shanghai Expo Seal Hall. Yinxue has its own set of research methods, its unique perspective and certain data advantages. intervenes in other professional research on and can solve some problems that seem difficult to solve. For example, after the " Chunhua Ge Tie " purchased overseas arrived at Shanghai Bo, I looked at it and found that it had the marks of Northern Song Dynasty early years and Southern Song Dynasty . At that time, I had just completed the multi-year study on the private seals of Tang, Song and Yuan Dynasties, and separated the Tang, Northern Song, Southern Song and Yuan dynasties. This was a previously unsolved identification problem, so I was very enthusiastic about it and spent a few nights writing "New". An examination of the imprints of the two Song dynasties seen on the collection of pavilions. Unexpectedly, at the large-scale symposium held later, everyone generally believed that the identification of this imprint provided a strong basis for the characterization of the "rarest book" of the pavilion, eliminating the original differences. Also, my examination of the identity of the owner of Tomb No. 3 at Mawangdui in the Western Han Dynasty is also an example of the involvement of seal studies in archaeological research.
"Chunhua Pavilion Post"
The Paper: The breakthroughs in your research also include the private seals of the Yuan Dynasty with the character Basiba.
Sun Weizu: Basiba character is the "Certificate of Creation" vigorously promoted by the Yuan Dynasty, and there are many administrative measures. But to what extent is the effect of the implementation of and accepted by the Han Chinese society? We don't know. This type of seal has always been considered Yuanzhi because the text is difficult to translate. I started with the private seals collected over the years and identified different types such as names, surnames, trade seals, auspicious words, etc. It basically has all the categories of private seals with Chinese characters, which shows that after nearly a hundred years of promotion, it has played an important role in the entire industry. Social integration is already deep.
breaks through the analysis of the private seals of Ba Si Ba, and is also the entry point to solve the problem of the separation of the entire Yuan Dynasty private seals and and the two Song Dynasty private seals. Using it as a morphological standard, the original private seals of the Song and Yuan Dynasties were in chaos. The problem will be solved easily.
The Paper: For the study of seal history and seal cutting, dating identification is the academic foundation. What is the current status of research in this area?
Sun Weizu: The scientific dating of ancient seals must rely on a combination of literature and archaeological data. There have been great breakthroughs in the past forty years. The chronological standards for the Warring States, , Qin and early Western Han Dynasties have been established. The identification of official seals in the Han, Wei, Jin, Southern and Northern Dynasties was initiated by Mr. Luo Fuyi. The "Official Collection of Qin, Han, Southern and Northern Dynasties" edited by him formed a framework. However, there are still many blind spots and deficiencies in specific, relatively clear and accurate dating and dating standards. Chaotic understanding not only detracts from the true value of cultural relics, but also causes the misplacement of historical data and the ambiguity and misjudgment of art history narratives. Therefore, after the mid-1980s, I took the dating of seals and seals and the identification of seal cuttings from the Ming and Qing Dynasties as a twenty-year research plan, and combined them with the collection and arrangement of dating and classification materials. A series of compilations have been published successively as a by-product of this process. First, we did the periodization of the official seals of the Western Han Dynasty and Eastern Han Dynasty, and then we did the dating identification of the sealing mud.In the section of the Three Kingdoms and and the Two Jins , the method of separating the Western Jin Dynasty first was adopted. This not only solved the indistinguishable gap between the Han and Jin Dynasties, but also naturally clarified the morphological standards of the Three Kingdoms and and the Eastern Jin . In order to eagerly complete the display system of the Shanghai Museum's Seal Hall, we first conducted chronological research on the seals of the Sui, Tang, Song and Yuan Dynasties and ethnic minority seals, and basically established the standards for official and private seals in these dynasties.
Sun Weizu's seal cutting work "Cultivate oneself, serve relatives and know people"
Now, generally speaking, there are still some contradictions and ambiguities in the Eastern Jin Dynasty and the Sixteen Kingdoms, Southern Dynasties and Northern Dynasties, which are also difficulties and need to be gradually refined. Last year I made a small research report in the museum, which was part of a larger project on the separation of the Southern Dynasties and the Northern Dynasties, which was to separate the Song official seals of the Southern Dynasties from those of Qi, Liang and Chen. They can only be peeled off and extracted one by one. Without solving scientific and relatively accurate dating, the history of Chinese seals and artistic styles cannot be implemented.
The Paper: Can this be completely separated?
Sun Weizu: Sixteen Kingdoms, Northern and Southern Dynasties, Each dynasty is short and complex, and it is not certain that there are no gaps in identification, but several of them have the conditions for morphological research. Later, the Sui Dynasty and the Tang Dynasty were separated, and the Tang Dynasty was also divided into phases. In this way, the seals of the Five Dynasties were highlighted. Private seals of the Tang and Song Dynasties do not have chronological markings, so I took the standards of private seals of the Tang and Northern Song Dynasties as a research topic. In this way, the Southern Song Dynasty will be easy to figure out. When I talked about the private seal of Pasiba earlier, I had the same consideration.
These tasks are extremely trivial and complicated. Being entangled in the examination and comparison of historical documents, images, and texts, sometimes we inevitably fall into an unsolvable situation. It only lasted twenty years in this direction of history. But the joy of discovery is very tempting to me, even if it seems so insignificant to others. At the same time, following the steps taken by the predecessors, a series of chronological conclusions and standards have been proposed, which has greatly improved the understanding of the cultural relics research community and the collection community; in the field of cultural relics, it has won some face for the Shanghai Museum and for individuals, occupying a leading position. I have contributed a lot to Chinese academics abroad and won the status and reputation I deserve. I feel that the past few decades have not been in vain.
The Paper: What is your experience in the construction and research of the Chinese seal system? How do you think contemporary typographic research can be advanced in depth?
Sun Weizu: In a historical dimension like China, things must be connected with the background. Otherwise, our vision is not broad enough. The study of seals gradually formed and advanced after the Song Dynasty. The background is the rise of epigraphy and . Some Tibetan seal experts first paid attention to the laws and regulations in the seals and studied scriptures to verify history. By the middle and late Ming Dynasty, the background was the rise of literati seal cutting, and research was divided into two lines. One was the compilation and textual research of ancient seal records, continuing the tradition of the Song and Yuan Dynasties; the other was the emergence of the history of seals, seal cutting aesthetics, A discussion of the laws of creation. Some classic writings still shine with the light of reason. Seal studies from the mid-Qing Dynasty onwards continued these two lines. The background was the expansion of the Qianjia epigraphy and literati engraving teams. At the end of the Qing Dynasty, there was another climax of collecting ancient seals and compiling rubbings, but there were not many achievements in theoretical form. In the early years of the Republic of China, the movement to promote national quintessence stimulated the research on epigraphy and seal cutting art. The dissemination of seal history and the popularization of seal cutting techniques were the main achievements of this period.
With the turbulence and transformation of society, the research on calligraphy and seal cutting fell into a long period of obscurity. From the 1960s to the 1970s, I made more than a dozen trips to buy basic reference books such as " Shuowen Jiezi ". Ancient book bookstores all said "no". Out of sympathy, an elderly salesperson finally took out a Daoguang version one day and said, "Young man, I left one for you." It cost 6 yuan. At that time, my monthly allowance was 6 yuan. To enter an ancient books bookstore, you need a letter of introduction from your employer. I used the letter of introduction from my uncle to buy old books such as "Seal Engraving Needle", "Introduction to Seal Engraving", "Shuowen Gu Zhenbu" and so on. I had the same experience. . So I have kept a letter of introduction that has not been taken away.Under such a cultural background, how can we talk about seal learning!
Sun Weizu’s seal cutting work "Contentment and Constant Happiness"
After 1976, literature, art, and scholarship gradually revived. Enter the 1980s. Fang Quji, Sha Menghai , and Luo Fuyi have published works such as "Seals of the Ming and Qing Seal Engraving Schools", "History of Seals", "Introduction to Ancient Seals", and "Compilation of Ancient Seals"; they have not been published for many years. Popular readings on seal cutting techniques and Han Tianheng's "Chronology of Chinese Seal Engraving" and "Selected Essays on Seal Engraving in Past Dynasties" were all published during this period. Immediately afterwards, Shanghai Bookstore photocopied and published a batch of ancient seal seals, and Shanghai Painting and Calligraphy Publishing House also compiled and printed a series of late Qing seal engravers' seals. These publications formed a synergy to promote artistic creation and academic research, and also spawned the subsequent publication of more seal engraving maps and research works.
After forty years of gestation and development, the current seal cutting creation can be said to be prosperous as never before in history. The speed of advancement and results achieved in printing research are also unprecedented. However, structural contrasts still exist. Even compared with painting and calligraphy, seal cutting and seal studies also show an obvious imbalance. Another imbalance is the imbalance between creation and research. Imbalances may persist, making it difficult to truly establish an ideal disciplinary status. The
discipline has its own research objects and its own relatively clear academic extension. It is not enough for seal science to only study the ontology. Therefore, when I gave a lecture on seal studies at the Institute of History and Philology of the Academia Sinica in Taipei more than ten years ago, I proposed that the academic vision of seal studies should be expanded from "inside the seal" to "outside the seal", that is, not only the seal body, material form, dating, but also the intangible The form is such as text, calligraphy, and artistic features; "Beyond the seal" includes various historical information and related issues contained in the seal. In this way, the academic value of seal studies can be more reflected.
The Paper: As far as the contemporary seal cutting industry in China is concerned, what do you personally think is the current situation?
Sun Weizu: In 2000, I was invited to visit Japan. The All-Japan Seal Engraving Alliance held a banquet at the Sichuan Hotel in Tokyo. All 22 directors were present. During the dinner, Kobayashi Douyu asked me: The "Cultural Revolution" has been over for more than 20 years. What is the art of calligraphy and seal cutting in China? It seems that it has not recovered. What does Mr. Sun think of this? I said, first of all, Mr. Xiaolin and I may have one thing in common, that is, the contemporary calligraphy and seal cutting we see is only part of it, not the whole picture. Some famous middle-aged and elderly calligraphy and seal cutting artists rarely take the initiative to display their works in society; Second, some young people are influenced by various ideological trends and are exploring. We might as well wait. Many people will come back, I have confidence in that. Third, cultural and artistic development and economic development are actually not completely synchronized. Japan also had similar characteristics after the war. I think my answer is very objective. There are also groups who are keen on experimenting and exploring in Chinese seal cutting today. Whether it is accepted or not remains to be seen.
Sun Weizu studies Tang Dynasty documents at Tokyo National Museum
The Paper: What are your thoughts on the combing of maritime seal carving and seal studies and the current status quo?
Sun Weizu: The newly published "Shanghai Millennium Calligraphy History and Seal Cutting Volume" published last year uses pictures to prove history, records history with pictures, and combines pictures and history to present a panoramic view of the development history of Shanghai's thousand-year seal cutting and seal science (1082 to 2018). . In the past hundred years since modern times, the maritime seal-cutting team has experienced unprecedented expansion thanks to the city's special socio-economic and cultural status, bringing about a prosperity of creation. This is an unrepeatable historical opportunity. Maritime society has a strong promotion and dissemination power on the achievements, styles and reputations of calligraphers and seal carvers, as well as on the art form itself. The status of Chinese seal cutting in the field of contemporary art and the influence of Chinese seal cutting on the transmission and direction of seal cutting art in other East Asian countries are due not only to the economic and cultural conditions provided by this city, but also to the art created by the modern maritime seal cutting groups. high. The historical and academic resources created by the century-old maritime seal world are a unique and rich part of Shanghai’s urban culture, and are also the starting line for a new start for contemporary Shanghai seal studies. Regardless of the great people who are shining brightly in the history, or the famous people who left their claws in the snow and mud but quietly disappeared from the world, their achievements have formed a plateau with continuous peaks.However, after the ups and downs of the times, some characters are being forgotten, and some historical materials are disappearing. The dual responsibilities of discovering, sorting out, researching and promoting, improving and creating contemporary brilliance are the due responsibilities of today’s Shanghai calligraphy and seal cutting people.
's work in this area is continuing to be promoted. In 2014, the first "Centenary of Maritime Seal Engraving—Academic Symposium on Modern and Contemporary Maritime Seal Engraving" was sponsored by the Shanghai Calligraphers Association and Han Tianheng Art Museum. The conference formed a series of books that collated existing historical materials and research papers. As the planner of this academic activity, I very much hope to organize a follow-up seminar in the near future.
Collection of Seal Cutting Prose by Sun Weizu "Years in Seal and China - Marks of Ke Zhai's Memories"
In addition to the original Shanghai Calligraphy and Seal Cutting Exhibition, in recent years, the Shanghai Calligraphy Association has held regular city-wide seal cutting exhibitions, aiming to promote the recruitment of new and old creative talents. . A series of seal cutting training activities held at multiple locations have also reappeared in Shanghai in recent years. Large-scale special exchanges also broke zero records. In 2019, with the support of the Shanghai Chinese Calligraphy Academy and Yike Culture, I planned and organized the "Contemporary Seal Engraving Masters and Emerging Artists Joint Invitational Exhibition" and the "Classical Values and Contemporary Seal Engraving Masters and Emerging Artists Dialogue", which was the first time in Shanghai in the past seventy years. The first large-scale national seal cutting exhibition has had a wide impact among old, middle-aged and young artists in the national seal cutting community, and also demonstrated the openness, tolerance and humility of the Shanghai calligraphy and seal cutting community.
In the past forty years, the art of seal cutting has been integrated into society and entered into people's spiritual lives, which can be said to have become a wonder of contemporary culture. In contrast, there is still a longer way to go for seal studies to get rid of its aloof and aloof image and truly stand on its own in the academic world. In 2004, I concurrently served as the director of the Research Office of Seal Theory and Social History at Xiling Seal Society, and began to plan an annual academic symposium, with the idea of "focusing on a topic, publishing an anthology, and forming a group." Practically form the academic norms and social influence of seal studies. I called to invite Wang Rencong from the Chinese University of Hong Kong and Ye Qifeng from the former Palace Museum to give keynote speeches. Both of them are authorities in the field of seal research. Unexpectedly, both of them were a little surprised that Xiling Seal Society held a seal seminar. Finally the two gentlemen came. But to be honest, I understand that this is the threshold for Indian studies in people’s minds.
Calligraphy, seal cutting, and the world of seal studies that I am interested in have been my spiritual attachment for decades, and they have always been a green home that I cultivate alone in my heart. I know very well that it is never a popular entertainment program. I am walking on a remote path, but I have the unique pleasure of exploring strange mountains and waters to find pearls. I have been lingering for a long time now, but I don’t realize that I am already in my twilight years, and the thoughts of advancing both skills and Taoism and integrating “literature” and “art” that I buried in my heart decades ago are still far away.
Editor in charge: Chen Ruoqian
Proofreader: Ding Xiao
In the section of the Three Kingdoms and and the Two Jins , the method of separating the Western Jin Dynasty first was adopted. This not only solved the indistinguishable gap between the Han and Jin Dynasties, but also naturally clarified the morphological standards of the Three Kingdoms and and the Eastern Jin . In order to eagerly complete the display system of the Shanghai Museum's Seal Hall, we first conducted chronological research on the seals of the Sui, Tang, Song and Yuan Dynasties and ethnic minority seals, and basically established the standards for official and private seals in these dynasties.Sun Weizu's seal cutting work "Cultivate oneself, serve relatives and know people"
Now, generally speaking, there are still some contradictions and ambiguities in the Eastern Jin Dynasty and the Sixteen Kingdoms, Southern Dynasties and Northern Dynasties, which are also difficulties and need to be gradually refined. Last year I made a small research report in the museum, which was part of a larger project on the separation of the Southern Dynasties and the Northern Dynasties, which was to separate the Song official seals of the Southern Dynasties from those of Qi, Liang and Chen. They can only be peeled off and extracted one by one. Without solving scientific and relatively accurate dating, the history of Chinese seals and artistic styles cannot be implemented.
The Paper: Can this be completely separated?
Sun Weizu: Sixteen Kingdoms, Northern and Southern Dynasties, Each dynasty is short and complex, and it is not certain that there are no gaps in identification, but several of them have the conditions for morphological research. Later, the Sui Dynasty and the Tang Dynasty were separated, and the Tang Dynasty was also divided into phases. In this way, the seals of the Five Dynasties were highlighted. Private seals of the Tang and Song Dynasties do not have chronological markings, so I took the standards of private seals of the Tang and Northern Song Dynasties as a research topic. In this way, the Southern Song Dynasty will be easy to figure out. When I talked about the private seal of Pasiba earlier, I had the same consideration.
These tasks are extremely trivial and complicated. Being entangled in the examination and comparison of historical documents, images, and texts, sometimes we inevitably fall into an unsolvable situation. It only lasted twenty years in this direction of history. But the joy of discovery is very tempting to me, even if it seems so insignificant to others. At the same time, following the steps taken by the predecessors, a series of chronological conclusions and standards have been proposed, which has greatly improved the understanding of the cultural relics research community and the collection community; in the field of cultural relics, it has won some face for the Shanghai Museum and for individuals, occupying a leading position. I have contributed a lot to Chinese academics abroad and won the status and reputation I deserve. I feel that the past few decades have not been in vain.
The Paper: What is your experience in the construction and research of the Chinese seal system? How do you think contemporary typographic research can be advanced in depth?
Sun Weizu: In a historical dimension like China, things must be connected with the background. Otherwise, our vision is not broad enough. The study of seals gradually formed and advanced after the Song Dynasty. The background is the rise of epigraphy and . Some Tibetan seal experts first paid attention to the laws and regulations in the seals and studied scriptures to verify history. By the middle and late Ming Dynasty, the background was the rise of literati seal cutting, and research was divided into two lines. One was the compilation and textual research of ancient seal records, continuing the tradition of the Song and Yuan Dynasties; the other was the emergence of the history of seals, seal cutting aesthetics, A discussion of the laws of creation. Some classic writings still shine with the light of reason. Seal studies from the mid-Qing Dynasty onwards continued these two lines. The background was the expansion of the Qianjia epigraphy and literati engraving teams. At the end of the Qing Dynasty, there was another climax of collecting ancient seals and compiling rubbings, but there were not many achievements in theoretical form. In the early years of the Republic of China, the movement to promote national quintessence stimulated the research on epigraphy and seal cutting art. The dissemination of seal history and the popularization of seal cutting techniques were the main achievements of this period.
With the turbulence and transformation of society, the research on calligraphy and seal cutting fell into a long period of obscurity. From the 1960s to the 1970s, I made more than a dozen trips to buy basic reference books such as " Shuowen Jiezi ". Ancient book bookstores all said "no". Out of sympathy, an elderly salesperson finally took out a Daoguang version one day and said, "Young man, I left one for you." It cost 6 yuan. At that time, my monthly allowance was 6 yuan. To enter an ancient books bookstore, you need a letter of introduction from your employer. I used the letter of introduction from my uncle to buy old books such as "Seal Engraving Needle", "Introduction to Seal Engraving", "Shuowen Gu Zhenbu" and so on. I had the same experience. . So I have kept a letter of introduction that has not been taken away.Under such a cultural background, how can we talk about seal learning!
Sun Weizu’s seal cutting work "Contentment and Constant Happiness"
After 1976, literature, art, and scholarship gradually revived. Enter the 1980s. Fang Quji, Sha Menghai , and Luo Fuyi have published works such as "Seals of the Ming and Qing Seal Engraving Schools", "History of Seals", "Introduction to Ancient Seals", and "Compilation of Ancient Seals"; they have not been published for many years. Popular readings on seal cutting techniques and Han Tianheng's "Chronology of Chinese Seal Engraving" and "Selected Essays on Seal Engraving in Past Dynasties" were all published during this period. Immediately afterwards, Shanghai Bookstore photocopied and published a batch of ancient seal seals, and Shanghai Painting and Calligraphy Publishing House also compiled and printed a series of late Qing seal engravers' seals. These publications formed a synergy to promote artistic creation and academic research, and also spawned the subsequent publication of more seal engraving maps and research works.
After forty years of gestation and development, the current seal cutting creation can be said to be prosperous as never before in history. The speed of advancement and results achieved in printing research are also unprecedented. However, structural contrasts still exist. Even compared with painting and calligraphy, seal cutting and seal studies also show an obvious imbalance. Another imbalance is the imbalance between creation and research. Imbalances may persist, making it difficult to truly establish an ideal disciplinary status. The
discipline has its own research objects and its own relatively clear academic extension. It is not enough for seal science to only study the ontology. Therefore, when I gave a lecture on seal studies at the Institute of History and Philology of the Academia Sinica in Taipei more than ten years ago, I proposed that the academic vision of seal studies should be expanded from "inside the seal" to "outside the seal", that is, not only the seal body, material form, dating, but also the intangible The form is such as text, calligraphy, and artistic features; "Beyond the seal" includes various historical information and related issues contained in the seal. In this way, the academic value of seal studies can be more reflected.
The Paper: As far as the contemporary seal cutting industry in China is concerned, what do you personally think is the current situation?
Sun Weizu: In 2000, I was invited to visit Japan. The All-Japan Seal Engraving Alliance held a banquet at the Sichuan Hotel in Tokyo. All 22 directors were present. During the dinner, Kobayashi Douyu asked me: The "Cultural Revolution" has been over for more than 20 years. What is the art of calligraphy and seal cutting in China? It seems that it has not recovered. What does Mr. Sun think of this? I said, first of all, Mr. Xiaolin and I may have one thing in common, that is, the contemporary calligraphy and seal cutting we see is only part of it, not the whole picture. Some famous middle-aged and elderly calligraphy and seal cutting artists rarely take the initiative to display their works in society; Second, some young people are influenced by various ideological trends and are exploring. We might as well wait. Many people will come back, I have confidence in that. Third, cultural and artistic development and economic development are actually not completely synchronized. Japan also had similar characteristics after the war. I think my answer is very objective. There are also groups who are keen on experimenting and exploring in Chinese seal cutting today. Whether it is accepted or not remains to be seen.
Sun Weizu studies Tang Dynasty documents at Tokyo National Museum
The Paper: What are your thoughts on the combing of maritime seal carving and seal studies and the current status quo?
Sun Weizu: The newly published "Shanghai Millennium Calligraphy History and Seal Cutting Volume" published last year uses pictures to prove history, records history with pictures, and combines pictures and history to present a panoramic view of the development history of Shanghai's thousand-year seal cutting and seal science (1082 to 2018). . In the past hundred years since modern times, the maritime seal-cutting team has experienced unprecedented expansion thanks to the city's special socio-economic and cultural status, bringing about a prosperity of creation. This is an unrepeatable historical opportunity. Maritime society has a strong promotion and dissemination power on the achievements, styles and reputations of calligraphers and seal carvers, as well as on the art form itself. The status of Chinese seal cutting in the field of contemporary art and the influence of Chinese seal cutting on the transmission and direction of seal cutting art in other East Asian countries are due not only to the economic and cultural conditions provided by this city, but also to the art created by the modern maritime seal cutting groups. high. The historical and academic resources created by the century-old maritime seal world are a unique and rich part of Shanghai’s urban culture, and are also the starting line for a new start for contemporary Shanghai seal studies. Regardless of the great people who are shining brightly in the history, or the famous people who left their claws in the snow and mud but quietly disappeared from the world, their achievements have formed a plateau with continuous peaks.However, after the ups and downs of the times, some characters are being forgotten, and some historical materials are disappearing. The dual responsibilities of discovering, sorting out, researching and promoting, improving and creating contemporary brilliance are the due responsibilities of today’s Shanghai calligraphy and seal cutting people.
's work in this area is continuing to be promoted. In 2014, the first "Centenary of Maritime Seal Engraving—Academic Symposium on Modern and Contemporary Maritime Seal Engraving" was sponsored by the Shanghai Calligraphers Association and Han Tianheng Art Museum. The conference formed a series of books that collated existing historical materials and research papers. As the planner of this academic activity, I very much hope to organize a follow-up seminar in the near future.
Collection of Seal Cutting Prose by Sun Weizu "Years in Seal and China - Marks of Ke Zhai's Memories"
In addition to the original Shanghai Calligraphy and Seal Cutting Exhibition, in recent years, the Shanghai Calligraphy Association has held regular city-wide seal cutting exhibitions, aiming to promote the recruitment of new and old creative talents. . A series of seal cutting training activities held at multiple locations have also reappeared in Shanghai in recent years. Large-scale special exchanges also broke zero records. In 2019, with the support of the Shanghai Chinese Calligraphy Academy and Yike Culture, I planned and organized the "Contemporary Seal Engraving Masters and Emerging Artists Joint Invitational Exhibition" and the "Classical Values and Contemporary Seal Engraving Masters and Emerging Artists Dialogue", which was the first time in Shanghai in the past seventy years. The first large-scale national seal cutting exhibition has had a wide impact among old, middle-aged and young artists in the national seal cutting community, and also demonstrated the openness, tolerance and humility of the Shanghai calligraphy and seal cutting community.
In the past forty years, the art of seal cutting has been integrated into society and entered into people's spiritual lives, which can be said to have become a wonder of contemporary culture. In contrast, there is still a longer way to go for seal studies to get rid of its aloof and aloof image and truly stand on its own in the academic world. In 2004, I concurrently served as the director of the Research Office of Seal Theory and Social History at Xiling Seal Society, and began to plan an annual academic symposium, with the idea of "focusing on a topic, publishing an anthology, and forming a group." Practically form the academic norms and social influence of seal studies. I called to invite Wang Rencong from the Chinese University of Hong Kong and Ye Qifeng from the former Palace Museum to give keynote speeches. Both of them are authorities in the field of seal research. Unexpectedly, both of them were a little surprised that Xiling Seal Society held a seal seminar. Finally the two gentlemen came. But to be honest, I understand that this is the threshold for Indian studies in people’s minds.
Calligraphy, seal cutting, and the world of seal studies that I am interested in have been my spiritual attachment for decades, and they have always been a green home that I cultivate alone in my heart. I know very well that it is never a popular entertainment program. I am walking on a remote path, but I have the unique pleasure of exploring strange mountains and waters to find pearls. I have been lingering for a long time now, but I don’t realize that I am already in my twilight years, and the thoughts of advancing both skills and Taoism and integrating “literature” and “art” that I buried in my heart decades ago are still far away.
Editor in charge: Chen Ruoqian
Proofreader: Ding Xiao
