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Showcase seals reputation of cutting-edge eight
By Xu Wenwen |
March 1, 2011, Tuesday
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CHINESE seal cutting, seemingly red-and-white pictographs, is an art form as profound as Chinese calligraphy and painting, and the Seal Cutting Exhibition of the Eight Engravers of Xiling currently taking place at Zhejiang Art Museum provides the ideal introduction to this particular medium.
The exhibition running until March 13 features 128 stone seals and their impressions, all made during the Qing Dynasty (1644-1911) by the Eight Engravers of Xiling Seal Society, the country's most successful academic society of seal arts. This well-renowned octet comprised of Ding Jing, Jiang Ren, Huang Yi, Xi Gang, Chen Yuzhong, Chen Hongshou, Zhao Zhichen and Qian Song.
Since seal impressions are typically quite small, the museum is not only displaying them at their normal proportions, but are also displaying enlarged versions so that visitors can gain a greater appreciation.
Though most foreigners, and even many Chinese, will not be able to understand what the distinct seal characters mean, "it remains okay to appreciate the art," says Wang Yihua, sectary general of the Seal Cutting Commission of the Zhejiang Calligrapher Association.
"Seal cutting, which was a handicraft, used to represent the government's authority and power. However, around 1,000 years ago, it gradually developed into an art form. Therefore, to appreciate the art's soul is more important than to understand the seal's characters."
To best appreciate the art of seal cutting, visitors should start by analyzing the style and the composition as if it is a picture, and recognize the artistry of its knife work.
"Chinese believe in the philosophy of 'middlebrow,' which is also reflected in the art of seal cutting," says Wang, referring to its moderately cultivated yet simple to understand form.
"The cutting is mostly contained in a square, a proper shape," he explains. "In the square the characters, though separate, echo each other in a balanced way.
"For instance, when there is a circle at the top-left corner, there's a circle in similar size at the bottom right; and if a character has too many strokes than its peers, it will be cut thinly to ensure every character looks of equal size. In the same manner, the one of few strokes will be designed thickly."
In addition, the way of wielding the knife determines the work's nature - solemn, brisk or delicate.
"A line that is sharp at one side and crude at the other side has been engraved briskly," explains He Weihao, who is a member of the China Calligrapher Association and is providing instruction to children who visit the exhibition on how to cut seals.
"When the artist uses two direct cuts to shape one stroke, the stroke will be neat at both sides, and hence it has been cut delicately," He adds. "But if the stroke is cut bit by bit, the two sides are ragged, so the stroke will be stout and staid enough to convey a solemn meaning."
Sometimes, the edges of the seals are deliberately dilapidated so that the square imprinted on the paper is jagged, to look as if it's old.
There are two basic types of seal imprints. One is Zhuwen (red characters), with characters in red ink, while Baiwen (white characters) seals imprint the background in red, leaving white characters. "But the style doesn't have to fit the meaning of characters. To choose which style totally depends on the artists," says Wang.
Date: through March 13 (closed on Mondays)
Address: 138 Nanshan Rd
Tel: (0571) 8707-8700
The exhibition running until March 13 features 128 stone seals and their impressions, all made during the Qing Dynasty (1644-1911) by the Eight Engravers of Xiling Seal Society, the country's most successful academic society of seal arts. This well-renowned octet comprised of Ding Jing, Jiang Ren, Huang Yi, Xi Gang, Chen Yuzhong, Chen Hongshou, Zhao Zhichen and Qian Song.
Since seal impressions are typically quite small, the museum is not only displaying them at their normal proportions, but are also displaying enlarged versions so that visitors can gain a greater appreciation.
Though most foreigners, and even many Chinese, will not be able to understand what the distinct seal characters mean, "it remains okay to appreciate the art," says Wang Yihua, sectary general of the Seal Cutting Commission of the Zhejiang Calligrapher Association.
"Seal cutting, which was a handicraft, used to represent the government's authority and power. However, around 1,000 years ago, it gradually developed into an art form. Therefore, to appreciate the art's soul is more important than to understand the seal's characters."
To best appreciate the art of seal cutting, visitors should start by analyzing the style and the composition as if it is a picture, and recognize the artistry of its knife work.
"Chinese believe in the philosophy of 'middlebrow,' which is also reflected in the art of seal cutting," says Wang, referring to its moderately cultivated yet simple to understand form.
"The cutting is mostly contained in a square, a proper shape," he explains. "In the square the characters, though separate, echo each other in a balanced way.
"For instance, when there is a circle at the top-left corner, there's a circle in similar size at the bottom right; and if a character has too many strokes than its peers, it will be cut thinly to ensure every character looks of equal size. In the same manner, the one of few strokes will be designed thickly."
In addition, the way of wielding the knife determines the work's nature - solemn, brisk or delicate.
"A line that is sharp at one side and crude at the other side has been engraved briskly," explains He Weihao, who is a member of the China Calligrapher Association and is providing instruction to children who visit the exhibition on how to cut seals.
"When the artist uses two direct cuts to shape one stroke, the stroke will be neat at both sides, and hence it has been cut delicately," He adds. "But if the stroke is cut bit by bit, the two sides are ragged, so the stroke will be stout and staid enough to convey a solemn meaning."
Sometimes, the edges of the seals are deliberately dilapidated so that the square imprinted on the paper is jagged, to look as if it's old.
There are two basic types of seal imprints. One is Zhuwen (red characters), with characters in red ink, while Baiwen (white characters) seals imprint the background in red, leaving white characters. "But the style doesn't have to fit the meaning of characters. To choose which style totally depends on the artists," says Wang.
Date: through March 13 (closed on Mondays)
Address: 138 Nanshan Rd
Tel: (0571) 8707-8700
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