Seal script seven-word Tang poems one hundred pieces

Author: Chen Weixia
Publisher:
Publishing Date: 2004-07-01
Features: This is a collection of small seal calligraphy works written by Chen Weixia. Before its publication, he asked me to write a preface, but I know very little about small seal calligraphy. Moved by his sincerity, I carefully reviewed the manuscript and have written down some of my thoughts below. The Chinese script has a long history. After Qin Shi Huang unified the empire, he adopted Li Si's proposal to implement "uniform writing" and standardized the six-state scripts, evolving small seal calligraphy based on Shizhu Great Seal and Qin script as the national script. This was the first large-scale standardization of Chinese script in history, a monumental achievement. Therefore, small seal calligraphy is also known as "Qin Seal." During the Qin Dynasty and throughout the development of Chinese script, this was a crucial turning point. It is recorded that Li Si accompanied the Emperor on tours, and the inscriptions at each location were written by Li Si himself, hence the name "Si Seal," with Li Si regarded as the pioneer of small seal calligraphy. Today, the only remaining fragments of Qin inscriptions are those of the "Liangya Stele," which were supplemented with decrees and names of officials during the reign of the second Qin emperor. Academics consider these as the most reliable examples of Si Seal. After the Qin Dynasty, as Chinese script evolved, small seal calligraphy gradually faded from practical use, but its vibrant form, blending concrete and abstract beauty, still captivated later calligraphers. During the Tang Dynasty, the second master after Li Si emerged—Li Yangbing. He claimed, "After Li Si, I am the only one who followed." Judging from his works such as the "Panruo Terrace Inscription" and the seal title of the "Cui Youfu Tomb Stele," his claim is justified. His small seal calligraphy followed Li Si, characterized by rounded, vigorous, and ancient strokes, with structures gradually becoming balanced. Critics praised his style as "jade-handled," which had a profound influence. In the nearly thousand years after Li Yangbing, those learning small seal calligraphy mostly followed Li Yangbing as a model, tracing back to Li Si's style. However, due to the vast distance from antiquity and the scarcity of reliable Qin-era calligraphy, it was difficult to verify. Moreover, few authentic works by Li Yangbing survived after the Yuan and Ming dynasties. In the early Qing Dynasty, scholars used engraved copies as models for practice, leading to many errors, let alone tracing back to Li Si's style. It was not until Deng Shiru emerged that small seal calligraphy regained its former glory. Since the Han Dynasty inherited the Qin system, with clear origins, Deng Shiru possessed keen insight and deeply studied the small seal calligraphy on Han-era stele titles, transforming clerical script into small seal, widely absorbing and integrating various styles. He ultimately became a great master of the Qing Dynasty, almost rivaling Li Si and Li Yangbing in the history of small seal calligraphy. Deng Shiru's small seal calligraphy also followed Li Si, but unlike Li Yangbing, he emphasized variations in pressure and release in his refined strokes, focusing more on the artistic expression of writing. This style had a tremendous influence, inspiring masters such as Yang Yishun, Wu Rangzhi, Zhao Ziqian, Xu Sangeng, and Wu Changshuo, among others. Of course, while these calligraphers were influenced by Deng Shiru, their own innovations also brought a vibrant scene to Qing-era calligraphy. In the Republican era and the 20th century since the founding of the People's Republic, small seal calligraphy was largely dominated by Qing-era styles centered around Deng Shiru. Few could directly study Qin seal calligraphy, with Wang Fuan, one of the founders of the Xiling Seal Society, being a rare exception. His "Shuowen Zuming" is full of the charm of Qin seal calligraphy. Comparing it with the Qin-era "Liangya Stele," the difference is clear. Thus, this work is regarded by scholars as a key text for learning small seal calligraphy. Chen Weixia studied under Han Deng'an, a disciple of Wang Fuan, in the 1960s. Han Deng'an was an expert in seal and clerical script calligraphy and a renowned seal carver. When teaching, he demonstrated personally, equally emphasizing calligraphy and seal carving. At that time, due to the lack of model texts for practice, the master wrote a copy of Wang Fuan's "Shuowen Zuming" by hand and gifted it to Chen Weixia, showing his deep expectations for his disciple. Chen Weixia did not take shortcuts but studied diligently and deeply. After a few years, he presented his practice works to Yu Rentian, a fellow from Zhuji in Hangzhou, for advice. Yu Rendian excelled in poetry, calligraphy, painting, and seal carving, was kind-hearted, and deeply valued hometown ties. Seeing Chen Weixia's works, he praised them highly and immediately gifted him a copy of the "Mao Gong Ding" published by Shanghai Zhenya Bookstore in 1918, with eight characters in clerical script on the title page: "Magnificent, profound, ancient, and ultimate." Later, Chen Weixia learned from many masters, practicing various steles and inscriptions, continuously improving his skills. He received dedicated guidance from masters such as Gao Luoyuan, Ruan Xingshan, Zhou Tianchu, Liu Xie'an, Zhou Caiquan, and Zhu Weixin, among others. In the early 1980s, with the rise of calligraphy enthusiasm, Chen Weixia won awards in national calligraphy exhibitions with his exquisite small seal calligraphy, gaining recognition. Yet, he was not satisfied and delved deeper, studying ancient bronzes and jades from the Zhou Dynasty and drawing on the strengths of Deng Shiru, Zhao Ziqian, Yang Yishun, and Wu Changshuo, among others, aiming to create a unique style while inheriting the legacy of the past. This collection, "One Hundred Poems in Seven Characters in Small Seal Calligraphy," is the result of his years of effort, blending tradition and innovation. The works feature delicate yet robust lines, balanced spacing, and innovative structures, with varying shapes and strokes, un, while strictly adhering to the rules of small seal calligraphy. He boldly incorporates the Zou and jade-handled methods, emphasizing contrasts and variations, creating an overall fresh and elegant tone. It is like wandering in a lush forest of bamboo, leisurely and serene, bringing joy and artistic appreciation. This year, coinciding with the centennial of the Xiling Seal Society, Chen Weixia, who excels in both calligraphy and seal carving, presents this collection of small seal calligraphy, which holds special significance. It may well resonate positively in the calligraphy and seal carving community. Chen Weixia is modest, upright, and practical, avoiding abstract pursuits. Though not eloquent, his words are convincing. I believe with this collection of calligraphy works, he will surely produce more, and each will be even more outstanding. Let us wait and see!