Seal script seven-word Tang poems one hundred pieces

Author: Chen Weixia
Publisher:
Publishing Date: 2004-07-01
Features: This is a small seal calligraphy works collection 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 would like to share some of my thoughts below. Chinese Han characters have a long history. After Qin Shi Huang unified the empire, he adopted Li Si's proposal to implement "uniform writing," standardizing the six-state characters, and evolving small seal calligraphy based on Shizhu Great Seal and Qin characters as the national script. This was the first large-scale standardization of Han characters in history, a monumental achievement. Therefore, small seal calligraphy is also known as "Qin Seal." During the Qin Dynasty and throughout the history of Chinese Han characters, this was a crucial turning point. It is recorded that Li Si accompanied the Emperor on tours, inscribing steles with small seal calligraphy wherever they went, all written by Li Si himself. Thus, small seal calligraphy is also called "Si Seal," and it is widely believed that Li Si is the originator of small seal calligraphy. Today, the only remaining fragments of Qin inscriptions are those of the "Liangya Stele," which were supplemented with edicts and names of attendants during the reign of the second Qin emperor. Academics consider these as the most reliable examples of Si Seal. After the Qin Dynasty, as Han characters evolved, small seal calligraphy gradually faded from practical use, but its vibrant form, blending the beauty of concrete and abstract, still captivated later calligraphers. During the Tang Dynasty, the second master after Li Si, Li Yangbing, emerged. He claimed, "After Li Si, there was no one until I came along." Judging from his works such as the "Bodhi Terrace Inscription" and the "Cui Youfu Tomb Stele," his claim is well-founded. His small seal calligraphy followed Li Si's style, with round, strong, and ancient lines, and gradually uniform structures. Critics praised his work as "jade-handled pens," and his influence was profound. In the nearly thousand years following Li Yangbing, those who studied small seal calligraphy mostly followed Li Yangbing as a model, tracing back to Li Si's style. Unfortunately, due to the vast distance from antiquity and the scarcity of reliable Qin inscriptions, it became difficult to verify them. Moreover, true works by Li Yangbing after the Yuan and Ming dynasties were rare. 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 in the Qing Dynasty that small seal calligraphy regained its former glory. Since the Han Dynasty inherited the Qin system with clear origins, Deng Shiru had a keen eye and deeply studied the small seal calligraphy on Han dynasty stele inscriptions, evolving them from clerical script and widely absorbing influences, ultimately becoming a great master of the Qing Dynasty. In the history of small seal calligraphy, he is almost on par with Li Si and Li Yangbing. Deng Shiru's small seal calligraphy also followed Li Si, but unlike Li Yangbing, he emphasized the variations in pressure and release in his refined brushwork, focusing more on the artistic expression of writing. This style had a great 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 Dynasty calligraphy. In the Republican era and the 20th century since the founding of the People's Republic of China, small seal calligraphy was largely dominated by the Qing style led by Deng Shiru. Only a few could directly study Qin seal calligraphy, and Wang Fuan, one of the founders of the Xiling Seal Society, was one of the rare exceptions. His work, "Shuowen Bu Mu," exudes the charm of Qin seal calligraphy. Comparing it with the Qin "Liangya Stele," the difference is clear. Thus, this collection has been recognized by academia as a key resource 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 scripts and also a renowned seal carver. When teaching, he demonstrated personally, equally emphasizing calligraphy and seal carving. At the time, there was a shortage of model scripts for practice, so the master copied Wang Fuan's "Shuowen Bu Mu" 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 brought his practice works to Yu Ren Tian, a fellow from Zhuji in Hangzhou, for advice. Yu Ren Tian was renowned in poetry, calligraphy, painting, and seal carving, and was known for his kindness and strong sense of hometown pride. Seeing Chen Weixia's work, he praised it 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 by Yu Ren Tian on the title page: "Magnificent, profound, ancient, and ultimate." Later, Chen Weixia learned from many masters, practicing various steles and inscriptions, and his skills improved. He received dedicated guidance from masters such as Gao Luoyuan, Ruan Xingshan, Zhou Tianchu, Liu Xie'an, Zhou Caiquan, and Zhu Weixin. 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. But he did not rest on his laurels. He delved deeper, studying ancient bronzes and jades from the Zhou Dynasty and drawing on the strengths of masters like Deng Shiru, Zhao Ziqian, Yang Yishun, and Wu Changshuo, aiming to create a unique style while inheriting the legacy of the past. This collection, "Seal Calligraphy of 100 Tang Poems in Seven Characters," is the result of his years of effort, blending tradition and innovation. The lines are fine yet not thin, balanced yet not stagnant, and the structures adapt to the form, often with fresh ideas. The characters vary in length and width, and the brushwork is both square and round, un. While adhering to the rules of small seal calligraphy, he boldly incorporates the structures of Zou and jade-handled pens, emphasizing contrasts and variations. The overall tone is fresh and elegant, like wandering in a lush forest of bamboo, leisurely and at ease, with a sense of joy and tranquility, full of artistic appreciation. This year, coinciding with the centennial of the Xiling Seal Society, Chen Weixia presents this collection of small seal calligraphy, which holds special significance. It may well resonate well in the calligraphy and seal carving circles. Chen Weixia is modest, upright, and practical, preferring substance over theory. Though not eloquent, his words are convincing. I believe with this collection of calligraphy works, he will surely have a second, a third, and even more, and they will only grow more brilliant. Let us wait and see!