The reason why I subconsciously associate Wang Kai with the seal is because I admired his name very early: Wang Kai, a young talent who has gained a little fame in calligraphy and seal cutting in Shaanxi in recent years. He is a native of Jia Cun in the south corner of xi 'an, a non-A Qin, who lacks fasting and lives in seclusion in buddhist nun. The elegant room is called "Huaigu Hall" and "No Secret Room".
He studied under Mr. Zhao Xiong, a famous calligrapher, seal engraver and president of Central South Printing Society in China. His seal script style is vigorous and heavy, which impressed Wu Changshuo and Qi Baishi in particular, and they chased each other day and night. His works have participated in many exhibitions in China, Xiling Publishing House and seal cutting in the province, and won numerous awards. In recent years, the Provincial Museum of Literature and History has compiled several picture books, which have been repeatedly printed by Mr. Wang Kai and won numerous praises when reflecting the current situation of seal cutting in Shaanxi Province.
With the deepening of communication, I am fortunate to have a better understanding and feelings about Wang Kai and his art world. Mr Wang Kai is slow and sensitive, and his calligraphy and seal cutting are very extensive. He has studied brick and tile, famous post of past dynasties, inscriptions on bronze in Western Zhou Dynasty, Shi Guwen in pre-Qin Dynasty, ritual tablet in Han Dynasty, Yi Yingbei, ode to Shimen, Deng in Ming and Qing Dynasties, Zhao, Wu Changshuo and Qi Baishi, all of which have been studied one by one, and he has never stopped writing for twenty years. It is this diligence and persistence that makes Wang Kai's artistic pursuit and aesthetic orientation deeply rooted in the fertile soil of traditional classic culture, from which he draws sufficient nutrition, thus laying a solid foundation for his calligraphy and seal cutting.
Ding Jing, one of the eight masters of Xiling in the Qing Dynasty, wrote in "On the Exquisite Printing": "The ancients thought of seal cutting in isolation and saw the wonders of the Tang and Song Dynasties in the Six Dynasties, so they no longer adhered to the writing style of the Han family." This poem comprehensively expounds his general views and arguments on Indian studies: seal engravers can only create something if they get rid of the limitations of the creative environment of the times, dare to think outside the box, give full play to their own personality and break the routine. Mr Wang Kai is naturally proficient in this song. After continuous study, imitation, creation and perfection, under the guidance of famous teachers, a bold, vigorous, lofty and profound seal cutting style has been initially formed.
Every time I appreciate Mr. Wang Kai's management of India, it makes people feel shocked and sad. Anyone who manages printing pays attention to "three methods": knife method, composition method and brushwork method. Look at Mr. Wang Kai's handling of printing. The knife method is taken from Wu Changshuo and the old man Baishi, and the ancient method is used to seal the mud. Knives seem to have the power to pull mountains and lift tripods, and knives are like lightning storms. Turning point, frustration, weight, are all cut with one knife, fierce and straightforward, uncut and magnificent. The old man Baishi once warned those who deliberately imitated their own style: "Those who learn from me live as if I were dead." As far as the artistic law of God's field of life and death is concerned, Wang Kai's knife technique is based on his predecessors, but at the same time it is not rigid and has a flamboyant personality. Its composition is more sparse, and the second phase is mutual search, and the context is consistent, because the party has become a treasure and met with circles. The number of characters, the vermilion of characters, the size of seals and the density of books are all natural and unique. His brushwork, usually with his skillful seal script, is Gu Zhuo's brushwork, vigorous and powerful, full of flesh and blood, and complete in structure. In the frontier part, Wang Kai often uses the style of seal script, official script and regular script, or engraves it in yin or yang, giving people a feeling of extending the stone tablet, with strong brushwork and vivid charm.
When he was in his thirties, he made this extraordinary achievement, but in the face of numerous honors, Wang Kai seemed indifferent.
In several conversations, he pondered his dissatisfaction with seal cutting calligraphy. "Qin-Han seal" is the general consensus of the ancient and modern seal cutting circles. Qin and Han Dynasties is the peak of the development of seal art in China. Since the Tang and Song Dynasties, with the eastward movement and seal cutting of the national cultural center, Shaanxi Province has also entered a dormant period. After the Cultural Revolution, Nanyin Society was established at the end of 1979. Shaanxi seal cutting opened a relatively prosperous era, and a number of famous figures such as Fu Jiayi and Zhao Xiong emerged.
For thousands of years, the printing style of Qin and Han dynasties has been passed down from generation to generation, and a large number of artists have contributed. Looking at the whole country, there are only a handful of young artists who love calligraphy and seal cutting, because this is the future of Shaanxi seal cutting. We have reason to believe that the future of Shaanxi seal cutting will be bright in spring, and Mr. Wang Kai's artistic career will bloom like a mountain. (Sun) According to