The origin of seal cutting

According to the "Hanshu Sacrifice Chronicles": "Since the Five Emperors, there were written contracts. As for the Three Kings, sculptures became vulgar, fraud gradually became popular, and seals were first used to detect adultery." At this time, the seal is used as a certificate of credit and can prevent counterfeiting, so it is called a seal.

China's unique seal engraving with artistic value. It got its name because ancient seals were mostly printed in seal script. The word "seal engraving" was first seen in Yang Xiong's saying: "A boy carves insects to engrave seals." Seal engraving can be interpreted in two broad senses and in a narrow sense. In the narrow sense, seal cutting refers specifically to what later generations call the art of sealing; in the broad sense, seal cutting generally refers to all carving techniques.

Seal cutting is also a type of seal engraving, but it is an art in which artists turn academic knowledge and accomplishment into personality.

Seal cutting is a unique traditional art with a long history of two to three thousand years. Seal engraving, as the name suggests, is a seal carved from seal script and is a practical art. It is also called "Xiyin", "Yin" or "Seal", etc. These names vary from time to time. As early as the Yin and Shang Dynasties, people used knives to carve "characters" on tortoise shells (now called oracle bone inscriptions). These words have sharp blades and strong writing styles, and have a high level of "carving". From the Spring and Autumn Period and the Warring States Period to the Qin Dynasty, seal-cut seals were called "Xi". After Qin Shihuang unified the six kingdoms, he stipulated that the "seal" should be used exclusively by the emperor, and the seals used by ministers and private individuals were collectively called "seals". This resulted in the emperor's seal being called "Xi" or "Bao", the official seal being called "Yin", the general's seal being called "Zhang", and the private seal being called "Seal".

The word "篆" in seal cutting was written as "瑑" in ancient times, next to the word "yu". Any concave and convex patterns carved on jade are called "瑑". Later, bamboo and silk became a popular writing utensil, so the shape of the seal characters was changed from "jade" to "bamboo". In fact, in ancient times, all areas that included jade carving, stone carving, bamboo carving, and copper inscription could be called "seal carving", and the carving of seals was only a small part of it. At the time of Qin Shihuang, the calligraphy styles across the country were comprehensively organized, and the books were divided into eight styles. The characters on the seals were called "Copy Seal Script". When Wang Mang established the Six Books, it was called "Miao Seal Script". From then on, it was clear that the seal script was the seal script. Use fonts. During the Tang and Song Dynasties, due to the preferences of literati and poets, although the seal system was changed, seal script was still used for sealing. Until the Ming and Qing dynasties, seal scripts emerged in large numbers, and seal carving became based on seal script, using engraving methods on the seal surface. It expresses the artistic form of density, clutching and coupling, and seal cutting has also changed from carving and inscription in the broad sense to the study of sealing in the narrow sense. Some people also directly call this seal-making science "engraving", "stylus pen", "iron book", "engraving seal", etc.

At the fourth meeting of the UNESCO Intergovernmental Committee for the Protection of Intangible Cultural Heritage held from September 28 to October 2, 2009, China declared the Dragon Boat Festival, Chinese calligraphy, and Chinese seal cutting , Chinese paper-cutting, Chinese woodblock printing skills, traditional Chinese wooden structure construction skills, traditional Chinese mulberry silk weaving skills, traditional Longquan celadon firing skills, Mazu beliefs and customs, Nanyin, Nanjing Yunjin weaving skills, traditional rice paper making skills, Dong songs, 22 projects including Cantonese Opera, Gesar (Si)er, Regong Art, Tibetan Opera, Manas, Hua'er, Xi'an Drum Music, Chinese Korean Farm Music and Dance, and Khumai were selected into the "Representative List of Human Intangible Cultural Heritage".

Origin:

Seal cutting has gone through more than ten dynasties in its long history of more than two thousand years since its origin. In this long-term development process, the art of seal cutting has experienced two highly developed historical stages. One is the Warring States, Qin, Han, Wei, Jin and Six Dynasties periods. The seal cutting materials used during this period were mainly jade, gold, teeth, horns, etc. It is called the "ancient seal cutting art period", and its seal cutting art characteristics are mainly divided by era. When seal cutting was developed in the Tang, Song, and Yuan dynasties, it was in a period of decline. During this period, due to the use of regular script instead of seal script and the fundamental separation of official seals and private seals, the art of seal cutting went into decline. This situation took a turn for the better at the end of the Yuan Dynasty. The painter Wang Mian discovered that flower milkstone could be used for sealing, making the stone an ideal material for sealing. In the Ming Dynasty, the art of seal cutting entered a period of revival. Since the Ming and Qing Dynasties, seal cutting has ushered in its second peak of development. Its seal cutting art is mainly characterized by its diverse schools.

During this period, Wen Peng and He Zhen played a major role in the creation of the seal cutting art genre. Wen Peng was the son of Wen Zhengming. It was by chance that he discovered that "light stone" frozen stone could be used as a sealing material. After his advocacy, stone was widely used. In the following period, various schools of seal cutting art emerged, including Cheng Sui, Ding Jing, Deng Shiru, Huang Mufu, Zhao Zhiqian, Wu Rangzhi and other seal cutting artists. For a time, seal cutting art showed a prosperous scene. Until the modern seal cutting masters Wu Changshuo and Qi Baishi, a complete history of Chinese seal cutting was formed. The art of seal cutting is a perfect combination of calligraphy, composition and knife skills. In one seal, there are both majestic and elegant calligraphy strokes, beautiful and pleasing painting composition, and the vivid carving charm of knife skills. It can be said that "there are thousands of things in a small space".

With the continuation of time and the divergent development of space, Chinese characters contain moving and diverse styles, which are ups and downs within the seal surface, and are presented in a sentimental and thoughtful way, small and square. It is full of the simplicity of time and the richness of space. Although it has been changed several times, it can still arouse people's interest with its warm luster and elegant charm. This is the art of seal cutting.

Seal cutting can be divided into broad and narrow senses. The word "Zhuan" in seal cutting is written as "瑑" in ancient times. From jade (the annotation of Shuowen explains: "Gui Bi raises the omen, it is also "瑑"). All the concave and convex patterns carved on jade and stone are called "瑑". Later, bamboo and silk became a popular writing tool, so the shape of the seal characters was changed from "jade" to "bamboo".

The origin of seal seals is very early. According to the "Book of Sacrifice of the Han Dynasty", "Since the Five Emperors, there have been written contracts. As for the Three Kings, vulgar carvings have become common, and fraud has gradually emerged. Seal seals were first used for inspection. Cute."

As far back as the Yin and Shang Dynasties more than 3,700 years ago, the art of lettering became popular. However, there is no original text on the seal, only the mark symbolizing the blood group, which is attached to the bronzes or flags of the same period. Although it is a symbol, it does have a certain pronunciation. In the Zhou Dynasty, the "Zhou Seal" made mainly of bronze became popular. There are various sizes and shapes, generally divided into two types: white text and Zhu text. The Qin Dynasty was the period when Chinese writing evolved from "Zhen script" to seal script. The forms of seals were also more extensive, with round and vigorous seals and tall and straight writing styles.

The seal reached its peak in the Han Dynasty and was known as Han Seal in history. The font evolved from Xiaozhuan to "Miao Seal". The seal shape and sealing buttons of Han Dynasty seals are also very exquisite. Xi Gang, one of the eight Xiling families, once said: "The seals are from the Han Dynasty, just like the poems and essays are from the Tang Dynasty, and the characters are from the Jin Dynasty." During the Tang and Song Dynasties, due to the preferences of literati, although the seal system was changed, seal script was still used for sealing. It was not until the Ming and Qing dynasties that seal-cutting artists emerged in large numbers. Seal-cutting became an art form based on seal script, using carving methods to express density, separation and coupling in the surface. Seal-cutting then changed from engraving and inscription in a broad sense to sealing in a narrow sense. Lift.

Tradition holds that seal cutting must be done first and then carved, and there is even a saying that "seven points for sealing and three points for engraving". Seal cutting itself is an art closely integrated with calligraphy. The fundamental difference between the work of a seal engraver and the seals used for collecting wages carved by masters of engraving shops is that the former relies on "writing" and pays attention to the composition and sealing techniques, while the latter relies on "drawing" and does not care about the composition and sealing techniques. If you don't study seal cutting and don't pay attention to the rules and regulations, the seal you will carve will be very rigid. Therefore, when learning seal cutting, you must be very careful in choosing seal scripts to stick on stele and write on. After a period of training, you will obviously feel the convenience of seal cutting. Many beginners focus on carving and underwriting, often getting twice the result with half the effort.

The art of arranging a character or a group of characters on the printing surface is complex and varied. It is actually the most important part of the art of seal cutting. If a Yin Guang has proficient sword skills but no superb composition, there will be no good work at all. Especially the creations in sets and groups must be varied in every direction, and they must also show the author's skills in composition. Therefore, you should think over and over again when designing the printed manuscript. In this regard, the cautious creative attitude of seal cutting master Wu Changshuo is worth learning from. Appropriate forms should be designed based on the specific strokes, gestures, shapes of the text and the relationship between the characters.

Types

Zhou Xi Seal

Before the Qin Dynasty, neither official seals nor private seals were called seals, and were collectively called "Xi seals". ". This is the earliest name for Chinese seals. There are big and small seals, the big ones are a few inches square, and the small ones are only a few inches. The printing quality is either copper or jade. The seal is made of large seal script and Chinese characters. The layout is loose but not scattered, stretching freely, and the momentum is strong and straight. The small seal is more beautiful.

Official seals of the Qin and Han Dynasties

After Qin Shihuang unified China, he reformed the chaotic scripts of the Six Kingdoms and formulated a unified font - Xiaozhuan.

In the society at that time, Xiaozhuan was the standard wording, so it was also the standard wording on seals.

The form of Qin's seal is different from that in the past: it is mostly surrounded by a "field" shaped frame. The printed text is evenly distributed within the frame.

Official and private seals since the Tang and Song Dynasties

The seals of the Tang Dynasty still used seal script, but they were very different from those before the Six Dynasties. In the Qin and Han Dynasties, most seals were printed in false seals and engraved in white. In the Tang Dynasty, because printing colors were directly covered on cotton paper, official seals were all in Zhu script. At that time, some people also used official script for sealing. The official seal of the Song Dynasty was close to that of the Tang Dynasty. But in the Jin Dynasty, "nine-fold seal script" was used for sealing. Private seals in the Song and Yuan Dynasties changed a lot and had a wide range of uses. In addition to copper and jade, they also used ivory, rhinoceros horn and the like. At that time, vermilion ink paste could be seen printed on calligraphy and painting works to produce artistic effects. The official seal of the Ming Dynasty also used the "nine-fold seal script", which was larger than that of the Song Dynasty and Yuan Dynasty. Most of them are broad-edged and rough in calligraphy. In the Qing Dynasty, half of the official seals were in Chinese seal script and half in Manchu script. For permanent regular officials, the official seal is square; for temporarily dispatched officials, the official seal is rectangular, which is called "Guanfang".

School

Hui School

The Hui School of seal cutting started from He Zhen, followed by the following: Ba Weizu (1774~1793), also known as Mu Qing, Also known as Taoist Gu. Hu Tang (born in 1759), also known as Chang Geng, also named Zixi. Dong Xun (born in 1740) was given the courtesy name Qiquan and his nickname Xiaochi. Su Xuan, whose courtesy name was Erxuan and whose name was Sishui. Wang Guan, courtesy name Yinzi. Cheng Pu, Zi Yuan. Zhu Jian, named Xiuneng and nicknamed Weichen. The above are all masters who have followed the Qin and Han Dynasties and come up with new ideas. The characteristics of Huizhou seals are based on the advantages of Qin and Han seals. The seal method is concise and the composition is straight. The knife technique mostly uses punch knife, and the lines are concise.

Zhejiang School

The most famous famous masters of Zhejiang School are: Hu Zhen (1814~1860), whose courtesy name is not afraid, and whose name is Bishan. His teacher is Ding Jingxi Gang (1746~1803): whose name is Tie Sheng, a characteristic of the Zhejiang School of Gongshanshui, uses knives in a variety of ways, with rough lines and unruly handling of the knives. It gives people a feeling of being old and happy.

The eight Xiling families

The eight Xiling families have the following eight names: Ding Jing (1695~1765): named Jingshen, Huang Yi (1744~1802): named Jingshen in Jinglishu Xiaosong, good at painting and calligraphy. Xi Gang (1746~1803): courtesy name Tiesheng, good at landscape painting. Chen Yuzhong (1762~1822): courtesy name Junyi. Good at painting orchid and bamboo, good at making small seals. Chen Hongshou (1768~1822): courtesy name Zi. Gong, good at ancient Li Qian Song (1818~1860): courtesy name Shugai, who copied more than two thousand ancient seals Zhao Zhichen (1781~1852): courtesy name Xianfu, good at painting flowers

Famous painters in the late Qing Dynasty< /p>

There are many famous figures in the late Qing Dynasty: Zhao Zhiqian (1829~1884): No. Yifu. Wu Changshuo (1849~1908), who worked hard on Han seals and tiles: courtesy name Cangshi, was a rare master of calligraphy, painting and sealing in modern times. He is one of the founders of Shanghai Xiling Seal Society. Huang Shiling (1849~1908): named Mufu, he first learned the Anhui style of sealing, and later became the master of Zhou and Qin seals. The flow can be seen in the middle of the seal.

Contemporary Famous Artists

Seal carver Qi Baishi (1863-1957): a native of Xiangtan, Hunan. He is a famous Chinese painter, calligrapher and seal carver in the 20th century. Lai Chusheng (1903-1975): a native of Xiaoshan, Zhejiang. He is a famous artist with four unique skills: poetry, calligraphy, painting and printing. Wang Xian (1896-1989): a native of Haimen, Jiangsu. He studied under the art master Wu Changshuo, learned the essence of Wu School art, and became an outstanding successor of Wu School. Deng Sanmu (1898--1963): Born in Shanghai, he is known as "Northern Qi (Baishi) and Southern Deng" in the art world. Liang Shaoying (1966- ): A native of Xinchang, Zhejiang Province, he is a rising star in contemporary calligraphy circles. His seal cutting pursues a simple and powerful atmosphere. The knife is sharp and sharp, with very little carving and decoration. The calligraphy used is between seal script, official script and regular script. Especially the Yin script seals are all in full white script. They are free from wind and rain and are eloquent, showing the vast and profound characteristics. Wang Yong, the owner of Tuzhai and Dinglou, etc. Born in Beijing in March 1948, he is from Taiyuan, Shanxi. In 1979, he was admitted to the Graduate School of Chinese Painting by Professors Li Keran and Liang Shunian of the Wang Yong Seal Engraving Department of the Central Academy of Fine Arts, majoring in landscape painting and calligraphy and seal cutting. He received guidance from Ye Qianyu, Liang Shunian and others. In 1981, he won the Ye Qianyu Prize in the graduate graduation exhibition. Won the prize and stayed in school to teach. He is currently a professor at the Central Academy of Fine Arts, director of the Calligraphy Art Research Office, deputy director of the Seal Cutting Art Committee of the Chinese Calligraphers Association, and deputy director of the Jury Committee for the National Young and Middle-aged Calligraphy and Seal Cutting Exhibition. His works have been exhibited and published many times at home and abroad, collected by many art galleries and museums, and several special collections have been published.

He is currently a professor at the Central Academy of Fine Arts, a member of the Chinese Artists Association, and the vice chairman of the Oriental Art Exchange Society. As an artist with independent insights and pioneering spirit, Mr. Wang Yong has achieved high achievements in calligraphy, painting and printing. Shi Kai was born in Fuzhou City, Fujian Province in 1951. His original surname was Liu, and his alias was Ji Zhou. After engaging in art career, he changed his surname to Shi. Young people learn calligraphy, seal cutting, painting, and poetry from teachers such as Chen Zifen, Xie Yigeng, and He Dunren. In 1998, he moved to Beijing and became a professional seal carving and calligrapher. He has successively served as vice chairman of the Fujian Provincial Calligraphers Association, seal cutting member of the Chinese Calligraphers Association, and professor of the Chinese Calligraphy Institute. Now living in Beijing, he is a professional seal cutting calligrapher. The works have participated in the first, second, fourth, fifth and sixth national calligraphy and seal cutting exhibitions, and participated in the first, second, third, fourth, fifth, sixth, seventh and eighth national middle school exhibitions. Youth Calligraphy and Seal Engraving Exhibition. He was employed as a judge for the third, fourth, fifth, sixth, seventh and eighth China Youth Exhibition; a judge for the second, third and fourth National Seal Engraving Exhibition; the first and second , judge of the 3rd National Couplet Exhibition. He has held personal calligraphy exhibitions in Xiangtan, Fuzhou, Hunan, and Okinawa City, Japan. In January 2006, a hometown-respecting exhibition was held at Fuzhou Painting Academy. He has published personal collections such as "Shi Kai Yin Cun", "Shi Kai Calligraphy Collection", "Contemporary Famous Seal Engraving Masters - Shi Kai Juan". Chen Mowu, male, native of Kaixian County, Chongqing City, real name Chen Qiong, courtesy name Wuji, nickname Jiudeng, Yugong, he calls himself the master of Zui Moxuan, Fengyu Tower, Yulujiao, Chen Mowu Seal Engraving Museum, Damo Temple, and Xuanrenfang. Known as Chen Zhuomo, Zhuomo Weng, and Jiudeng Yichan, he has a university education and was born in July of the lunar calendar in 1964. Vice Chairman of Sichuan Hard Pen Calligraphers Association, President of Shushan Seal Society, painter of Sichuan Chinese Painting Academy, member of Sichuan Artists Association, member of Sichuan Calligraphers Association, member of Sichuan Calligraphy Society, creative researcher of Sichuan Cursive Script Research Association, Bashu Poetry Former deputy secretary-general of the Painting and Calligraphy Research Association, director of the Sichuan Couplet Society, director of the Chengdu Calligraphers Association, painter of the Chengdu CPPCC Painting and Calligraphy Academy, Yizhou Painting and Calligraphy Academy, and Yazhi Chinese Painting Academy. His biography has been included in "Who's Who in Chinese Contemporary Art", "Dictionary of Chinese Experts and Talents", "Who's Who in World Chinese Literature and Art", and "Bashu Indians". His seals are very good at managing the text form, incorporating the ancient and bringing out the new. He does not win people with exquisite techniques, but with natural charm. The composition is scattered and powerful, the ordinary contains the strange, the old and confused, and the naive attitude. His works belong to the freehand style. He is good at dealing with broken sidebars and stuck brush strokes. His printing style is unkempt, rough and majestic, and his momentum is bold and eye-catching. He can see the charm in the simplicity. The contrast between reality and reality changes greatly without losing the overall harmony. He is the author of "Chen Mowu's Poems and Essays", "Chen Mowu's Seal Collection", "A Summary of Chinese Calligraphy", "Self-Study Tutorial on Fountain Pen Regular Script", "Chen Mowu's Art Calligraphy and Seal Engraving Selection", "Thirty-Six Strategies of Calligraphy and Seal Engraving Appreciation", etc., and has published various He has dozens of articles and poems (first). China Culture Publishing House has published a comprehensive book on Chen Mowu, namely "Chinese Contemporary Artist-Chen Mowu" (edited by Chen Ruowen). Liu Yalou, male, born in Chengdu, Sichuan in 1949, is a contemporary calligrapher and seal engraver. His courtesy name is Shouchan, and his nicknames include Nanye layman, Tianseng, and wild Taoist. The restaurants are named Zhuang Niutang, Vegetable Fragrance Hall, Ye Mo Zhai, etc. He taught himself calligraphy and seal cutting at the age of 12. He once studied under the famous Sichuan cursive calligrapher Xu Zhaoding and the famous calligraphy and seal cutting master Mr. Su Yuan, and listened carefully to their teachings. Taste the joy of writing books, which are innocent, handy and majestic. The printing speed is very fast, both center and cut are combined, and it can often be completed in a few minutes. It is simple and sophisticated, natural and natural; the edges and lines are laced with grass, which is highly praised by senior experts. Cui Zhiqiang, courtesy name Cangyan, was born in August 1953. No. Ink Woodcutter, Menghua Hall Master, Ordained Beard, Erbai Furongzhai, etc. He has studied calligraphy and seal cutting art for more than 20 years, and his works have been selected into national and international exchange exhibitions many times. He has participated in many overseas exhibitions of calligraphy and seal cutting works representing the highest level of Chinese calligraphy. He has been invited to Japan, South Korea and Europe for academic exchanges many times. His works have also been collected by many domestic and foreign museums and public and private collections. His calligraphy first started with Han Li, and then changed to seal script, running script and cursive script. The calligraphy style is majestic, bold and unrestrained, with rich line changes and extremely contagious. Seal cutting was first practiced in the Qin and Han Dynasties, and later in the Ming and Qing Dynasties. He studied deeply the artistic styles of Wu Rangzhi, Wu Changshuo and Qi Baishi, adapted them from the past, and formed his own unique knife skills and artistic style. Cui Zhiqiang's works have been included and published in: "Collection of Famous Contemporary Seal Engraving Masters". Cui Zhiqiang", "Dictionary of Ten Famous Contemporary Seal Engravers", "Seal Collection of Seven Seal Engravers in Beijing", etc. and various celebrity lists, calligraphy and seal cutting works collections.

Secretary-General of the Seal Engraving Art Committee of the Chinese Calligraphers Association, member of the Jury of the National Young and Middle-aged Calligraphers and Seal Engravers Exhibition, Jury Member of the National Seal Engraving Exhibition, Secretary-General of the Beijing Seal Engraving Society, member of the Xiling Seal Engraving Society, and Vice President of the Chinese Calligraphy Magazine. Zeng Mogong, male, a calligraphy, painting and seal cutting artist, also known as Mo Gong and Mo Jushi, was born in Chengdu, Sichuan. He was born in 1880 and died in 1961. He was a librarian of the Sichuan Provincial Literature and History Research Center. He was proficient in poetry, calligraphy, and fine seal cutting. Good at painting, knowledgeable in medical skills, and highly appreciative. It is said that he wrote dozens of volumes of medical treatises and medical cases, and most of his calligraphy and painting works were lost during the "Cultural Revolution". There are still nearly 400 square meters of seals divided into three volumes left in the world. In the art world, Zhang Zhengheng wrote an article "The Perfection of Printing Art, Covering Ancient and Modern Times--Introducing Master Zeng Mogong's Printing Art", and Deng Daikun wrote an article "A great craftsman leaves nature alone--Zeng Mogong's seal cutting by Zeng Mogong, a giant in the art world" Art", Chen Mowu's article "Impressions of the Art of Seal Engraving by Mr. Zeng Mogong, a Great Master from Ancient times", etc. Regarding Zeng Mogong’s achievements in the art of seal cutting, Qi Baishi commented in his inscription "Disciple Luo Xiangzhi Seal Pu": "Zeng Mogong is the only one who can carve seals today by erasing all the habits of the ancients and becoming independent... Zeng Mogong in Chengdu is the only one who can make seals." "God makes friends." The so-called "delete all the habits of the ancients" here refers to abandoning the lifeless and outdated styles in traditional seals, rather than rejecting the absorption of excellent traditions. Qi Baishi didn't know Zeng Mogong. Zeng's unconventional seal cutting innovation coincided with Qi Baishi's artistic ideas and interests, so he said, "I want to make friends with Yu Shen." No. Dayu, originally from Shandong, was born in Beijing in 1964. Calligraphy and seal engraving expert, seal stone appraisal expert, residence design adjustment expert, Feng Shui palmprinting expert, ancient culture expert, poet. Currently in China, he is a member of the Calligraphers Association, a member of the Sculpture Committee of the Chinese Folk Literature and Artists Association, a member of the Chinese Poetry Society, a director of the Chinese Overseas Chinese Literary Artists Association, a founding member of the Chinese Social Celebrities Working Committee, and a distinguished professor of calligraphy and seal cutting by the Beijing Foreign Studies University Working Committee. , a specially appointed development consultant researcher at the Beijing Art Museum, a Feng Shui consultant for several large domestic enterprises, the founder of the world's largest seal "The First Seal in the World", and the original creator of the combined seal. Yin Nong inherited his family education at a young age, and most of his calligraphy and seal cutting works are collected by celebrities and museums. In addition to fine calligraphy, painting and seal making, he has also been engaged in planning and research of environmental landscape and home design for a long time. He combines traditional theory with modern life, and integrates the profound and profound traditional theory into real life for application. Yinong proposed a new concept of harmonious home and advocated the rationality and solubility of humanistic home. At the same time, Yinong also proposed the five major elements of a harmonious home, namely "green environment, environmentally friendly building materials, healthy decoration, fashionable and moderate decoration, and harmonious and reasonable home layout". He is also engaged in research on traditional Feng Shui theory and residential Corporate Feng Shui layout, and has been invited to conduct on-site surveys or Feng Shui layouts for many companies in the Mainland and overseas. In 1990, he became a disciple of Master Shangming Xiayang, Vice Chairman of the Chinese Buddhist Association, and received guidance from many famous masters such as Master Zhenchan and Master Changming. He was bestowed the Dharma name "Wish" by Indian Tantra master Bagula Rinpoche. "King Kong". Since the publication of the seal cutting album "Zhao Yuanqiang Combined Seal Cutting" in 1992, also known as "Buddha Speaks of Amitabha Sutra Combined Seal", many monographs have been published and collected by the National Library. He has successively authored professional works such as "Chinese Seal" (formerly known as "Part 2 of the Development History of Chinese Seals"), "Basics of Seal Engraving", "Eighteen Preliminary Lectures on Seal Engraving", and "Lecture Notes on Seal Engraving". Chen Mingde, courtesy name Qianshi, is a member of the Xiling Seal Society, a member of the Chinese Calligraphers Association, deputy director of the Sichuan Calligraphy and Seal Engraving Creation Committee, vice chairman of the Chengdu Young Calligraphers Association, and a guest artist of the Chengdu Academy. His works have won many domestic awards.