Non-legacy common sense: What kind of traditional skills has China seal cutting developed?

Common sense: China seal cutting is developed from seal making.

China seal cutting is a unique carving art with stone as the main material, carving knife as the tool and Chinese characters as the expression form. It developed from the ancient seal making technology in China, and has a history of more than 3,000 years. In 2009, it was selected into the representative list of human intangible cultural heritage.

China seal cutting is a unique cultural and artistic form in China. With its unique carving skills and aesthetic value, it shows the cultural heritage and artistic charm of the Chinese nation.

The origin of China seal cutting can be traced back to the ancient seal making technology in China. During the Shang and Zhou Dynasties, people began to use seals to represent important concepts such as identity and power. Most of these seals are made of copper, jade and other materials, with specific symbols or characters engraved on them. With the passage of time, the making skills of seals gradually developed, and people began to use more complex carving skills and richer materials to make seals.

Seal cutting method

The arrangement and layout of seal script characters is the so-called separation of Zhu and Bu Bai. Seal shows its artistic charm in a small range with a few words, so it requires changeable words, colorful layout and artistry. The layout of seals can be roughly divided into artistic laws such as virtual and real density and balance between edges. Its users often use methods such as increase or decrease, flexion and extension, deviation and echo to deal with it. In the Qing Dynasty, seal engravers summarized the relationship between reality and density as layout rules, such as sparse, unventilated, and white as black.

That is, seeing the reality through the virtual, facing the reality through the virtual, and coexisting the virtual and the real, so as to obtain a far-reaching and memorable effect. The balance of the river's sides is to seek symmetrical effect in the change of uneven sides. The river's sides and balance are complementary to each other, which is the so-called positive phase of the river. To achieve this effect, we must pay attention to the relationship between weight, fluctuation, echo and clutch in the layout, and seek unity and harmony in the unevenness.