Page 93 - 臺中市第二十六屆大墩美展專輯

ᇏՍᗳ

Seal Engraving
Juror's Statement, Seal Engraving Category TSAI Jieh-Terng

Thanks to the growing number of seal engraving competitions, this art form has gained popularity in recent years. This year, the Seal Engraving Category of
the Da Dun Fine Arts Exhibition{the best stage for seal carvers{received 32 works, including one from overseas (Hong Kong). Although this number is not
impressive compared to other categories, we have to recognize that a seal engraving submission consists of multiple works, each of which involves enormous,
meticulous e ort in terms of formal structure, knifework, and side inscriptions. Thus, a submission of 12 seals is equal to a portfolio of 12 artworks. In the
preliminary review, eight entries were selected, all of which met the highest standards, even produced by experienced seal carvers who have gained renown
in recent competitions.
In the nal review, the ve jurors determined the top three winners, two Award of Merit recipients, and three shortlisted works after several rounds of
voting.
The First Prize winner is YU Yu-En's Mo Lang Studio sealcarving, presented in a neat and delicate style while demonstrating precise, disciplined knifework.
The lines curve in a owing and graceful manner, and the layout is scrupulous yet ingenious, representative of the ideals of seal carving. This work is not
con ned by traditional methods, and is able to exhibit charming cleverness while remaining solemn. The side inscriptions are intagliated so that blank spaces
appear as a black ground, thus creating variations between seal impressions. In particular, each seal is carved with inscriptions on multiple sides, which
alternate between intaglio and relief carving to interchange colors when stamped. As a whole, the composition is sound and techniques are advanced.
The Second Prize winner is San geng zhuanke by Liu Chun-Nan. Seal impressions are displayed on three panels to present their imposing composition.
Blank space takes considerable space yet it gives the work an unworldly atmosphere. The gigantic, intagliated surfaces are especially eye-catching, with
tension created by strong, clean knifework and a scarlet red ground. Equally appealing are the neat lines of small characters in cursive script that are aligned
to form rectangular shapes of di erent sizes. This contrasts with the impressions of side inscriptions, which are also in cursive script but carved in relief, thus
producing a color variation. Overall, the work is highly original and full of personal style.
The Third Prize winner is CHENG Chen-Tsung's A Chance Inspiration, which is done in small seal script and, as said in the title of the work, makes adjustments
depending on the artist's mood and the material used. This work has a sound knifework and composition, largely emulating Yuan-era seals carved in relief,
pre-Chin-era o cial seals, and Han-era seals. Similarly, the side inscriptions are carved in the ancient script used to write on bamboo slips and silk. The artist's
pro cient calligraphy skills are re ected in the seal engravings and perfectly presented by his excellent knifework.
One of the two Award of Merit recipients is Dynasky by CHEN Chia-Cheng, who skillfully adopts the formal structure of pre-Chin-era o cial seals and
creates a sense of boundlessness with his knife marks. The artist emulates the style of the notable seal artist WU Chang-Shuo but also adds some of his own
straightforward personality. The spatial layout of characters serves to create tension in the work. Besides, several clay seal impressions are included on the
panel to create more variation, an e ort worthy of appreciation.
The other Award of Merit recipient is KU Yuan-Chi's Collection of KU Yuan-Chi. The seals come in various forms in the style of pre-Chin-era o cial seals, but
still possess consistent characteristics, presenting the artists' own style and sentiments while deriving new ideas from traditional forms. The artist's ingenuity is
evident from the numerous variations in formal structure, ranging from intaglio and relief carving to the spatial layout.
This year's prize-winning works all demonstrate superior artistic skills and distinctive personal styles, ranging from painstaking attention to detail to raw
art. The considerable e orts in formal structure, knifework, seal engraving, side inscriptions, impressions, and panel making set these pieces apart. It is easy
to learn the basics about seal engraving but the art form is hard to master. It takes constant diligence in research, perseverance in practice, and pro ciency
in calligraphy to become an excellent seal carver. That is what the prize-winning artists have done, spending years of hard work before showcasing their
magni cent art. I hope all those in pursuit of seal engraving will keep up the good work and bring their art to a whole new level. Moreover, seal engraving, as a
traditional art form, also needs to keep pace with the times. Hopefully, we will have more artworks showing diversity and modernity in future competitions.

93