Word as Image: The Art of Chinese Seal Engraving (review)

Reviews 155 Jason Chi-sheng Kuo. Word as Image: TheArt ofChinese Seal Engraving NewYork City: China House Gallery, China Institute in America; Seattle: University ofWashington Press, 1992. 104 pp. 62 plates (9 color). copyright1994 by University of Hawai'i Press Seal carving is common to various ancient cultures. Although China is not claimed to be the point of origin, it was in China that seal carving became intertwined with art, flourishing as a major intellectual and artistic endeavor. Unfortunately , this long relationship has provided neither acclaim nor popularity for seals. Today, they are discussed less than paintings, calligraphy, ceramics, or bronzes. Impressions of these seals are encountered frequently, yet Western students ofChinese painting rarely learn much about this subject. It is often ignored in their research. Even in China, attention to seals is on the wane. The objective ofJason Kuo's book is to provide the Western communitywith a deeper understanding ofthe art of Chinese seals. This is a timely and praiseworthy goal. Readers should note that this book was designed as the catalog of an exhibition which first opened in 1992 at the China House Gallery, a part of the China Institute in America, in NewYork City. The major portion ofit is a long essay, followed by entries ofexhibition objects. In an effort to delineate the many aspects of the art of seal carving, the author divides the essay into roughly four parts. They are an introductory history ofseal engraving and seal script; sealscript calligraphers, seal carvers, and their works; books of seal impressions; and accessories ofthe seal engraver, including seal paste, carving knives, and so on. Most of the objects in the exhibition have been utilized to illustrate the text. Nevertheless , to represent the complete development of a certain art form by using the limited number ofobjects in a specific exhibition is always a struggle. It is apparent that Kuo did his best to overcome this limitation. In the section that deals with the history of seal carving and seal script, the author directly finds the source of seal engraving in ancient Chinese scripts. It is interesting, however, to ponder the possibility that seal carving in any early culture may have originated from primitive designs. Such designs could have resembled the pattern ofwater fowl on a bronze seal (no. 11, pi. 18), that probably belonged to one of the nomadic tribes, such as the Xiongnu or the Scythians, from the Ordos region, north and northwest of China. It is well known that these tribes had frequent contact with peoples farther west, such as the Persians, the 156 China Review International: Voi. ?, No. ?, Spring 1994 Indians, or even the Greeks—all ofwhom practiced seal engraving earlier than the Chinese. Could the inspiration for Chinese seal carving have come from these ancientWestern cultures? This is possible, but then again the adaptation of ancient scripts may not have been the earliest form of Chinese seal carving. The author then proceeds to discuss the development of seal script. "Seal script" is a purely English term applied to the ancient Chinese zhuan script, examples ofwhich include writings on bronze vessels, ceramics, and stone surfaces. The author briefly mentions the complicated process ofbronze casting. This technique does not lend itselfto a simple explanation. For example, on page 18 the author states: "Characters were usually first incised into the soft clay molds from which bronze vessels were cast. ..." It is important to point out that the clay of the outer mold could have been dry before it was broken away from the clay model. No one can be certain that the inner surface of the mold was still soft. This inner surface should have borne the design and relief of the finished product . Any other incised inscription on it would certainly spoil the cast surface and the design ofthe product. Readers may wonder why the zhuan script was later adapted for seal engraving . They may also be interested in the relationship between zhuan script calligraphy on paper or silk and the script manifested by a stamped seal. These two basic queries have not been adequately addressed in this book. First, one should note that, like the engraved characters on later seals, examples of early seal...