The Hong Kong University of Science and Technology Lee Shau Kee Library and Division of Humanities jointly present

“Glimpses into the Past” offers a journey through time in the world of seals, ancient and modern.

The carving and use of seals have a long history in China dating back to the Spring Autumn (770-476 BCE) and Warring States (475-221 BCE) periods. Over a period of more than three thousand years, seals have shed their functional character and become a unique art of special aesthetic quality. Seals and their legends are esteemed by connoisseurs and collectors because the aesthetic rules governing their appreciation are largely the same as those applied to calligraphy and painting.

The exhibition features “jiyu” seals, or “seals with auspicious words”, along with official and private seals from the Qin (221-207 BCE) and Han (206 BCE-220 CE) dynasties onward, as well as more recent works by modern seal carvers. Seal impression albums, or “yinpu” (印譜), are exhibited side by side so that viewers can follow the evolution of seal carving across time.

“Jiyu” seals, also known as “idiom” seals, can be further divided into two categories according to their legends. The first category, that of “seals with auspicious words” (吉語璽), is carved with words such as 有金 (Have gold) and 萬歲 (Long live). The second category is that of “motto” seals (箴言璽) which bear phrases such as 敬事 (Work with dedication and diligence), 思言 (Longing for advice), 正行 (Act properly), 高志 (Cherish high aspirations), 有志 (Be ambitious), and 宜民和眾 (Beneficial and harmonious for the people). As such, “jiyu” seals provide important references for understanding ancient thought and social customs.

Jiyu seals, official seals, and private seals together constitute China’s distinctive ancient seal culture. The official seals displayed in the exhibition date from the Qin (221-207 BCE), Han (206 BCE – 220 CE), Wei (220-265) and Jin (265-420) dynasties. Distinguished by refined writing styles and exquisite carving techniques, official seals also serve as concrete evidence for the civil service system and government structures of successive dynasties.

After the Song (960-1279) and Yuan (1279-1368) periods, the use of private seals came into vogue. Named “yayin” (押印) or “signature stamps”, in later times, private seals are engraved with full personal names, symbols, pictorial forms, auspicious phrases, etc. These private seals not only served the function of establishing social credibility, they also provide important materials for studying the arts and crafts of the Song and Yuan periods.

In addition to ancient seals, this exhibition also includes pieces by famous modern seal carvers. Displayed in chronological order, these works together reflect the development of the art of seal engraving from ancient times till today.

Seal impression albums is the general term for collections of impressed seal legends. These albums may contain legends from official and private seals of different dynasties as well as examples by master seal engravers. As a medium for transmitting the ancient art of seal carving, imprints of seal legends in these albums facilitate scholarly research, appreciation by connoisseurs, and provide classical examples for seal carvers to copy for practice .

The compilation of seal impression albums began towards the end of the Northern Song (960-1127), reached a peak at the end of the Ming (1368-1644), and continued to increase during the Qing (1644-1911). Counting seal impression albums recorded in written sources and those held in various collections, we know that no less than 3,000 titles were compiled in China by the mid-20th century.

Seal impression albums in this exhibition will be displayed in two phases. Thirty-plus types of albums featuring the legends of ancient seals and famous seals by modern seal carvers of different schools will be shown first. The second phase focuses on manuscript seal impression albums. Surviving only in small numbers, manuscript albums are extremely rare and precious. This exhibition at the Hong Kong University of Science and Technology will be the first time that manuscript seal impression albums have ever been publicly displayed, and will surely be an eye-opening experience not to be missed.

Lam Cheung Chung in Songyinxuan Studio
Hong Kong

Phase I Exhibits

Phase II Exhibits

• Talk (1) 拓邊款及鈐印
• Talk (2) 漢印之美

(1) 拓邊款及鈐印示範講座

(2) 漢印之美

You can download the PowerPoint and Word files of the talk here: (PowerPoint) (Word File)

Students may attain 2-hour credit for the HLTH1010 Healthy Lifestyle Course after attending the talk.

講座將分兩部分，第一部分介紹漢印文字之美，包括漢印之各種製作工藝、使用和藝術風格。第二部分介紹漢印印鈕之功用以及造型，如「龜鈕」、「覆斗鈕」、「辟邪鈕」、「虎鈕」與「熊鈕」等形態演變及特徵等。

講者

林章松，廣東海豐人，生於香港。字秉承，別署松蔭軒主。畢業於香港領海藝專，隨曾榮光習書法及篆刻，隨任真漢習畫。作品參加過第1、2、3屆漢城國際篆刻展、全國印社聯展、海峽兩岸聯展等。現任新進海產有限公司董事及經理。現為蘭亭書畫會會員、庚子畫會會員、香港友聲印社社員、中華民國篆刻學會會員、韓國國際篆刻研究會終身名譽理事。林先生為中國印學收藏泰斗，印章和印譜收藏極為豐富，他的傳略編入《中國當代藝術界名人錄》。

To obtain a copy, send an email to library@ust.hk or contact us at 2358 6710.

Guests

Mr. Lam Cheung Chung, Collector
Professor Wei Shyy, President, HKUST
Professor Christian Daniels, Head, Division of Humanities, HKUST
Professor Flora Fu, Associate Professor, Division of Humanities, HKUST
Professor Tik Sang Liu, Director of South China Research Center, HKUST
Ms. Diana Chan, Director of Library Services, HKUST