Seals are among the most enduring artifacts in China, remaining widely used today. Their primary function has always been to serve as tokens of authority and identification, essential in government administration, contracts between officials and the people, within civil organizations, and in personal agreements. A contracts or agreements is only considered finalized and valid once it has been sealed. Given their extensive use throughout ancient China, the inscriptions on seals offer invaluable insights into the society of their time.
Officials’ seals often include place names, names of government agencies and officials, providing evidence that corroborates and supplements historical records. Private seals, on the other hand, frequently record personal names, shedding light on the origins of surnames and naming customs. Additionally, inscriptions of aphorisms and auspicious on seals reflect the societal values of the era.
Literati Seal carving refers to the practice of literati designing and carving their own seals. Initially, seals were primarily used for identification and authentication, serving a practice purpose. Over time, they gradually evolved into objects of artistic appreciation. This transformation from practically to literati art was largely completed during the Yuan dynasty (1206 – 1234). Before this period, seals were typically made from hard materials such as copper, jade, iron and horn, which were difficult to carve and thus requires the expertise of specialized craftsmen.
Even when literati could design their own seals, the actual carving was left to these skilled artisans. By the end of the Yuan dynasty, however, it is recorded that Wang Mian (¿-1359) was able to carve his own seals from dolomite, a softer stone that was easier to work with. Literati Seal carving began to flourish as more suitable stones for carving became available after the mid-Mind dynasty (1368 y 1644), giving rise to a diverse array of styles that enriched the legacy of Chinese seals.
The traditional discourse on the shapes of Chinese seals primarily centres on their knobs. The knobs are often in the shapes of a noose, tile, bridge, truncated pyramid (fudou), post, tortoise, stake, or a tubular design for stringing. Besides, the shapes of the upper surface and the overall size of the Seal are also crucial elements in the design.
The materials used to created seals range from gold, silver, bronze and iron to jade, stone, bone, porcelain and wood. The choose of shapes and materials reflect the intricate interplay between the social system, fashion, and individual preference of different historical periods.
Seals imprints typically feature scripts or images in either relief (positive or yang) or intaglio (negative or yin) styles. While the fonts and shapes of seals have continuously evolved, the pursuit of balance and beauty in the interplay of yin and yang, the void and substance, and the gathering and design remains fundamental. The enduring quest has allowed Chinese seals to transcend their practical functions, evolving into a form of philosophy and art. These transformations gave rise to the art of Seal carving, a unique oriental discipline that has influenced cultures of Japan, Korea, Vietnan and beyond, creating a legacy unparalleled in the world of seals.
The internal martial arts master Cheong Shing Tang, more colloquially known as CS. Tang, besides being an expert in systems such as Baguazhang, Taijiquan and Xingyi Quang, has studied the art of seal engraving for many years with the most prestigious masters, such as Fung Hong Hou (1901 - 1983), of whom he is a pupil and who has now become an authority on the subject and he teach seal engraving at six universities in Hong Kong.
His seals reflect a balance between art and meaning and are highly valued on the market. He has published several books on this subject in which his artistic works are collected, and he holds exhibitions with his students in China, Hong Kong and Macao.
