Jing hengyi's educational thought.

Jing Hengyi believes that schools are not "shops selling knowledge". "What's the point of learning? Learn to be a man, so we should focus on cultivating personality. Emphasize the all-round development of morality, intelligence, physique and beauty. In terms of teaching methods, it advocates "automation, freedom, autonomy and self-discipline", and puts forward that "the first essence of education is to change the original teacher-oriented to student-oriented" and set up student self-governing institutions. Teachers are required to have "noble character" and oppose those who are "perfunctory, have no ideals, take education as their livelihood and take school as their refuge". In addition, it advocates active academic atmosphere, rich after-school life, and pays attention to cultivating and cultivating students' personality in many aspects. seal cutting

When Jing Hengyi was a teenager, he loved seal cutting, calligraphy and Chinese printing, and took part in the interest activities of "Sangong Mountain Monument" and "Mukai Stone Que". His works are solemn and elegant. Painted by Badashan people, the calligraphy "Cong Baozi Tablet" is eclectic, all-inclusive and self-contained. Jing Hengyi was virtuous all his life. In his later years, he retired to Yihe Road in Shanghai and lived in the "Spring Frost Cottage". Friends such as He Xiangning and Chen founded "Friends of Cold Society", discussing the calligraphy and printing of poems, advocating national integrity and expressing patriotic enthusiasm. Jing Hengyi is quite conceited about seal cutting. He once said: "Printing is my first, painting is my second, and books and poems are my second." Pan Tianshou studied calligraphy and seal cutting in his early years, and was mostly guided by Jing family. He is the author of Tang Collection of the Great Song Dynasty, Yi Collection, Yi Yuan Painting and Calligraphy Collection, Yi Yuan Poetry Collection and Jing Hengyi Selected Works.

Judging from the types of seal carvers, Jing Hengyi is a scholar-type Indian. During the Republic of China, he was an outstanding educator who was concerned about the country and the people, and his main achievements were also reflected in his education. The creation of calligraphy, painting and seal cutting is his "meddling" after his official duties. Jing Hengyi's seal cutting works may not have any advantages at all if they only talk about quantity and form. As far as artistic style and creative skills are concerned, Jing's seal cutting works are not inferior to those of famous contemporary artists. Most of Jing's handed down works are printed for personal use. These exquisite works include names, nicknames, collections, epilogues and some words. Because it is for personal use, it is not difficult to see how useful the author is when engraving. How to invest, whether it is seal cutting, composition or knife cutting, the author tries to avoid stereotypes and hopes to carve out new artistic conception.

Jing Hengyi's seal cutting works, rooted in Qin and Han Dynasties, are gentle and elegant, and contain a strong academic atmosphere. Although Jing Jiazhu's lines are different in thickness, he attaches great importance to the structural changes in seal cutting. For example, the word "Lou" in Yangshan Tower and "the first floor on the mountain side" in Xizhu (see page 8-6) are treated differently in the "mother" department and the "female" department, with the former "mother" department in the front and the latter in the back; The back "wood" part is round, and the "female" part is stretched. The two characters "Lou" in Zhu's Qiao Song Lou and Pei Han Lou (see page 9 1) have also changed. The straight strokes on both sides of the front "wood" part win, and the curled strokes on both sides of the back "wood" part win. At the top of the "building" part of the word, one is a traditional Chinese character and the other is a simplified Chinese character. These rather inconspicuous places often best reflect the author's ingenuity. Another notable feature of Jing Heng Yi Zhu is that he is good at borrowing edges to improve and enrich the layout of seal script. Zhu Zhong's technique of borrowing and connecting edges is the result of deep observation and research on ancient seals by seal engravers, and it is also one of the commonly used techniques in seal engraving creation.

When Shi Jing uses the techniques of borrowing and connecting edges, he either uses them alone or both. As for the size of borrowing and linking edges, it varies from printing to printing. For example, there are more than three or four strokes in the seal, such as "Mountain House", "Fifty Learning Paintings", "Beihai Lu Yi" and "Chunshuang Caotang". In particular, the seal "Beihai Lu Yi" (see page 8 or page 8) is the most distinctive. The number of strokes of "I" and "Lu" in this seal is very different, and many straight strokes of "Lu" are easy to repeat, which is similar to the edge of the seal. The author borrows the edge strokes of "Guang" and "Min" of "Lu", and all the strokes of the other three characters are connected by edge strokes, which not only solves the contradiction that too many straight strokes of "Lu" are easy to repeat and be similar to the edge of seal. In order to make the seal method of Han-like works vivid, flexible and novel, Jing Hengyi sometimes skillfully impresses the radicals and layout forms of some big seal characters. For example, Zhu's Yuan, One Yuan and One Yuan, and Bai's Sixty Years of Danny Neo and Lao Yuan were originally written in Da Zhuan, but after the author's comprehensive changes and meticulous seal script writing, the whole seal face immediately looked simple and natural. In the layout of works, Shi Jing often absorbs some features of ancient seals to break the inherent layout style of China and India. For example, the two seals of "Bitter Cow" and "Righteous Honorer" are arranged in two rows. The former is long on the left and short on the right, showing a strewn at random trend; The latter is short on the left and long on the right, with the word "Zhe" on the top and red on the bottom, which further strengthens the contrast of seal density.

Finally, let's talk about Jing Hengyi's frontier fortress art. Frontier fortress money is an important part of seal cutting. When we review Jing Hengyi's seal cutting, we can't ignore his amazing frontier fortress creation skills. In recent years, I have read seven or eight kinds of modern scholars' seal cutting collections (printed spectrum, printed storage), but as far as the border level is concerned, I have not found anything that can surpass Jing Hengyi. These printed matter, printed matter, have no borders at all, or a few have no borders, but the quality is really hard to see. The difference between Biankuan and Yongping's creation is a common problem of these scholars. Jing Hengyi's border style, like its printed surface, has also formed its own characteristics, that is, it is as unique and elegant as the opening and seal script of Jianbaobei. For example, Zhu's "Enjoy the Collection of Books" says: "Bing Chen has five Zen and forty degrees, buying books and planting trees, and Changle will last forever." (See page 89) The four big characters on the printed surface are strict and simple, with a Yang Wen seal character of 18. The printing surface and the boundary part set off each other and complement each other. Another example is "Night Wind": "Art Garden Painting and Printing". This stone was collected from Qinhuai River and recorded in nineteen years. "(see page 84) This seal is engraved with the words" Xian Baozi "on both sides, but the difference is that one side is horizontal and the other side is a few lines of straight books. The layout is patchy and interesting. This passage fully embodies Jing's strong calligraphy skills and superb layout skills.

Jing Hengyi, as a scholar, died at the age of sixty-one. The small number of seal cutting works will undoubtedly weaken his influence on the modern printing industry, but this will not prevent us from observing his creative ideas, methods and development track from the existing works, so as to gain some reference and enlightenment.