FOR many centuries, only a small group of artists and specialized collectors could appreciate the beauty of seal carving. And Lu Kang is among the initiates in this rarefied world.

As one of China’s most renowned seal carving artists, Lu, 70, is now having a solo exhibition at the Fine Art College of Shanghai University.

The show features his seal chops, calligraphy, related books and derivative works.

Lu grew up in a traditional intellectual family in Shanghai. His grandfather, Lu Dai’an, was a sinologist famed for his profound knowledge of calligraphy, poetry and seal carving.

“For no particular reason, I was fascinated by seal carving when I was a little child, so I asked my grandfather to find someone to teach me,” he recalls. “At that time, the heavyweight names such as Chen Shifa and Liu Danzhai were all his friends. Luckily, I had priority in choosing my favorite teacher.”

Chen Julai (1904-84), one of the masters of seal carving at the time, became Lu’s teacher. He says he “preferred his style.”

“Unlike calligraphy or ink-wash painting, seal carving is an art form that can easily get you wounded,” he says. “It requires full concentration on a tiny space. Any mistake or a moment of absentmindedness could lead to a bleeding finger.”

But little by little, Lu got better with practice, and he learned how to manipulate the knife on different stones with different textures.

Seal makers have to possess more than carving skills. Their memories are constantly tested by “a sea of carving characters” in different styles, Lu says.

“Seal carving is similar to mirror-writing, not to mention that each word has several fixed carving styles,” Lu notes, adding that at the beginning of his career, he had to refer to carving books to decipher each word.

The charm of Lu’s seal carving lies in his understanding of the tiny spaces, the relationship between each character and their arrangement. The small seal is a combination of harmony, rhythm, art and culture.

Lu moved to Macau in the 1980s and served as a cultural ambassador for Macau government for 17 years. That might explain his easy acceptance of new things and new concepts, compared with his peers.

Through his work in Macau, Lu traveled widely in Europe to promote the city’s image by demonstrating Chinese calligraphy and seal writing. He says these experiences opened his eyes toward a different world and a different way of life, which affected his creations.

“Sometimes I would refer to the Western way of tableau arrangement,” he says. “Never think seal carving is simply carving characters on a chop. The subtlety in balancing each character in harmony, with elegance and beauty, is a real challenge. I would compare it to the mix-and-match fashion style. How you select a match of different characters in different styles tests a person’s aesthetic taste, imagination and creativity.”

Q: Why did you choose the Fine Art College of Shanghai University for your solo exhibition? And after nearly 30 years since your previous show in Macau, why are you having this one?

A: Last year, I was invited as a part-time professor by the college. So it is meaningful to have this exhibition for the students and teachers here.

Q: What’s the most difficult part of seal carving?

A: The difficult part lies in the styles of the carving characters being fixed. You can’t add more or delete a single curve. You also have to distinguish your own style. Each existing curve depends on one’s experience and vision.

Q: You are often called “Shanghai’s last laokele.” Do you like this title?

A: I am greatly flattered, but I don’t think I am. And I don’t think any exist today. In my view, a laokele (Shanghai dialect for “old clerk,” a term used for people in old Shanghai who favored Western ways) must speak fluent English, be well-mannered, and come from a well-off family. He also must play a musical instrument or has a basic understanding of Western music. Last, his wife should at the same time come from a family of good social standing. In this case, can you name anyone who meets these requirements?

Q: You always give others a feeling that you never had any dark days in your life. Is this true?

A: Of course not. Sometimes you have to bite more than you could chew. The only way is to eat it and spit it out.

During the “cultural revolution” (1966-76), as a young man I felt there’s no hope. I was fortunate to meet Xie Zhiguang (1899-1976), a noted expert on radiology and medical education. At the time, I often hung around him.

Today I still vividly recall his optimistic character. One day when I walked him home, he dropped several coins into the sewer by his door. At that time, even several coins mattered. I wanted to pick them up, but he said, “no, you have already heard the dropping sound, that’s enough.”

In another example, Xie placed a boiling kettle on his table made of precious rosewood. When I asked him why he didn’t cover the table, he said, “I was not born with this table and when I pass away, the table won’t go with me.” He was such a wise man. I’ve learned a lot from him which I could hardly get from my parents or others.

Q: How did your experience in Macau influence you?

A: Macau is my second hometown. But I arrived there with only 100 pataca (US$12.50) and little understanding of Cantonese or English. I was nearly destroyed. But gradually I found something deep in me changing as I stayed longer. I knew how to compromise and how to negotiate. In other words, my ability to protect myself enhanced.

Q: Are you optimistic or pessimistic about the future of seal carving as an art form?

A: I am very optimistic. Today, not many Chinese people are familiar with the history of seal carving and how to appreciate a top-quality seal. However, we are now in a golden age. First, the government has been promoting our traditional art for years; secondly, more and more rich people want to be collectors of art. And also many are teaching either seal carving, calligraphy or painting in local communities. Last but not least, there is a huge demand in precious stones for seal carving, and some do the business as an investment.

Q: Do you still carve every day now?

A: Because of my declining eyesight and pain in the neck and back, I can no longer spend a long time doing seal carving. But I still pick up knife and stone every day.

When I am carving, I can immediately calm myself. I feel that I am akin to a conservator of Chinese characters.