创新与趋俗——论明末清初文人篆刻艺术之两端
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摘要
明末清初的篆刻艺术无论在刀法上还是在字法上,亦或是在风格上都能突破传统的束缚而积极创新,为清代篆刻艺术的繁荣打下了坚实的基础;而另一方面,明末清初的篆刻艺术"鄙俗"的特点也是非常明显的,不论是印章形式还是以杂体篆入印现象无不遭受到时人以及后世有识之士的抨击。印人身份的差异以及商品经济的引导是导致明末清初文人篆刻走向两个极端的原因所在。
The art of seal cutting at the end of Ming Dynasty and the beginning of Qing Dynasty broke the shackle of tradition and made positive innovations in the cutting method, and the Chinese character style, which lays a solid foundation for the prosperity of the art of seal cutting in Qing Dynasty.On the other hand, the art of seal cutting at the end of Ming Dynasty and the beginning of Qing Dynasty was characterized by "vulgarity and popularity". Both the seal form and the imprinting of hybrid seal characters were attacked by people of insight at that time and later generations. The difference of seal cutter's identity and the introduction of commodity economy lead to the two extremes of seal-cutting art at the end of Ming Dynasty and the beginning of Qing Dynasty.
The art of seal cutting at the end of Ming Dynasty and the beginning of Qing Dynasty broke the shackle of tradition and made positive innovations in the cutting method, and the Chinese character style, which lays a solid foundation for the prosperity of the art of seal cutting in Qing Dynasty.On the other hand, the art of seal cutting at the end of Ming Dynasty and the beginning of Qing Dynasty was characterized by "vulgarity and popularity". Both the seal form and the imprinting of hybrid seal characters were attacked by people of insight at that time and later generations. The difference of seal cutter's identity and the introduction of commodity economy lead to the two extremes of seal-cutting art at the end of Ming Dynasty and the beginning of Qing Dynasty.
引文
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[3]苏宣.苏氏印略:自序[C]//韩天衡.历代印学论文选.浙江:西泠印社出版,1999:471.
[4]曹征庸.苏氏印略:叙[C]//韩天衡.历代印学论文选.浙江:西泠印社出版,1999:474.
[5]周亮工.印人传:书程穆倩印谱前[M].上海:华东师范大学出版社,2009:23.
[6]娄坚.学古绪言:卷二十五汪杲叔篆刻题辞[M]//纪昀,等.文渊阁四库全书:第866册.台北:台湾商务印书馆,1986:286.
[7]朱继祚.印鼎:序[C]//韩天衡.历代印学论文选.浙江:西冷印社出版社,1999:502.
[8]王者利.社会变革下的明末清初文人篆刻研究[D].长春:吉林大学,2017:132-165.
[9]吴先声.敦好堂论印[C]//韩天衡.历代印学论文选.浙江:西泠印社出版社,1999:178.
[10]孔云白.篆刻入门[M].上海:上海书店出版社,1979:68.
[11]王者利.晚明印坛趋俗现象研究[J].中国书法,2016(04):110-113.