清代中期的印坛（一）
Seal Circles in the
Mid-Qing Years (Part one)
篆刻风格呈现空前的纷繁多姿，是创作群体扩张的必然现象。 据汪启淑《飞鸿堂印谱》所反映的康熙中后期至乾隆四十一年(1776 年) 前这一阶段的印人队伍来看，地域分布较明代及清初已有明显的扩大。此谱358位作者中，载明籍贯者有170人，分别来自浙江、安徽、江苏、山东、直隶、江西、福建、辽宁、河南、 云南诸省81县。 其中一部分印人或客寓外地，但考虑其中尚有半数印人汪氏未载其籍贯，且所录印人也仅是汪氏征得作品的部分，故这一分布情况仍然具有一定的统计学意义。该谱所载印人分布区域以及达到的艺术水平，是清中期篆刻艺术发展的盛况缩影。
地域传统风格的存在以及不同地域间印风递变的不同速率，导致此期篆刻新旧风格并存 。晩明印风仍然影响着一部分篆刻家的创作，但表现出益趋工秀的特点。
创作活跃的另一方面表现是竞相追求形式新奇，刀法日趋工巧。周芬的创作曾将李白《春夜宴桃李园序》等长篇辞赋刻于一印，细字密行，通过此类形式的创作展现精熟的技巧。此类作品也反映了当时的篆刻仍以诗文题材作为鉴赏的主要内容之一。
这一时期平和端正，雅致柔美的印风流布印坛。
The unprecedented explosion of seal engraving styles was an inevitable outcome of the expansion of the creator groups. The number of seal engravers during the mid-late period of Emperor Kang Xi's reign up to 1776, as reflected in Wang Qishu's Collection of Seal Imprints of Fei Hong Studio clearly shows how the widening of their geographical distribution by comparing the Ming with those of the early Qing. There are 358 individuals represented in the book, of Whom 170 had birthplaces indicated, they hailed from 81 counties in Zhejiang, Anhui, Jiangsu, Shandong, Zhili (present-day Hebei), Jiangxi, Fujian, Liaoning, Henan and Yunnan. Some perhaps lived away from home, half of them had no birthplace indicated, and the names recorded in Wang Qishu's book were only a portion of the pieces he had collected. Despite all this, the recorded information still has statistical significance. The regional distribution and the artist level of the seal masters recorded represent in miniature the peak of seal engraving art in the mid-Qing.
The persistence of regional traditional styles and the disparate speed of stylistic change from region to region led to the simultaneous existence of old and new styles. Late Ming styles still influenced the creations of some, but an improvement in craftsmanship was evident.
Another manifestation of active creativity was the competitive pursuit of novel forms. At the same time, cutting technique continued to improve. On one piece, Zhou Fen engraved the whole of Entertainment Given in the Peach and Plum Garden on a Spring Evening, a long prose by the famous Tang poet Li Bai, on a single seal, with tiny characters in tightly spaced columns. This kind of work was a demonstration of his virtuosity. It also shows that poetry and literary quotations were important aspects of the appreciation experience.
The practice of making calm, balanced, elegant, gentle and graceful works became fashionable among seal engravers during this period.
清，周芬刻李白《春夜宴桃李园序》，30×31mm
Prose by Li Bai, Entertainment Given in the Peach and Plum Garden on a Spring Evening (春夜宴桃李园序),engraved by Zhou Fen. Qing Dynasty
清，陈渭刻“开卷有益“，寿山石，上海博物馆藏
Shoushan stone seal “Reading Is Always Beneficial” （开卷有益）,engraved by Chen Wei. Qing Dynasty. Shanghai ,Museum
清，项怀述刻“文章江左烟月扬州”
“Men of Letters Bloom in the Charming Yangzhou”（文章江左烟月扬州）, engraved by Xiang Huaishu. Qing Dynasty
清，林霔刻“从来多古意，可以赋新诗”，寿山石，上海博物馆藏
Shoushan stone seal “Composing New Poems on Old Themes”（从来自古意，可以赋新诗）, engraved by Lin Zhu. Qing Dynasty. Shanghai Museum
责任编辑：朱小雨、易晔
您的转发与点赞是对我们工作的最大鼓励！
联系客服
