篆刻艺术的传承与印人群体的转型（一）
The Passing on of Seal Engraving Art and the New Types of Seal Groups (Part one)
近现代篆刻在20世纪50年代经历了存在方式的转变。篆刻家的创作几乎完全脱离经济的因素，走向无直接功利的艺术表现与社会服务。
享有盛名的职业书画篆刻家， 政府先后采取了一些积极的保护、扶持措施。1957年、1960年先后成立北京和上海中国画院，齐白石、马公愚等一批书画篆刻家被聘为画师。这些措施对保存篆刻人才具有十分深远的意义。随着1956年“百花齐放、百家争鸣”等方针的提出，艺术家受到了安抚与鼓舞，蕴积于内的创作热情促使他们努力寻找在新时代条件下为社会服务与表现的新途径。
In the1950s, after the establishment of New China, modern seal engraving underwent a radical change in its mode of existence. Creative output became almost completely divorced from issues of money, and became a form of artistic expression without direct personal fame or gain- a form of service to society.
The government took a number of measures to protect and support famous professional calligraphers, painters and seal engravers. Academies of Chinese art were established both in Beijing in 1957 and Shanghai in 1960. Qi Baishi and Ma Gongyu and other calligraphers, painters and seal engravers were recruited as painting masters. These measures were of profound significance for the preservation of seal engraving talents. Under the policy of “letting a hundred flowers blossom and a hundred schools of thought contend” formulated in1956, the artists were encouraged and placated. Their inherent creative enthusiasm prompted them to seek out a new Path so as to serve society under the conditions of the new times.
中国金石篆刻研究社筹备委员会合影（1955年）
后排：葛子谅、陈巨来、支慈庵、陈石湖、钱君匋、沙曼公、单孝天、方去疾、陆鲤庭、来楚生、叶潞渊、孙启粹
中排：王哲言、穆一龙、杨为义、高式熊、徐祖赓、薛佛影、朱 庸、候福昌、刘伯年、张维阳、秦彦冲、朱其石、吴朴堂、郭若愚、张方晦
前排：汪大铁、葛书徵、吴仲坰、林介候、张石园、马公愚、白蕉、张鲁盦、钱瘦铁、王个簃、胡穆卿、高络园、金铁芝、胡佐卿
The preparatory committee for the establishment of the China Bronze and Stone Seal Inscription Research Society. 1955
Back row: Ge Ziliang, ChenJulai, Zhi Ci'an, Chen Shihu, Qian Juntao, Sha Mangong, Shan Xiaotian, Fang Quji, Lu Liting, Lai Chusheng, Ye Luyuan, and Sun Qicui
Middle row: Wang Zheyan, Mu Yilong, Yang Weiyi, Gao Shixiong, Xu Zugeng, Xue Foying, Zhu Yong, Hou Fuchang, Liu Bonian, Zhang Weiyang, Qin Yanchong, Zhu Qishi, Wu Putang, Guo Ruoyu, and Zhang Fanghui
Front row: Wang Datie, Ge Shuzheng,Wu Zhongjiong, Lin Jiehou, Zhang Shiyuan, Ma Gongyu, Bai Jiao, Zhang Lu'an, Qian Shoutie, Wang Geyi, Hu Muqing, Gao Luoyuan, Jin Tiezhi, and Hu Zuoqing
在社会比较稳定以后，与新国画研究会等团体成立的背景相呼应，1955年张鲁盦发起成立“中国金石篆刻研究社”筹备会，参与者40余人。金石篆刻研究社的出现，是新中国成立初期标志着篆刻艺术活动趋向恢复的一个重要事件。
1956年，金石篆刻研究社组织作者73人创作的《鲁迅笔名印谱》由宣和印社钤拓五十部，以人民美术出版社名义出版。这是一次现代印人群体的创作大聚集和艺术水平的大检阅。一些历史上书法篆刻活动比较活跃的省市，在政府的支持下也纷纷成立艺术团体。
After social stability was established, and mirroring the founding of the new Chinese Painting Institute and other organizations, Zhang Lu’an initiated a preparatory committee for the establishment of the “China Bronze and Stone Seal Inscription Research Society” in 1955. The preparatory committee drew more than 40 members. The emergence of the Bronze and Stone Seal Inscription Research Society was an important event marking the restoration of seal engraving activities in the early years of New China.
In 1956, the society organized 73 people to create pieces for Collection of Seal Imprints of Lu Xun’s Pennames (鲁迅笔名印谱), and the Xuanhe Seal Society made 50 copies, which were then published by the People's Arts Publishing House. This was a great collaborative creation by a group of modem seal engravers and a great summation of artistic standards. Provinces and cities active in the fields of calligraphy and seal engraving also set up art organizations with the support of their local governments.
《鲁迅笔名印谱》书影，上海博物馆藏
Book covers of Seal Imprints of Lu Xun’s Pennames. Shanghai Museum
一些篆刻家或个人或小型组合，积极地寻求契合社会现实的文字题材进行创作。1958年以后数年间创作趋于活跃。方去疾、吴朴、单孝天先后合作完成《瞿秋白笔名印谱》、《古巴谚语印谱》。1959年中国金石篆刻研究社唐炼百、朱其石、朱复戡等18人创作《庆祝建国十周年纪念》篆刻一帧，秦康祥创作了《耕牛图》，参加西泠印社组织的庆祝展览活动 。
1961年钱君匋刻成《长征印谱》；1963年马公愚、王个簃、钱君匋、叶潞渊、吴朴、方去疾等又合作刻成《西湖胜迹印集》，潘学固创作《登山英雄印谱》，田叔达先后创作《农业印谱》和《陈毅元帅诗句印谱》等。
A number of seal engravers, individually or in groups, actively sought to produce works on themes suited to the social reality. After 1958, there was a flood of creative works, including the Collection of Seal Imprints of Qi Qiubai’s Pennames (瞿秋白笔名印谱), and the Collection of Seal Imprints of Cuban Proverbs (古巴谚语印谱), all collaborative productions by Fang Quji, Wu Pu and Shan Xiaotian. In 1959,Tang Lianbai, Zhu Qishi, Zhu Fukan, and 15 others produced work “In Celebration of the Tenth Anniversary of the Founding of the People’s Republic of China” (庆祝建国十周年纪念) and Qin Kangxiang created the Farm Ox (耕牛图) for the celebration exhibition organized by the Xiling Seal Society.
Qian Juntao carved the Collection of Seal Imprints of the Long March (长征印谱) in 1961. Ma Gongyu, Wang Geyi, Qian Juntao, Ye Luyuan,,Wu Pu and Fang Quji collectively engraved the Seal Collection of Seal Imprints of West Lake Scenic Sights (西湖胜迹印集). Pan Xuegu created the Collection of Seal Imprints of mountaineering Heroes (登山英雄印谱), and Tian Shuda created the Collection of Seal Imprints of Agriculture (农业印谱) and the Collection of Seal Imprints of Marshall Chen Yi’s Verses (陈毅元帅诗句印谱).
《古巴谚语印谱》封面
Cover of Book of Cuban Proverb Seals
“人怕的不是死，而是枷锁”，吴朴刻（《古巴谚语印谱》）
“What man fears is not death, but shackles” (人怕的不是死，而是枷锁), engraved by Wu Pu. Source: Book of Cuban Proverb Seals.
中国金石篆刻研究社集体创作的《庆祝建国十周年纪念》篆刻作品
In Celebration of the Tenth Anniversary of the Founding of the People’s Republic of China, a joint work of engravings by members of the China Bronze and Stone Seal Inscription Research Socity
责任编辑：朱小雨、易晔
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