清代中期的印坛（二）
Seal Circles in the Mid-Qing Years
(Part two)
云间派篆刻的出现，是晩明吴门、昆山、嘉定一带文风流布的结果。这一群体的风格特点是构图喜求新创，篆法工稳谨严，用刀润洁温和，是当时颇具有代表性的审美趣味。主要作者有：王睿章（1666~1763年）、王玉如（1708~约1748年）、鞠履厚（约1734~1786年后）……
The Yunjian school emerged as the result of the spread of the styles of Wumen, Kunshan and Jiading in the late Ming years. The stylistic features of this group were: innovation in composition, neat and precise organization of characters, and smooth, gentle cutting. It is fairly typical of its period. Its main exponents were: Wang Ruizhang(1666-1763), Wang Yuru(c.1708-1748), Ju Lvhou(c.1734-1786)，etc.
清，王睿章刻“敢言当世事，不负案头书”
“Dare to Point out the Problems of One’s Times. Lest One Fails the Books Read over the Years” (敢言当世事，不负案头书), engraved by Wang Ruizhang. Qing Dynasty
铜印在清代仍为一些文士所雅好 。 乾隆时期安徽芜湖的诸葛纪、诸葛祚、诸葛恭三兄弟为一时名手，所作铜印以铸为主，间有凿刻者，皆力追汉印法度，古意盎然。
Bronze seals were still a favorite with some Qing scholars. Zhuge Ji, Zhuge zuo and Zhuge Gong, three brothers of Wuhu, Anhui, were famous masters during the reign of Emperor Qian Long (1736-1795). Most of their bronze seals were cast rather than engraved. They did their best to follow the rules of the Han Dynasty and their works had a classical grace.
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清，诸葛纪刻“吴其铣印”，铜，上海博物馆藏
Bronze “Seal of Wu Qixi”(吴其铣印),
engraved by Zhuge Ji. Qing Dynasty. Shanghai Museum
清代中期篆刻之风播及社会各个阶层。乾隆时期( 1736~ 1795年) 湛性、明中、篆玉、佛基等名僧于诗、书以外，兼习铁笔，作品清雅秀逸。能执刀走石的闺秀，当时亦不乏其人。
By the mid-Qing, seal engraved had spread to all social strata. During the reign of Emperor Qian Long, the eminent monks Zhanxing, Mingzhong, Zhuanyu and Foji were fine poets and calligraphers, but also expert users of the graving knife, producing elegant and graceful works. Nor was there a lake of ladies who could cut stone seals.
a. 清，释明中刻“无才不敢累明时”
a. “Dare not Wrong the Good Times with My Inability”(无才不敢累明时), engraved by Monk Ming Zhong. Qing Dynasty
b. 清，杨瑞云刻“身在水云千顷中”
b.”Among a Vast Stretch of Surging Water”(身在水云前顷中), engraved by Yang Ruiyun. Qing Dynasy
在因循中逐渐流于形式化的倾向和媚俗的创作心态开始受到新风格的冲击。一些地区的印人群体表现出不趋时尚的创作理念。
明末程邃初创新风, 在歙县一带余音不绝。至乾隆时期巴慰祖( 1744~ 1793年，字隽堂，号予籍) 等人秉承其法，以工稳淳和、古雅隽秀的特色进一步确立了歙派印风的标志。
The tendency toward formalism and vulgarization in following old traditions began to be impacted by new ideas. Seal groups in some regions went against the trend with their own creative concepts.
When, in the late Ming, Cheng Sui initiated his new style, his influence persisted in and around She County for a long time. In the reign of Emperor, Qian Long, Ba Weizu(1744-1793), styled Juantang and also named Yujie, took Cheng's technique and further established the She County school seal style, a style of neat organization, purity, ancient elegance and grace.
清，巴慰祖刻“己卯优贡辛巳孝廉”
“A Student of the Supreme College in the Year of Jimao, and Becoming Xiaolian Official in the Year of Xinsi”(己卯优贡巳孝廉), engraved by Ba Weizu. Qing Dynasty
清代中期扬州地区商业繁荣，一些书画家麋集于此鬻意自奉。其中能治印者如高凤翰( 1683 ~ 1749 年)、汪士慎( 1686~1762年)、高翔( 1688~ 1753年)等人，颇能窥得篆法堂奥，自成一家。创作旨在抒发情性和便利自用，往往以意为之，不拘法度。
Commerce flourished in the Yangzhou area in the middle years of the Qing Dynasty, and a good number of Calligraphers and painters congregated in the area to sell their works for a living. Of these, Gao Fenghan(1683-1749), Wang Shishen(1686-1762) and Gao Xiang(1688-1753) studied and acquired a profound knowledge of seal engraving and formed a school of their own. Their purpose was to express their feelings and mood or to engrave seals for their own use. They often engraved seals for pleasure without following any particular model or norm.
清，汪士慎刻“七峰草堂”，青田石，上海博物馆藏
Qingtian stone seal “Thatched House of Seven Peaks”(七峰草堂), engraved by Wang Shishen. Qing Dynasty. Shanghai Museum
乾隆至嘉庆时期金石学进入一个新的发展时期，一些考据家在搜集考订古文字、古器物的同时，以刻印为余兴，心摹手追，乐此不疲 。 这部分印家并不追随时风， 治印注重篆书的自然体势， 以典雅平和、不失古风为主流。
The reigns of the emperors Qian Long and Jia Qing, i.e. 1736-1820, Saw epigraphy, the study of bronze and stone inscriptions, enter a new period of development. AlongSide collecting ancient scripts and objects, some textual researchers took to seal engraving as a hobby, and never seemed to tire of it. These exponents did not follow the latest fad but laid stress on the natural form of zhuan script, with classic elegance and serenity as the mainstream and without losing the old mood.
清，徐坚刻“左图且书右琴与壶”
“With Paintings and Calligraphies on the Left while Zither and Teapot on the Right”(左图且书右琴与壶), engraved by Xu Jian. Qing Dynasty
清，桂馥刻“在虎竹”，昌化石，上海博物馆藏
Changhua stone seal “Zai Hu Zhu”(在虎竹),
engraved by Gui Fu. Qing Dynasty. Shanghai Museum
责任编辑：朱小雨、易晔
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