明清流派篆刻艺术价值再认识

• 作 者: 郁胜天
• 机 构: 泰州市姜堰高二适纪念馆,
• 出 处: 中国书法
• 发表日期: 2014年07期
• 关键词: 篆刻艺术 汉印 元代文人 篆法 吾丘衍 字法 赵孟 白文印 雪渔派 集古印谱

明清流派白文印创作的探索以赵孟頫、吾丘衍为代表的元代文人艺术家倡导白文宗汉,主要从两个角度接受汉印:一是“典刑质朴之意”的美学原则,一是包括字法、篆法、章法在内的印法原则,由此确立汉印作为篆刻艺术白文创作的印式的地位,为明清以来印人所遵从。但这仅仅是一个大方向的和原则性的规定。

The Exploration of Bai Wenzong’s Literary Creation in Ming and Qing Dynasties Genre of Bai Wenzong and Han dynasty were advocated by literary artists such as Zhao Mengyu and Wu Chuanyan in the Yuan Dynasty. They mainly accepted the Han and Yin Dynasties from two angles: one is the aesthetic principle of “simple meaning of classical code” The first is the principle of imprinting including lettering, seal law, and chapter law, thus establishing the position of the Han and the Indian as seals in the art of seal carving and writing, which the Indian people have followed since the Ming and Qing Dynasties. But this is only a general direction and principle.