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篆刻艺术发展到明朝中后期,审美自觉开始成为这个艺术门类的主题。随着文彭和何震等人对于篆刻艺术的不断开拓发展,艺术美感开始在篆刻中充分彰显。在这样的审美追求中,按照时代发展的要求,残崩之美成为明人篆刻艺术的重要特色。这种艺术追求相对于过去的玺印风格而言是反其道而行之,从某种程度来说,属于以丑为美的流行印风,然而,这种风格在当时和今天都已然被接受并受到广泛关注。当这样的篆刻艺术风
Carving art developed to the middle and late Ming Dynasty, aesthetic consciousness began to become the theme of this art category. With Wen Peng and He Zhen and others for the continuous development of carving art, art aesthetics began to fully demonstrate in carving. In this pursuit of beauty, according to the requirements of the development of the times, the beauty of the remains of collapse has become an important feature of the Ming carving art. This kind of artistic pursuit is opposite to the past Yuxi style, and to a certain extent, it belongs to the popular style of ugliness and beauty. However, this style has been accepted both at the time and today And has been widespread concern. When such a carving style of art