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追求樸拙、渾厚的藝術趣味是趙之謙在藝術上的畢生追求,也是其書風、印風轉變的考察依據之一。趙之謙是碑學的極力實踐者,因此趙之謙的碑學觀念視角也常常介入到印章創作中來。趙之謙所宣導的以碑意入印,碑、刀合意的理念,在後來的印學家那裏也得到了很好的繼承與發展。趙之謙在藝術的創新中,始終堅守碑學的審美立場。通過刀鋒看筆鋒,通過刀鋒悟筆法,從單一篆刻技法上的以刀摹刀,到後來自家魏碑體風格的形成,顯示出趙之謙對于書風、印風轉變的變通和駕馭能力。進一步講,趙之謙“印外求印”是其印學觀中的“魏碑意識”的另一種呈現。
Pursuit of simple, vigorous artistic interest is Zhao Zhiqian’s lifelong pursuit of art, but also his book style, one of the basis for the study of changes in Indian style. Zhao Zhiqian is a pragmatic practitioner of the study of inscription, so Zhao Zhiqian’s perspective of the concept of inscription is often involved in the creation of the seal. Zhao Zhiqian’s propaganda philosophy of impressing on monument, monument and knife was also well inherited and developed by later Indian scholars. Zhao Zhiqian in the art of innovation, always adhere to the aesthetic position of inscriptions. Through the blade to see the front, through the blade to enlighten the brush method, from a single seal cutting techniques on the knife to the formation of their own body Stereotypes, showing Zhao Zhizhi for the book style, change the style of printing and control ability. Further, Zhao Zhiqian “India and India for India ” is another manifestation of “Weibei Consciousness ” in his view of printing.