清代篆刻“印从书出”与“印外求印”研究.docx

摘 要
明清印章美学观大致经历了由“印宗秦汉”到“印从书出”和“印外求印”的转变,篆刻艺术发展到丁敬之后,已经出现了严重的危机,“印宗秦汉”的美学观已经无法挽回篆刻艺术发展的颓势。这在客观上要求由局限于传统的秦汉印转变为向印外的拓展,从邓石如的印章创作开始,吴让之、赵之谦、吴昌硕、黄牧甫等印人一直在遵循篆刻艺术发展的内在规律。我们要特别注意的是,早在邓石如之前,“印外”对于篆刻艺术的影响,已经得到了人们的关注。但这些印论和创作实践并没有像后世那样在印坛引起强烈的反响甚至改变篆刻艺术的发展方向。其原因是多方面的,但最为关键的是当时的印人篆书水平尚不甚高,对篆书的认识还比较模糊,因而不能依靠自己的篆书书法促成印风的变化。清代中叶以后,金石考据之学的影响使篆书书法进一步普及。加之碑派书法的兴起,书家的篆书水平得到很大的提高。这就使印人将自己的书法融汇于篆刻并使其改变印风变成了可能。邓石如及以后的篆刻家如吴让之、赵之谦、吴昌硕、黄牧甫无不是书坛高手。一方面,他们能够将自己的篆书风格入印;另一方面,他们在印外取字的同时,对自己确认的印外古文字,从书法的角度,不断加以实践、改造, 使其风格化,并作用于自己的印风。
本文拟在清代印章美学观的演变、清中晚期篆刻家书法与篆刻创作的关系、清代金石学对书法篆刻的影响等方面展开论述。通过研究,揭示书法对篆刻的影响是如何逐步深入的,即从篆刻家的篆书书法对印风的影响发展到篆刻家从书法的角度,对自己所确认的印外文字不断加以实践,并努力形成有个性的风格,进而使自己的印章作品风格化的发展历程。
关键词:印从书出,印外求印,书法,金石学
Abstract
The Ming and Qing Dynasties seal esthetics view experienced “the seal performance calligraphy” and “the seal developed outward” from “study the Qin and Han Dynasty” the transformation approximately, after seal cutting art has developed Ding Jing, already presented the serious crisis, “study the Qin and Han Dynasty” esthetics view was already unable to recall the seal cutting art development the declining tendency. This requests by to limit objectively transforms in traditional the Qin and Han Dynasty India into to seal's outside development, starts from the Deng Shiru seal creation, Wu Rangzhi, Zhao Zhiqian, Wu Changshuo and Huang Mufu follow the seal cutting art development the inherent laws. What we want the special attention is, as early as before the Deng Shiru “outside the seal” regarding the seal cutting art's influence, already obtained people's attention. But these people discusses with the creation practice has not looked like the later generation such to cause the intense reaction in the India world even to change the seal cutting art the development direction. Its reason is various, what but is most essential was these person seal script proficiency was not still very high, was also fuzzy to the seal script understanding, thus could not depend upon own seal script cal