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清初周亮工所撰《赖古堂印人传》四卷,立传六十篇,共述印人七十三名,而父子皆能治印者计有九对,约略占到总数的四分之一;如果父亲是治印名家,在其年老之后,由儿子代为捉刀以满足求印者之需求的情形则很常见。这一现象颇能凸显篆刻艺术“私相传授”“子承父业”之特征;不过,“私相传授”“子承父业”的特征,同时恰好映照出在时人眼中,篆刻毕竟并非士人正经事业的真实状况。因此,钩沉当时父子印人的艺术身世,常常只能从一些明末清初别集和钤拓印谱等稀见资料着手,以碑传、唱和诗文、印谱序跋、印文及边款内容等文献,窥探印坛薪火相传之路径,或可对晚明时期艺术上古典经典权威之式微、雅俗文化之间的交互和融贯提供新的视角。
In the early Qing Dynasty, Zhou Liangong wrote a volume of four volumes of “Biography of the Lao Tong Tang and People,” a total of 60 pieces of allegations, covering a total of 73 in India and nine in both father and son, accounting for a quarter of the total. First, if the father is a famous stamp designer, after his old age, it is not uncommon for his son to fulfill the needs of the applicant. This phenomenon can quite highlight the characteristics of carving art “privately taught ” “subordinate to father ” However, “private teach ” “subordinate father ” characteristics, In the eyes of the people, after all, carving is not the real status of the serious business people. Therefore, it is often only from the rare information of some late Qing dynasties, such as stamps and rubbings, that the father and son imprinted the art world of his life. Literature, peeping at the path of the Indian calendar torch relay, or the late Ming dynasty art canonical classic authority, elegant and popular culture between the interaction and coherence to provide a new perspective.