我此时正站在向新千年进发的驿站上。对公元的纪年,我们的先祖没有这个概念,当然也就缺乏,准确地讲是根本没有这种思想上奇特的触动和浓郁的凝思。屈指数去,上一个千年的驿站,当是设定在北宋的咸平三年。在篆刻史上,这是一个周秦两汉艺术高峰彻底式微,而明清又一高峰还未崛起的时期。是两座高峰过渡中的一凹渊谷,然而又得承认这是山谷底开始攀升的转折期。热衷金石学的文学巨匠欧阳修即诞生在这当口,他悉心编撰的《集古录》十卷,乃至其奉敕篆皇帝尊号之宝的事实,客观上揭示了未来以文人为主宰的又一篆刻艺 At this moment I am standing on a post to the new millennium. On the year of the Christian era, our ancestors did not have this concept, of course, they lacked. To be exact, there was absolutely no unique thought-provoking touch and rich meditation at all. Qu index to go on a post in the millennium, when it is set in the Northern Song Dynasty three years of Hampyeong. In the history of carving, it was a period when the peak of the art of Zhou, Han and Han dynasties was utterly neglected while the peak of another round of Ming and Qing dynasties had not risen. Is a concave valley in the transition of the two peaks. However, it is acknowledged that this is the turning point in the bottom of the valley that begins to climb. Ouyang Xiushu, a literary master who is keen on gemmology, was born at this juncture. The fact that he carefully compiled ten volumes of his collection of ancient records and even his honor to the emperor of Fengxian revealed objectively another seal engraving dominated by literati in the future art