一、引言中国古老的篆刻艺术,到清代后期,进入了一个全新的发展阶段。至晚清四大家吴让之、赵之谦、吴昌硕、黄牧甫出,遂使数百年来印坛名家黯然失色。这标志着中国篆刻史已从古代史进入近代史。研究近代印史,与研究古代史必须用不同的方法,最大的差异是,研究文彭以来的古代篆刻史,习惯于从流派着眼;而研究晚清以后的印史,则当着眼于印人自身。譬如研究吴让之与赵之谦,过去印学界往往为流派观念所困扰。赵之谦既不能归于浙派,也不能归于徽派,于是有人 I. Introduction The ancient Chinese carving art entered a completely new stage of development in the late Qing Dynasty. To the late Qing Wu Wu of four, Zhao Qian, Wuchang Shuo, Huang Mufu out, so that hundreds of years of Indian altar eclipsed. This marks the history of Chinese carving has entered the modern history from ancient history. The most important difference between the study of modern history of India and the study of ancient history and the study of ancient history is that the study of the ancient seal carving history since Wen Peng was accustomed to focusing on the genre. However, when studying the Indian history after the late Qing Dynasty, itself. For example, research Wu Zhi and Zhao Qian, in the past, printing and often the school idea of ​​distress. Zhao Zhi Qian can not be attributed to the Zhejiang school, can not be attributed to the Huizhou, so some people