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十八世纪中叶,被后世称为“印圣”的高芙蓉在他四十七岁时,根据唐代张彦远《历代名画记》卷三中《叙古今公私印记》的文字记载,以复原为目的摹刻了该书记载的五十二枚唐及唐前的鉴藏印记。痴于鉴藏的高芙蓉通过所过目的古法帖及印谱中留存的相关印记,复原了部分印记。对于没有依据的印记,高芙蓉采用了个人提倡的以秦汉印为宗的风格进行了创作。在复原及创作这些印记过程中,舶载书法篆刻资料为高芙蓉提供了依据,由此可见舶载书法篆刻资料对高芙蓉的影响,进而揭示了日本江户时代中国书法篆刻范本对日本的影响。本文从三个方面探讨舶载典籍与高芙蓉复篆《古今公私印记》的关系。一是《历代名画记》的舶载;二是从复篆的古法帖依据到江户时代舶载法帖;三是风格的推演与舶载汉印印谱。
In the middle of the eighteenth century, Gao Furong, later known as the “Saints of India,” said at the age of 47 he was recovering from the written records of “Syndromes of Ancient and Modern Private Publications” in Volume Three of the Famous Paintings of Various Dynasties in the Tang Dynasty For the purpose of copying the book recorded fifty-two Tang and pre-Tang collection mark. Kao Hibiscus, who was obsessed with the collection of books, restored some of the imprints through the relevant imprints retained by the ancient Purcell and the imprint of his purpose. For the imprint without foundation, Gao Hibiscus adopted the personal style advocated by Qin and Han Dynasties. In the restoration and creation of these imprints, the book of calligraphy and seal-cutting materials provided the basis for high-hibiscus, we can see the ship’s calligraphy and seal-cutting data on the impact of high hibiscus, and then revealed the Japanese Edo Period Chinese calligraphy and seal cutting model of Japan’s impact . This article probes into the relationship between the books on ship and the seal of ancient and modern public-private in Gao Furong complex seal from three aspects. First, “historical paintings” in mind; the second is from the ancient seal of the complex seal based on the Fatehito published in the Edo period; third is the deduction of style and printed in Chinese printed.