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明清民间私印的风格取向 and Qing dynasties in the Seal Cutting Trade 明清时代的私印体系，功能与风格分化进一步突显。包括文人士大夫在内的个人用印，一部分仍由民间的刻印艺人完成。从明中期开始，文人篆刻家更多地介入中上层人士印章的制作。这两个不尽相同的群体，作品风格开始出现分野。 In the private seal systems of the Ming and Qing dynasties the separation of function and style became more obvious. Some of the personal seals, including those used by scholars and senior officials, were still made by professional seal cutters in specialist workshops. From the middle of the Ming Dynasty, scholar seal engravers were more engaged in making seals for people of the middle and upper social classes, and a clear stylistic division emerged in the private seals of the two different seal cutting groups. 上海肇嘉浜明代朱氏家族墓出土印章，上海博物馆藏 Seals excavated from the Ming Dynasty Zhu clan cemetery at Zhaojiabang, Shanghai. Ming Dynasty. Shanghai Museum 明代社会不仅一般印信需求持续存在，文人书画家用印的风气也较宋元时代更为盛行，画家在作品上钤印成为固定程式，甚至出现以钤印代替署款的作风，书画上使用的闲章内容也进一步拓展，如王绂的“游戏翰墨”、唐寅的“南京解元”和“江南第一风流才子”一类印记。 In the Ming society, demand for ordinary seals continued, whilst among scholar artists it became even more fashionable to use seals than it had been in he Song and Yuan dynasties. It became established practice for a painter to impress his seals on his works; there was even a trend of omitting a written signature line on paintings and impressing a seal instead. The text of leisure seals seen on calligraphic and painting works became more varied. Examples are “Play with Brush and Ink” on the seal of Wang Fu; the seals “Nanjing’s Jie Yuan” and “No.1 Elegant and Talented Gentleman in Jiangnan” of Tang Yin. 明，“南京解元”，钤于唐寅《水阁临流图轴》 Imprint “Nanjing’s Jie Yuan” on the painting Waterside Pavilion Scroll By Tang Yin. Ming Dynasty 明代中上层人士私印，揭示了这样一些信息：摒弃“九叠篆”文字，遥师汉印或参用“古文”以再现古风的倾向比较明确；私印的质料，出现铜、石、玉、木、牙并用的状况，市长的比例明显上升。印钮装饰趣味受到文人阶层的重视，在坊间已有提供印材的专业化分工；其中一部分铜、玉、牙、木质的私印，主要应处于民间印肆艺人的制作。 The private seals of the Ming middle and upper classes are quite informative: the nine-fold zhuan script was discarded; there was a clear revivalist tendency, one that drew upon Han Dynasty seals or used the ancient gu wen script; materials included copper, jade, wood, ivory and stone, the proportion of stone seals showing a very marked rise. The literati set great store on the taste of the decorative seal knob and most of them continued to be made by professional craftsmen, workshops supplying seal materials becoming more specialized. Some bronze, jade, ivory or wood private seals were made by folk craftsmen. 明，“锡爵”、“荆石”，玉，苏州博物馆 Jade seals “Xi Jue” and “Jing Shi”. Ming Dynasty. Suzhou Museum 清代坊间制作的私印仍然具有较大的比重。上海博物馆藏清初“龚鼎孳印”、“王士慎印”、“毛霖”、“二水三山佳处”、“观亭”等铜印显然是文人篆刻家难以独立完成的，但从这些文人用印中可以看到其内容及印文风格都具有比较明确的艺术取向。 In the Qing Dynasty, workshops still accounted for a considerable portion of private seal production. Bronze seals such as the “Seal of Gong Dingzi”; ”Seal of Wang Shishen”, “Mao Lin”, “Beauty Scenery of Two Rivers and Three Mountains” and “Guan Ting” in the Shanghai Museum collection were clearly way beyond the capabilities of the scholar seal engravers on their own. Yet it is clear to see that in terms of their content and calligraphic style seals used by literati had a clear artistic direction. 清，“龚鼎孳印”，铜鎏金，上海博物馆藏 Gilt bronze “Seal of Gong Dingzi”. Qing Dynasty. Shanghai Museum 无论是文人士大夫对于印章制作某种程度的参与，还是坊间艺人为迎合社会中上层认识需求而自我提升印艺，都表明了随着篆刻艺术的发展，坊间的印风已有不得不变的趋势。其中一部分职业艺人艺术素养的积累和升华，正是转身为文人篆刻家的条件。 Both the participation of scholars and senior officials in the making of seals, and improved craft techniques among professional workshops to meet the needs of the middle and upper classes’ artistic aspirations indicate that as the seal engraving art developed, change in the style of workshop-produced seals became inevitable. Some of the professional seal makers built up and developed the artistic element of their work to such a degree that they too were able to become literati seal engravers. 本文节选自孙慰祖：《中国印章-历史与艺术》，外文出版社，2010年 Sun Weizu: The History and Art of Chinese Seals, Foreign Languages Press, 2010 责任编辑：朱小雨，戴梦岚 您的转发和点赞是对我们工作最大的鼓励！ |
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