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丁敬的西泠印派 The Xiling Seal School of Ding Jing 在“两浙久沿林鹤田派”（ 汪启淑《续印人传》），东南印坛竞为妍美的氛围之中，丁敬印风异军突起， 给清代中期的篆刻带来了清新的气息。 丁敬（1695~1765年），字敬身，号砚林、丁居士、龙泓山人等， 浙江杭州人。淹通金石书画，精于诗文。丁敬刻印主要取法秦汉、宋元印式，但又不为其所囿。他吸收朱简、魏植初创的切刀法，进一步强化其特征，形成个性化的成熟的切刀技法，所刻线条古拙苍茫。作品篆法删繁就简，参用隶意，体势简古，在章法上崇尚平正自然，表现性灵，从而体现了刀法、篆法、章法的和谐统一，具有超脱尘俗的山林气象。丁敬的印法面目一新， 以杭州地区为中心的渐籍印人相继效法，支脉延绵近两百年未衰，被称为“浙派”或“西泠印派”。 After Lin Gao, seal engraving in the southeast region stagnated until the art in the region was reinvigorated by the sudden emergence of a new force- the Ding Jing style. Ding Jing (1695-1765), styled Jingshen, and with the epithets Yanlin, Ding Jushi or Hermit Longhong, was born in Hangzhou, Zhejiang. He was versed in seal engraving, calligraphy and painting and in poetry too. He mainly studied the engraving techniques of the Qin, Han, Song and Yuan dynasties, but he did not confine himself to them. He also assimilated the chopping cut initiated by Zhu Jian and Wei Zhi, intensifying its characteristics to develop a mature and individual chopping cut method. The lines he cut were simple, unsophisticated, and indistinct. In script technique, he eschewed the complex for the simple, adopting a simplified form of Li official script, unfussy and ancient. In composition, Ding Jing sought a smooth and natural quality, of personality, a composition in which cutting technique, script and composition unite in harmony, producing an effect of spirituality far removed from the realm of the banal. The freshness of Ding Jing's art attracted Zhejiang seal engravers around Hangzhou to learn from him. Thus one of the most famous seal engraving schools of the Qing Dynasty was formed. Its branches lasted for nearly two hundred years. It was called the “Zhejiang school” or “Xiling school.”  清，罗聘画丁敬像，浙江省博物馆藏 Portrait of Ding Jing by Luo Pin. Qing Dynasty. Zhejiang Provincial Museum “敬身”六面印是其代表作之一，石章经火焚，残损严重，是历经辗转的劫后遗珍。此印形式包涵了取法汉印的多种类型和宋元朱文印式：沉着浑厚如“丁敬之印”, 以爽健的单刀展示清劲风骨如“敬身之印”，朱文“敬身”则用短切将圆畅和凝练融为一体，可谓移步换影，各具韵味，表现了丁敬深厚的功力。 The“Jing Shen”(敬身), a stone seal engraved on six faces is one of his representative works. The seal was seriously damaged after burning, and has become a“treasure left after disaster.” The form of this seal followed the example of many Han Dynasty seal types and the relief characters of the Song and Yuan dynasties: the calm, simple and vigorous strokes of“Seal of Ding Jing;”the agile and sturdy single cuts that produce the fresh and muscular“Seal of Jing Shen”(敬身之印). The relief characters敬身 are made with short chopping cuts, integrating fullness, smoothness and concision. The different cutting techniques each with its own appeal, display his consummate craftsmanship. 清，丁敬刻“敬身”六面印，石，上海博物馆藏 Six-faced stone seal “Jing Shen”(敬身),engraved by Ding Jing. Qing Dynasty. Shanghai Museum 清，黄易刻“小松所得金石”，青田石，24×22mm，上海博物馆藏 Qingtian stone seal “A Stone Collected by Xiao Song”(小松所得金石), engraved by Huang Yi. Qing Dynasty. Shanghai Museum 清代乾隆、嘉庆、道光、咸丰四朝，浙派呈现从者如流的盛况。 钱塘印人陈豫钟、 陈鸿寿、赵之琛、钱松被称为“西泠后四家”，是后期浙派的代表人物。后四家以外的浙派诸子印风多接近陈豫钟、陈鸿寿两家，这是嘉道以后浙派传承的一个现象。 In the latter part of the mid-Qing, between Emperor Qian Long’s reign and Emperor Xian Feng’s reign(1851-1861), the Zhejiang school had a big following. Chen Yuzhong, Chen Hongshou, Zhao Zhichen and Qian Song were called the “Latter Four Masters of Xiling,” representing the later period of the Zhejiang school. Apart form the “Latter Four,” other seal engravers tended to be close in style to Chen Yuzhong and Chen Hongshou. This was a phenomenon of the passing on and inheritance of skills in the Zhejiang school after the reigns of Emperor Jia Qing and Emperor Dao Guang. 清，陈豫钟刻“陈豫钟印”四面印，楚石，上海博物馆藏 Four-faced Chu stone “Seal of Chen Yuzhong”(陈豫钟印), engraved by Chen Yuzhong. Qing Dynasty. Shanghai Museum 清，赵之琛刻“洗桐吟馆”,寿山石，上海博物馆藏 Shoushan stone sea “Xi Tong Yin Chamber”(洗桐吟馆), engraved by Zhao Zhichen. Qing dynasty. Shanghai Museum 责任编辑：朱小雨、易晔 您的转发与点赞是对我们工作的最大鼓励！ |
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