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晚清流派印风的激荡与回响（三） Remnants of the Late Qing Schools (Part three) 浙宗续焰 浙派篆刻先鸣于世，经清嘉庆年间何元锡、何澍父子和光绪年间傅栻、丁丙先后辑成《西泠四家印谱》、《西泠六家印存》、《西泠四家印谱（附存后四家）》为之揄扬，影响益为广泛。晩清以后浙派传人纷纷活动于周边城市，成为一支与晩明徽州印人群体颇为相似的艺术家队伍。 这一阵营中，谨守法度者以钟以敬、吴隐、叶铭、高时显、丁仁、高时敷为典型，稍变旧体者有王禔、唐源邺、韩登安、吴朴等， 皆是19世纪末至20世纪中期传承浙派印风的名家。 The Lingering Glow of the Zhejiang School The Zhejiang school was the first to develop and gain a reputation. Its influence became widespread after He Yuanxi and his son He Shu in the Jia Qing Reign (1796-1820) compiled the Collection of Seal Imprints of the Four Masters of the Xiling Seal Society, the Collection of Seal Imprints of the Six Masters of the Xiling Seal Society, and Fu Shi and Ding Bing in the Guang Xu Reign (1875-1908) compiled the Collection of Seal Imprints of the Four Masters of the Xiling Seal Society (with Appendix of Extant Seal Imprints of the Latter Four Masters) (西泠四家印谱（附存后四家）). Zhejiang school disciples were active in the cities of the region from the late Qing, forming a contingent of artists very similar to the Huizhou groups in the late Ming. The group included firm Zhejiang school traditionalists (represented by Zhong Yijing, Wu Yin, Ye Ming, Gao Shixian, Ding Ren and Gao Shifu) and those who slightly modified the old tradition (Wang Ti, Tang Yuanye, Han Deng’an, and Wu Pu). All of these were famous masters who continued the Zhejiang tradition in the late-19th to mid-20th century period. 钟以敬刻“蕉绿馆主孙老?之印”，寿山石（1890年），华笃安、毛明芬捐赠， 上海博物馆藏 Shoushan stone “Seal of Sun Lao’e, Owner of Jiao Lü Chamber” (蕉绿馆主孙老?之印), engraved by Zhong Yijing. 1890. Donated by Hua Du’an and Mao Mingfen to Shanghai Museum 吴隐、叶铭、丁仁与王禔为西泠印社创建人。吴隐的篆刻，线条苍古，布局以古玺汉印为准则。叶铭对邓派篆刻有所借鉴，刀法则稍见含和。丁仁又善绘画，书法长于甲骨文体，治印用刀劲健，布局安适，格调高古。 Wu Yin, Ye Ming, Ding Ren and Wang Ti were founders of the Xiling Seal Society. Wu Yin’s engravings are characterized by austere and vigorous lines. His composition was based on the ancient seals of the Han Dynasty. Ye Ming learned somewhat from the Deng Shiru school; his cutting technique was slightly reserved and mild. Ding Ren was also good at painting. His calligraphy was more known for oracle bone inscription style. He was forced well designed, his style elegant and classic. 吴隐刻“西泠印社吴隐藏砖”（1940年） “Brick Collected by Wu Yin of the Xiling Seal Society” (西泠印社吴隐藏砖), engraved by Wu Yin. 1940 叶铭刻“泉唐鹤庐主人”（1897年） “Owner of the Crane Hut of Quantang” (泉唐鹤庐主人), engraved by Ye Ming. 1897 丁仁刻“鹤庐” “Crane Hut “ (鹤庐), engraved by Ding Ren 以王禔为代表的印人群体，在继承浙派质朴简古的刀法和篆法基础上，吸收邓石如派的圆活体势和古玺及宋元朱文形式，以增其雅妍，拓宽了创作手法。运刀灵活变化，形成兼容古拙清劲与隽秀典雅风格的一翼，推陈出新，为浙派印风在新时代的传承注入了活力。 As means of enhancing elegance and beauty and widening their cutting techniques Wang Ti and his group built in the inherited simple and classical cutting and script techniques if the Zhejiang school, but they also assimilated the rounded and lively forms of the Deng Shiru school and of the relied cut characters on ancient and Song and Yuan dynasty seals. With his dexterous and varied us of the knife, Wang Ti developed his style, a combination of primitive simplicity and pure vigor with elegance and beauty, thereby instilling new life into Zhejiang school style in the new age. 王禔刻“宁为直折剑，不作曲全沟” “Rather to be a sword broken for straightness than be bent for a complete hook” (宁为直折剑，不作曲全沟), engraved by Wang Ti 韩登安刻“鄞秦彦冲所藏乡贤手迹” “Scripts of County Worthies Collected by Qin Yanchong from Yin” (鄞秦彦冲所藏乡贤手迹), engraved by Han Deng’an 晚清至近代艺术家和社会受众审美选择趋向多元，亦给艺术市场带来普适标准和不同的品味，促使延绵久长的风格派系自我更新以体现时代精神。 There was an evident tendency toward esthetic pluralism among seal engraving artists and client from the late Qing to modern times, a tendency that brought universal norms and different tasters to the arts market. Leading to the stylistic self-renewal of long-established schools to catch the spirit of the times. 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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