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藏真辨伪析毫芒——篆刻作品的鉴定（一） Collecting the Genuine and Discerning the Fake (Part one) 篆刻作品的艺术欣赏价值和经济价值地位受到社会的重视后，伪作便形影相随。朱简在《印经》中称文彭、何震“名倾天下”，一般士人犹艳羡其印作而不可得 。 乾隆四十四年（1779年）出现的一部《文三桥印谱》，所收全是赝品；清嘉庆十二年（1807年），李渡所辑何震《七十二侯印谱》，亦完全出于假托。 乾隆帝于1784年南巡中在杭州赋《题明印四美》诗，记述见到文征明、文彭、何震、甘肠等人遗印，又在所赋《明贤象牙章歌》中称“貂珰但知金玉宝，弃之尚方之敝笥，我偶发现识此物，乃命文臣重排次”，“名章幸得归九重，不然优孟风应炽”，实际上乾隆内府当时所藏的文彭印章皆是时人所作伪物。由此可见，明人遗印在清代中期已被视同拱璧。早年伪仿的文彭、何震石章数量不少，至今仍可见到。 Once society caught on to the appreciation value and economic value of seal works, fakes emerged as sure as night follows day. Zhu Jian, writing in his Classics of Seals, said that after Wen Peng and He Zhen “had their names known everywhere” ordinary scholars all admired their seal works, but could not obtain them. A Collection of Seal Imprints of Wen Sanqiao (文三桥印谱) appeared in 1779, but its contents all turned out to be fakes; in 1807 Li Du compiled He Zhen’s Collection of Seal Imprints of Seventy-Two Marquises (七十二侯印谱) but these also by another’s hand. In Hangzhou during a tour of southern China in 1784, Emperor Qian Long wrote a poem Inscription for the Four Beauteous Ming Dynasty Seals (题明印四美), recording how he had seen seals of Wen Zhengming, Wen Peng, He Zhen and Gan Yang. In another poem Song to the Ivory Seals cut by sages of the Ming Dynasty (明贤象牙章歌), he writes: ”The eunuchs knew only gold and hade imperial seals, and discarded them in the broken basket of an Imperial Manufactories official. I found them by accident and recognized them, so ordered an official to rearrange them in a new order,”and “luckily the famous seals have returned to the Palace, elsewise their imitations should become a vogue.” In fact, the Wen Peng seals in the Palace Treasury at the time were contemporary fakes-evidence that seals made by Ming seal engravers were already regarded as treasures by the middle of the Qing Dynasty. There were numerous fakes of Wen Peng’s and He Zhen’s stone seals, some of which can still be seen today. 《文三桥印谱》，上海博物馆藏 Book of Seal Imprints of Wen Sanqiao (文三桥印谱). Shanghai Museum 康熙至嘉庆年间，丁敬、邓石如等流派宗师名声渐起，伪品相伴而生。当时颇具实力的汪启淑，收入《飞鸿堂印谱》亦不免赝鼎。 汪启淑所收只是存在部分伪品，光绪初年秦祖永辑《七家印跋》则成为篆刻史上作伪的又一突出记录，此书收入丁敬等7人边款文字232则，魏稼孙指其乃“妄人所为”（《砚林印款·书记》）。经校勘秦氏《印跋》所据原本，可以确定其中大多出自一人伪造。 During the period from Emperor Kang Xi to Emperor Jia Qing, as the masters Ding Jing and Deng Shiru, and their respective schools gradually became knows, fake products emerged in tandem. Even the expert Wang Qishu could not avoid art forgery when compiling the Collection of Seal Imprints of Fei Hong Studio (飞鸿堂印谱). The fakes that deceived Wang Qishu were only part of the whole fakery picture. The postscript to the Seals of Seven Masters (七家印跋) compiled by Qin Zuyong in the early years of the Qing Emperor Guang Xu’s reign is another egregious monument to seal engraving forgery. The book contains 232 side inscriptions by Ding Jing and six other masters. Wei Jiasun condemned it as “a product of an impudent person.” (Postscript of Side Inscriptions in the Ink Slab Woods) . After comparison with the original edition of Qin’s Postscript to the Seals of Seven Masters, it can be confirmed that most of them were forged by a single hand. ”伪仿陈鸿寿“小红低唱我吹箫”，《七家印跋》辑入 Fake version of Chen Hongshou’s “Xiaohong sings low, as I play the xiao flute (小红低唱我吹箫). Included in Postscript to the Seals of Seven Masters (七家印跋) 晩清伪造名家篆刻与古玺印作伪虽非来自同一渠道，但其数量已呈比翼之势。从此期作伪的若干实例中可了解赝品的一般特点: 伪仿何震
“志在名山诗酒”（图a）此印边款移自真品“笑谈间气吐霓虹” （图b）印而略去了若干字。印文笔画光滑，与何震犀利劲拔的刀法相左。边款文字结体虽然刻意摹仿但形神皆散，是一方利用明代旧青田石制作的伪品。 Fake seals said to be engraved by renowned hands and imitations of ancient seals were numerous in the late Qing Dynasty. Following examples may demonstrate their general characteristics: Fake of He Zhen' Seal “Resolve to Recite Poems with Wine in Famous Mountains”(志在名山诗酒) (Fig. a) This side inscription was transferred from the genuine piece“Great Aspiration Revealed Amidst Talks and Laughers”(笑谈间气吐霓虹) (Fig. b), but some characters were omitted. The strokes of the seal inscriptions are smooth, unlike Hu Zhen's sharp and vigorous cutting. The side inscription text is sedulously imitated, but the form and the look seem disconnected. It is a fake made from Ming Dynasty old Qingtian stone. a. 伪仿何震“志在名山诗酒”，百螺斋所藏资料 b. 明，何震刻“笑谈间气吐霓虹”，石，上海博物馆藏 a. Fake version of He Zhen's seal“Resolve to Recite Poems with Wine in Famous Mountains”(志在名山诗酒). Bai Luo Studio (Fig. a) b. Stone seal “Great Aspiration Revealed amidst, Talks and Laughters”(笑谈间气吐霓虹), engraved by He Zhen. Ming Dynasty Shanghai Museum (Fig. b) 伪仿丁敬
“玉池山房”在何元锡本《西泠四家印谱》中收入丁敬同文印一方，但印面大小不同。大印文字类于丁敬风格，线条细微起伏，但与出自丁敬切刀法的自然涩势颇有不同，而这一特征正是丁敬作品的典型表现。再比较大印的边款，与《西泠四家印谱》中所收作品亦不同，乃是从丁敬的“陈鸿宾印”处移来。可见这是一件采用移花接木的手法拼凑而成的伪作。 Fake of DingJing's Seal “Mountain House by Jade Pond”(玉池山房) (Fig. a) A seal with the same characters of the“Seal of Ding Jing”appears in He Yuanxi's Collection of Seal Imprints of the Four Masters of the Xiling Seal Society (西冷四家印谱), but with a smaller size impression face. (Fig. b) The characters of the bigger seal are similar to DingJing's style, and the lines rise and fall slightly. However, they are quite different from Ding Jing's natural and rough chopping cuts, a hallmark feature of Ding Jing's works. The side inscription on the bigger seal is also different from that in He Yuanxi's compilation, and has been grafted from the “Seal of Chen Hongbin” (陈鸿宾印) (Fig. c). Evidently this is a forgery made by grafting one twig on to a “host tree.” a. 伪仿丁敬“玉池山房”印文及边款 b. 何元锡本《西泠四家印谱》辑录的“玉池山房”印文及边款 c. 丁敬刻“陈鸿宾印”及边款 a. Imprint and side inscription, fake version of Ding Jing's seal “Mountain House by Jade Pond”(玉池山房) (Fig. a) b. Imprint and side inscription of“Mountain House by Jade Pond” included in He Yuanxi's Collection of Seal Imprints of the Four Masters of the Xiling Seal Society (西泠四家印谱) (Fig. b) c. “Seal of Chen Hongbin” (陈鸿宾印), and its side inscriptions (Fig. c) 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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