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印章装饰艺术的新境界（二） New Realm of the Decorative Art of Seals (Part two) 山水画题材进入石章装饰是清代雕刻艺术与文人画相结合的创意。浮雕山水图景结合了绘画的意境与笔法。初期的浮雕笔触明快、空旷，刀法也比较简率。清代早期，浮雕山水作品引入人物或神话故事情节，构图、刀法都达到了精妙的水平。 如无名氏创作的“八仙上寿图”，以寿山田黄石为印材，印体四周的山石古松之间，何仙姑、铁拐李、吕洞宾、汉钟离、张果老、韩湘子、曹国舅、蓝采和等各持宝物，形象栩栩如生。画面虽然丰茂，但整个构图层次分明，繁而不乱，刀法圆熟，代表了清代石章装饰的最高水平。 The introduction of landscape painting for stone seal decoration was a Qing Dynasty creative concept, combining seal cutting art with scholars' painting. Relief landscape scenes were combined with painting and calligraphy. The brush strokes of the early seals in relief were lucid, vivid and open, and the cutting fairly simple. By the early Qing, they began to include human figures or fairy tales, and wonderful heights were reached, both in composition and in cutting skills. For example, in the lifelike “Eight Immortals Drink Toasts to Longevity”(八仙上寿图) seal, an anonymous work in Shoushan's Tianhuang stone, the four sides of the seal body are decorated with rocks and old pine trees, between them appearing the eight immortals- He Xiangu, Li Tieguai, Lii Dongbin, Han Zhongli, Zhang Guolao, Han Xiangzi, Cao Guojiu, and Lan Caihe - each holding a treasure and looking extremely lifelike. Although the picture is luxuriant, the composition as a whole is clearly graduated, achieving abundance without disorder. The cutting is superb, demonstrating the zenith of decorative artistry in stone seals of the Qing Dynasty. 浮雕《八仙上寿图》，寿山田黄冻，清，上海博物馆藏 Shoushan Tianhuang jelly stone seal with decorative relief work Eight Immortals Drink Toasts to Longevity (八仙上寿图). Qing Dynasty. Shanghai Museum 晩清在浮雕基础上创为一种浅浮雕——“薄意”的形式。“薄意”技法入石轻浅，讲究线条的简练、浑脱，重在画意的传达。上海博物馆藏《三友图》以茂密的构图、多层次的景色以及富于变化的线质表现松竹掩映、白云缭绕、猿啼鹿鸣的仙山图景，堪称晩清薄意装饰的绝唱。 In the late Qing, a kind of bas-relief form of decoration called boyi was developed on the basis of relief carving. Boyi implies shallow cutting with alight touch, particular emphasis on succinct and simple lines, and stressing the communication of one's thinking. The Three friends in the Shanghai Museum collection is a luxuriant composition portraying an immortals' land shrouded in white clouds where bamboos and pines enhance the other's beauty, and monkeys and deer call out. With its luxuriant and dense composition, its multi-level graduation of scenery and the quality of its many different lines, this picture can be rated as the acme of late Qing boyi decoration. 薄意《三友图》及拓本，林清卿刻，杜陵，近代，上海博物馆藏 Duling stone seal with a bas-relief work Three friend (三友图) and its rubbing, engraved by Lin Qingqing. Qing Dynasty. Shanghai Museum 线刻的技法也被用于山水题材的创作。清代中期，汪雪礓摹缩的《纪芳图》以流畅匀细的线条刻画了一帧山水人物、楼阁的生动画面，可谓收巨幅子盈寸的艺术佳构。 Line engraving was also used for the creation of landscape subjects. The miniaturized version of landscape and figures (纪芳图) by Wang Xuejiang in the mid-Qing is a vividly carved picture of landscape, figures and pavilions in fluent, even and fine lines. It is a case of shrinking a huge painting onto a one square inch seal. 线刻《纪芳图》，汪雪礓刻，寿山田黄冻，清，上海博物馆藏 Shoushan Tianhuang jelly stone stone seal with a bas-relief work Landscape and figures (纪芳图), engraved by Wang Xuejiang. Qing Dynasty. Shanghai Museum 山水画题材融入印体装饰，并形成了相得益彰的雕刻技法，标志着石章装饰艺术发展到一个新的阶段。 The integration of landscape painting art into seal decoration and the development of new carving techniques mark a new stage in the development of stone seal decorative art. 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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