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关注明代中期后的篆刻创作,不免要提及明初的印风。提起明初印风,仍须追溯元代仿汉传统的复兴。较之骤然更替的政治制度,与其同属上层建筑的各种艺术形式,常常不能与之同步,更不可能随历史的改朝换代而出现突变。闻一多在提到唐初文学时曾说:“我们要谈的这五十年,说是唐的头,倒不如是六朝的尾”。~[1]因而,明初的印风自然是元代遗风的延续。元代的赵孟頫、吾衍倡导恢复汉印传统,元季中后期的文人用印,白文仿汉,朱文则有细、粗之分。细朱文印主要表现为对赵孟頫用印的追摹,粗朱文印延续宋代文人用印传统。
Concerned about the Ming Dynasty after the seal cutting creations, inevitably have to mention the Indian style of the early Ming. Mentioning the Indian style in the early Ming Dynasty still needs to trace the revival of the traditional imitation of the Han in the Yuan Dynasty. Compared with the sudden change of the political system, the various forms of art that belong to the same superstructure often can not be synchronized with it and even less likely to change suddenly with the change of history. When Wen Yiduo mentioned the early Tang literature, he said: “The 50 years we are going to talk about are the head of Tang and the tail of the Six Dynasties.” ~ [1] Thus, the print of the early Ming is the continuation of the legacy of the Yuan Dynasty. In the Yuan Dynasty, Zhao Mengfu and Wu Yan advocated the restoration of the traditions of Han and Indian. The fine Zhu Wenyin is mainly manifested as the trace of Zhao Mengfu, the Zhu Wenyin continued the tradition of the literati in the Song Dynasty.