当新千年的曙光照耀我们这块古老而又充满活力的大地时,审视一下中国当代印坛:韩天衡无疑是一个最具话语内容和审美内涵的存在。 韩天衡篆刻已超越了准艺术性与纯技艺性,成为一个带有现代意义上的印学文化命题。解读韩印,如何开始? 1.血染风采;印学文化的涵养 乘着明月清风,翻开《韩天衡印选》,满目是鲜红的印花,墨黑的边款,阴与阳,刚与柔,给视觉以极大的震撼。《后记》的铅字依然是黑色的,但我的感觉是红色的; 我学篆刻是先付出血的代价的。六岁蒙童,似乎并不明白钢刀的威风,刻印走了刀,大拇指的肉给割开了不小的一片。 这也许就是命运。印花是红的,印人的血也是 When the dawn of the new millennium shines upon our ancient and vibrant land, examine the contemporary Indian print: Han Tianyong is undoubtedly the most discourse content and aesthetic connotation. Han Tian Heng carving has exceeded the quasi-artistic and purely technical, has become a modern sense of the print culture proposition. Interpretation of South Korea and India, how to start? 1. Bloody style; Indian culture and cultural conservation rides the moon breeze, opened the “Han-day Heng Yin election,” everywhere is a bright red printing, black ink, money and yang, just and soft, Visual to great shock. “Postscript” is still black, but my feeling is red; I learned to carve the price of bleeding first. Mongolian six-year-old, does not seem to understand the power of steel knife, marking away the knife, the meat of the thumb to cut a not small piece. This may be fate. Printing is red, Indian blood is too