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以前写过一篇《浅论近代刻铜文房的金石学属性》(见《艺术中国》2012年第11期)的文章,谈了对刻铜文房与金石学的肤浅的认识,大概包括三个方面:一、金石学的定义及铜刻的历史;二、陈寅生与金石学;三、民国刻铜文房中的金石学元素。最后得出“刻铜收藏研究应在金石学中占有一席之地”的结论。几年过去了,光阴虚度马齿徒增,认识也没什么深入,再来谈刻铜文房和金石学,也还似老调重弹。但有些心得换个角度说说,意在为感兴趣的藏友提个讨
He previously wrote an article entitled “The Gemmological Attributes of Modern Carved Bronze Works” (see Art China, Issue 11, 2012), which talks about the superficial understanding of the bronze room and the pedestal of gold, probably including Three aspects: First, the definition of petrology and the history of copper engraving; Second, Chen Yinsheng and petrology; Third, the Republic of China engraved bronze room metaphysical elements. Finally draw “engraved copper collection research should have a place in the pedestal ” conclusion. A few years later, the time isted, the understanding of nothing further, then talk about carved bronze studios and stone science, but also seems to be the same old tune. However, some people think differently from another point of view, intended to make a discussion for those who are interested in Tibet