论文部分内容阅读
清初金石家、书画鉴赏家周亮工论及宋代印学尝言:“此道与声诗同。宋元无诗,至明而诗可继唐;唐宋元无印,至明而印章可继汉。”清人陈克恕所著《篆刻针度》亦延此说。三百年后的傅抱石在《中国篆刻史述略》中有“隋唐以后的朱文印,则面目全非,是以‘诎曲盘回’为主,偏重正齐和对称的”之说。三家论说举此而遗彼,几近偏废。印学盛于秦汉,明清篆刻流派的发展则
Early Qing Dynasty stone home, painting and calligraphy connoisseurs Zhou Liang Gong Song and India impressed: “This road and the sound of the same song. Song without poetry, Ming and poetry can continue to Tang; Tang and Song Yuan no India, to the Ming and seal Can follow the Han. ”“ Qing Ke Chen Shu book ”Needle engraving“ also delayed this. Three hundred years later, Fu Baoshi said in his ”Brief History of Chinese Carving History“ that ”Zhu Wenyin after the Sui and Tang dynasties turned out to be totally different from the original one. Three arguments give the result, almost scrap. Indian in the Qin and Han Dynasties, Ming and Qing Dynasties seal engraving school development then