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番禺屈向邦的《诵清芬室印谱》与上海宣和印社方节盦的《节盦印泥印辑》,是两套近代合刻印谱,共汇集了上世纪三十年代早中期至建国后五十年代初期,在上海活动的近八十位印人作品,其中既有如雷贯耳的大师级人物,也有不少鲜为人知的小名家。将他们重新挖掘出来,即丰富了海上篆刻的欣赏内容,也对当时海上印人的艺术成就、群体构成及师承关系等,有更为深入、完整和直观的认识。
Panyu Qu Xiangbang’s “Recitation of Fenfang Fengyu” and Shanghai Xuanhe Indian Society Festival 盦 “Festival 盦 印泥” ", is a set of two sets of modern Engraving, brought together the early thirties of the last century to the founding of the PRC In the early 1950s, nearly 80 works by Indian artists in Shanghai, including masterpieces of legendary origin and little-known little famous masters. Re-excavated them, that is enriched the appreciation of the marine carving content, but also on the Indian art of the sea at the time, group composition and the relationship between teachers and students, a more in-depth, complete and intuitive understanding.