论文部分内容阅读
在晚清印坛,黄牧甫(1849-1908年)全面继承了皖浙二派的印学精髓,广收博约,将印外求印推到一个前所未有的高度,无论其创作成就,还是对后世的影响,都使其成为晚清印坛的执牛耳者,一代宗师。黄牧甫篆刻用刀犀利劲挺,章法化险为平,平中存奇,外形看似板正,而实则气象万千,波澜恣肆。邓尔雅评其章法为:“尤长于布白,方圆并用,牧甫相衡,参伍错综,变化不可方物”。每方精彩的印中都不乏作者的匠心,这种看似不经意,实则苦心经营的巧思匠心,在表面看来平正板滞的黄牧甫篆刻中更
In the late Qing Dynasty print altar, Huang Mufu (1849-1908) inherited the essence of the Indian School of the second school of Anhui and Zhejiang, broad acceptance, will push India to an unprecedented level, regardless of their creative achievements, or the later Influence, have made it become the late Qing printing altar leader, generation master. Huang Mufu carving knife with a sharp sharp edge, the legal risks for the flat, flat in the strange, the shape looks positive, but in fact the weather, waves unbridled. Deng Erya comment on the chapter of law is: “Especially long in the cloth white, radius and use, animal husbandry, just a balance, the complexity of the reference group, the change is non-square thing.” There are no shortage of ingenuity in each of the author’s ingenuity, this seemingly casual, but painstakingly ingenuity ingenuity, on the surface appears to be flat, Huang Mufu carving more