摘要
清初周亮工所撰《赖古堂印人传》四卷,立传六十篇,共述印人七十三名,而父子皆能治印者计有九对,约略占到总数的四分之一;如果父亲是治印名家,在其年老之后,由儿子代为捉刀以满足求印者之需求的情形则很常见。这一现象颇能凸显篆刻艺术"私相传授""子承父业"之特征;不过,"私相传授""子承父业"的特征,同时恰好映照出在时人眼中,篆刻毕竟并非士人正经事业的真实状况。因此,钩沉当时父子印人的艺术身世,常常只能从一些明末清初别集和钤拓印谱等稀见资料着手,以碑传、唱和诗文、印谱序跋、印文及边款内容等文献,窥探印坛薪火相传之路径,或可对晚明时期艺术上古典经典权威之式微、雅俗文化之间的交互和融贯提供新的视角。
According to the Biography of Famous Seal- engravers by Zhou Lianggong,it was common for a son to inherit his father's career to work as a seal- engraver. This shows that seal- engraving was not a decent occupation at that time. We could only pry into the passing of seal- engraving technique from certain scarce materials of late Ming dynasty and early Qing dynasty. This will possibly offer a new perspective into the decline of classic authority in arts and the interaction and integration of secular and refined cultures in late Ming dynasty.
出处
《史林》
CSSCI
北大核心
2015年第6期80-95,40+217,共16页
Historical Review
基金
中国博士后科学基金第56批资助项目(2014M560283)成果
