急就将军章的写意色彩

发布时间：2018-12-07 17:35

【摘要】：急就将军章是印章百花园中的一朵奇葩,它不同于汉将军章整饬或相对整饬一脉,由于战时匆匆刊凿急于分封任免,其风格类型迥异于大一统的整饬或相对整饬的汉印形式,进而拉开了与汉印的距离。按时间划分,急就将军章肇始于东晋,止于南北朝。文人介入篆刻艺术之始,汉印内涵的多重形式被文人拟定、拾遗。自此,汉印的整饬与相对整饬风格便被视作“印宗秦汉”的范本,而汉代之后急就将军章所释放与承载的艺术属性由于与前者存在本质上的差别而被搁浅。深入理解急就将军章并非易事,该文从写意的“意”出发,紧扣主题,对照汉整饬与相对整饬印风的构成进行分析、解构,从而以此为引拨开急就将军章文字讹变的一面,通透地诠释与滤过出其思想的、人文的以及结构、章法、线条等有益元素。本文的研究方向便基于这种思维并结合历史、文字演变史、印章史等多方面的研究方向而诞生的。文章研究的架构广义较宽,狭义方面则注重东晋、十六国、南北朝之际文字、章法、线条方面的分析,借以展现彼时印工及审美者的审美特征与审美诉求。通过细致的分析理解,使读者清晰地看到有别于汉整饬与相对整饬印风似南辕北辙的审美定位。同时结合文人介入篆刻艺术的发展及其现状,为我们以后的创作提供理论支撑,为“印宗秦汉”注入新的能量,为当代印坛走向繁荣添砖加瓦。
[Abstract]:Hasty General Zhang is a wonderful flower in the hundred gardens of the seal. It is different from the Han General Zhang in rectifying or relatively rectifying a vein. Because of the rush to appoint or remove the letter in the war, its style is very different from the uniform or relatively neat Han Indian style. And then the distance between the Han and India. Divided by time, the General Zhang began in the Eastern Jin Dynasty, ending in the Southern and Northern dynasties. At the beginning of literati's intervention in seal cutting art, the multiple forms of the connotation of Han seal were drawn up and collected by literati. Since then, the style of rectification and relative rectification of Han Dynasty and India has been regarded as the model of "printing of Qin and Han dynasties", and the artistic attributes released and carried by the generals after the Han Dynasty have been stranded because of the essential difference between the former and the former. It is not easy to understand the General Zhang in depth. This article starts from the freehand "will", clings to the theme, and analyzes and deconstructs the composition of the style of the Han Dynasty and the relative rectification, so as to dispel the wrong side of the text of the General Zhang. Fully interpret and filter out its ideas, humanities, as well as the structure, rules, lines and other useful elements. The research direction of this paper is based on this kind of thinking and combines the history, the history of character evolution, the history of seal and so on. The structure of this paper is broad, and the narrow sense focuses on the analysis of the characters, rules and lines of the Eastern Jin, the Sixteen Kingdoms and the Southern and Northern dynasties, so as to show the aesthetic characteristics and the aesthetic demands of the printers and the aestheticians at that time. Through careful analysis and understanding, readers can clearly see the aesthetic orientation which is different from that of the Han Dynasty and the relative rectification. At the same time, combined with the development and present situation of the literati's intervention in seal cutting art, it provides theoretical support for our later creation, injects new energy into the "India of Qin and Han dynasties", and contributes to the prosperity of the contemporary printing world.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.4

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