篆刻艺术的审美（一）
Aesthetics of Engraving Art (Part one)
篆刻是中国印章的自觉艺术形态，但它仍然借助玺印形式来表现，承接古玺印的艺术元素是篆刻技法形成的基本依据。 重视传承是中国古典艺术领域中最为强调的法则。古玺印的形式要素所蕴含的审美范畴是篆刻创作的基本法则，也是存在于民族文化心理之中的审美积淀。秦汉玺印被文人篆刻家奉为经典，学习古人的风格形式是当时篆刻作品的艺术目标之一 。
Seal engraving was a conscious artistic genre. However, it still needed the form of seals for artistic expression. The artistic elements inherited from ancient seals were the foundation on which seal engraving techniques took shape.
The esthetic domain contained in the elements of the ancient seal forms are the basic laws
and principles of artistic seal engraving; they also represented the accumulated esthetic of Chinese cultural psychology. The seals of the Qin and Han dynasties were regarded as classic artworks by scholars. To learn from the styles and forms of the ancient artists was among the artistic aims of seal engraving at that time; carrying forward tradition was the most emphasized principle in Chinese classical art. 丁晓兵妻子
西汉，“皇后之玺”，玉，陕西历史博物馆藏
Jade “Xi of the Empress” (皇后之玺). Western Han Dynasty. Shannxi History Museum
明代晩期篆刻家注重以秦汉篆书为创作的文字规范，同时也汲收金文、战国玺文、隶书、楷书等多种字体，使作品的书法性得到强化。
马克思小说阅读器在构图形式方面，接纳古玺印的多种样式以及贯穿其中的平衡、欹正、虛实、错综、变化等种种美学范畴，形成新的表现风格。
Some late Ming Dynasty seal engravers also focused on drawing from many styles of calligraphy so as to further enhance the calligraphic value of their seals. They drew from
bronze inscriptions and seal inscriptions in the Warring States Period, 强化理论li official script and kai standard script.
In layout and form design, the patterns and forms and also various esthetic categories present in ancient seals, such as the balanced composition, oblique and vertical design, solid and void elements, and complex arrangement of characters were accepted to create new styles of artistic .
清，周芬刻《滕王阁序》
Seal of “Preface to Teng Wang Pavilion” (滕王阁序) engraved by Zhou Fen. Qing Dynasty
对于古玺印的神采，明清时代的篆刻家做出了奇古、典雅、浑穆、含和、清丽、端庄等不同意味的提炼与解读。因此，随着篆刻艺术实践的深入，中国古典的篆刻理论体系在明清时期也逐步形成，印章审美、创作观念、篆刻技法、印史研究等构成了这一 理论的基本内容。
Through refinement and interpretation, seal engravers of the Ming and Qing dynasties def
ined the artistic styles of ancient seals thus: uniqueness; elegance; masculine solemnity, restrained harmony; graceful purity, and composed modesty. Thus the further development of artistic practice gradually gave rise to the classic Chinese seal engraving theory, a system that includes as its basic elements seal appreciation, creative concepts, cutting techniques, and historical research.
信息与电脑
常州技术师范学院明，徐东彦刻“妓逢红拂，客遇虬髯”
Seal of “May I Meet a Concubine like Hong Fu and a Chivalrous Swordsman like Qiu Ran” (妓逢红拂，客遇虬髯) engraved by Xu Dongyan. Ming Dynasty
文人篆刻虽由古玺印的脉络中派生出来，注入文人艺术的新内涵毕竟是其精神本质，从这一意义上说，篆刻又成为中国印章新形态的开始。
Although seal cutting as a literati art grew out of ancient seals, literati seals had the new connotation which was essential for its further development. In this sense, seal cutting represented the start of a new form of Chinese seals.
诸乐三刻“我有我法”（1933年），昌化石，上海博物馆藏
Changhua stone seal “I Follow My Own Rules”(我有我法), engraved by Zhu Lesan 1933. Shanghai Museum
文学性、思想性、情感性的语词成为篆刻文字题材的主体，人文精神的表现更为自由。印面所表达的语言主题本身成为艺术审美的一部分。印章的表义功能与抒情功能得到强化，可以说是篆刻创作更为注重人文含量的表现。
Words of a literary, philosophical and emotional nature are the main content for the text of a seal engraving, and there is greater freedom in the expression of cultural and humanistic spirit. The language theme expressed becomes part of the seal's artistic esthetic. The strengthening of seals' expressive and emotional functions can be seen as demonstrating the emphasis of cultural and humanistic content in creative seal engraving.
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