| 摘要: | 程邃（1607-1692）在篆刻藝術史上具有很高地位，他被後世尊稱為清代徽宗篆刻之祖。而他的影響是巨大的，在他之後的流派印人多受其影響，除了徽宗以外，還有浙宗和如皋印人。他的篆刻風格中既有明代文人篆刻中印宗秦漢的傳統，亦大量援引印外文字來設計篆法，更明顯的表現出書法的意趣。
程邃身處時代鼎革之際，他一方面繼承了晚明高度的印學研究成果，一方面也是推動清初金石學再興的先趨者。本論文將致力於考察明末清初篆刻和金石學的發展關係，透過研究程邃書法、篆刻風格，並參考相關印人、書法家、金石家的藝文活動來明晰晚清「印從書出」和「印外求印」兩大印學理論建立以前的印學發展脈絡。
本論文總共分成四章：第一章，程邃的《焦山鼎銘》考和明末清初的金石學研究狀況。一方面闡述明末到清初的金石學發展背景，一方面藉由程邃幾位友人的金石搜訪活動，來架構出程邃當時可能浸染的金石學風。最後以程邃和友人考證《焦山鼎》一事，來探析程邃和當時文人對於鐘鼎彝器款識研究的涉入程度。第二章，程邃在漢印篆法中的追古與再造。討論當時的漢隸發展，以及程邃的漢隸表現和漢印繆篆間的關係。第三章，程邃的先秦古璽印式摹擬。先探索明末清初對先秦古璽印的概念，繼而釐清程邃「大小篆合一」的風格來源，以及他可能參考的金石資料和相關古文字書，並闡述當時印壇以先秦文字入印的情況。第四章，程邃之後的以書入印和印外求印。以浙宗、徽宗的發展為例，析探程邃以後的印人對明代印論中篆法筆意表現的理論繼承與詮釋。
;Cheng Sui (1607-1692) enjoyed a prestigious status in the history of seal carving art. He has been respectfully named “the father of seal carvingin the years of Emperor Huizong, Qing Dynasty” by later generations. Theimpact he brought is immense. Since his times, most of the seal engravers have been under his influence, such as those of the Huizong, Zhezong and Rugao Schools. His style is inspired by Ming Dynasty’s literati seal carving art,which retain elements of traditional Qing and Han seals. He also drew inspirations from texts other than seal carvings to design his seals, highlighting calligraphic expressions.
An engraver who lived at the turn of a new dynasty, Cheng on the one hand inheritedthe spirit of thehighly developed late-Ming seal carving art. On the other, he was a pioneer in restoring epigraphy studies during the early QingDynasty. By studying Cheng Sui’s calligraphy and seal carving styles, this study examines the relationship between the development of seal carving art and epigraphy studies during the late Ming and early Qing Dynasties. Also, by looking at the related artistic activities carried out by seal engravers, calligraphers and epigraphers of that time, the conditions of the study of seal carving art before the emergence of the two major arguments of the late Qing Dynasty, “seal carvings should derive from calligraphy” and “seal carving artshould be inspired by sources more than seal carvingsalone,” were analyzed.
This study is divided into four chapters. The first chapter looks at Cheng Sui’s The Study of Jiaoshan Cauldron Inscriptions (Jiaoshan Ding Ming Kao) and epigraphy studies in the late Ming and early Qing Dynasties. The conditions of epigraphy studies of that period are discussed in detail. This chapter also investigates Cheng Sui and his friends’ search for historical inscriptions, to try to understand how epigraphy studies might have influenced Cheng Sui. Lastly, by drawing references from Cheng and his friends’ researching the Jiaoshan Cauldron, this chapter analyzes how deeply Cheng Sui and the literati of his times may have been engaged in the study of bells, cauldrons and wine and sacrificial vessels. Chapter Two shows Cheng Sui’s reviewing and re-coining of Han seals. This chapter discusses the development of Han clerical script at the time and the relationship between Cheng Sui’s Han seal expressions and Miuzhuan. Chapter Three is about Cheng Sui’s imitations of historical Qing seals. First, people’s views of historical Qing seals in the late Ming and early Qing Dynasties are explored. The chapter thenreviews the formation of Cheng’s “combination of Large and Small Seal Scripts,” finds the epigraphy literatures and related books on antiquity texts that Cheng might have referred to, and describes how the seal carving community at the time liked to use historical Qing scripts to make seals. Chapter Four presents thecalligraphy-inspired seal carvingsby seal engravers after Cheng Sui’s times, as well as how these engravers drew inspirations from sources other than seal carvings to make seals. Taking the engravers of the Zhezong and Huizong Schools as examples, this chapter examines the perspectives taken by later engravers on the Ming seal expressions. |
