|
印章裝飾藝術(shù)的新境界（二） New Realm of the Decorative Art of Seals (Part two) 山水畫題材進入石章裝飾是清代雕刻藝術(shù)與文人畫相結(jié)合的創(chuàng)意。浮雕山水圖景結(jié)合了繪畫的意境與筆法,。初期的浮雕筆觸明快,、空曠，刀法也比較簡率,。清代早期,，浮雕山水作品引入人物或神話故事情節(jié)，構(gòu)圖,、刀法都達到了精妙的水平,。 如無名氏創(chuàng)作的“八仙上壽圖”，以壽山田黃石為印材,，印體四周的山石古松之間,，何仙姑,、鐵拐李、呂洞賓,、漢鐘離,、張果老、韓湘子,、曹國舅,、藍采和等各持寶物，形象栩栩如生,。畫面雖然豐茂,，但整個構(gòu)圖層次分明，繁而不亂,，刀法圓熟,，代表了清代石章裝飾的最高水平。 The introduction of landscape painting for stone seal decoration was a Qing Dynasty creative concept, combining seal cutting art with scholars' painting. Relief landscape scenes were combined with painting and calligraphy. The brush strokes of the early seals in relief were lucid, vivid and open, and the cutting fairly simple. By the early Qing, they began to include human figures or fairy tales, and wonderful heights were reached, both in composition and in cutting skills. For example, in the lifelike “Eight Immortals Drink Toasts to Longevity”(八仙上壽圖) seal, an anonymous work in Shoushan's Tianhuang stone, the four sides of the seal body are decorated with rocks and old pine trees, between them appearing the eight immortals- He Xiangu, Li Tieguai, Lii Dongbin, Han Zhongli, Zhang Guolao, Han Xiangzi, Cao Guojiu, and Lan Caihe - each holding a treasure and looking extremely lifelike. Although the picture is luxuriant, the composition as a whole is clearly graduated, achieving abundance without disorder. The cutting is superb, demonstrating the zenith of decorative artistry in stone seals of the Qing Dynasty. 浮雕《八仙上壽圖》,，壽山田黃凍,，清，上海博物館藏 Shoushan Tianhuang jelly stone seal with decorative relief work Eight Immortals Drink Toasts to Longevity (八仙上壽圖). Qing Dynasty. Shanghai Museum 晩清在浮雕基礎上創(chuàng)為一種淺浮雕——“薄意”的形式,?！氨∫狻奔挤ㄈ胧p淺，講究線條的簡練,、渾脫,，重在畫意的傳達。上海博物館藏《三友圖》以茂密的構(gòu)圖,、多層次的景色以及富于變化的線質(zhì)表現(xiàn)松竹掩映,、白云繚繞、猿啼鹿鳴的仙山圖景,，堪稱晩清薄意裝飾的絕唱,。 In the late Qing, a kind of bas-relief form of decoration called boyi was developed on the basis of relief carving. Boyi implies shallow cutting with alight touch, particular emphasis on succinct and simple lines, and stressing the communication of one's thinking. The Three friends in the Shanghai Museum collection is a luxuriant composition portraying an immortals' land shrouded in white clouds where bamboos and pines enhance the other's beauty, and monkeys and deer call out. With its luxuriant and dense composition, its multi-level graduation of scenery and the quality of its many different lines, this picture can be rated as the acme of late Qing boyi decoration. 薄意《三友圖》及拓本，林清卿刻,，杜陵,，近代，上海博物館藏 Duling stone seal with a bas-relief work Three friend (三友圖) and its rubbing, engraved by Lin Qingqing. Qing Dynasty. Shanghai Museum 線刻的技法也被用于山水題材的創(chuàng)作,。清代中期,，汪雪礓摹縮的《紀芳圖》以流暢勻細的線條刻畫了一幀山水人物、樓閣的生動畫面,，可謂收巨幅子盈寸的藝術(shù)佳構(gòu),。 Line engraving was also used for the creation of landscape subjects. The miniaturized version of landscape and figures (紀芳圖) by Wang Xuejiang in the mid-Qing is a vividly carved picture of landscape, figures and pavilions in fluent, even and fine lines. It is a case of shrinking a huge painting onto a one square inch seal. 線刻《紀芳圖》，汪雪礓刻,，壽山田黃凍,，清,，上海博物館藏 Shoushan Tianhuang jelly stone stone seal with a bas-relief work Landscape and figures (紀芳圖), engraved by Wang Xuejiang. Qing Dynasty. Shanghai Museum 山水畫題材融入印體裝飾，并形成了相得益彰的雕刻技法,，標志著石章裝飾藝術(shù)發(fā)展到一個新的階段,。 The integration of landscape painting art into seal decoration and the development of new carving techniques mark a new stage in the development of stone seal decorative art. 責任編輯：朱小雨、易曄 您的轉(zhuǎn)發(fā)與點贊是對我們工作的最大鼓勵,！ |
|
|
