| 摘要: | 在篆刻中篆字、印邊、印石最開始是作為單獨個體存在的，但其形成篆刻作品之後，篆字、印邊與印石本身這三者在本質上已經不再是單獨存在的個體，在筆者看看來促使此三者相融形成一個整體的主要原因正是「意」。此意為人之「意」，是以創作者個體對美的認知為媒介，對印面進行分區，對篆字造型進行精煉，以篆刻刀刻于印石之上，使其初步相融，在於細節處進行修飾，賦予創作者想得到的效果，並通過修飾融入作品的意，將原本零散的篆字、篆邊、印體，結合成為一個整體。那如何去感受所謂的意呢？黃賓虹先生在其畫論之中有言，「中國藝術本是無不相通的。先有金石雕刻，後有絹紙筆墨。書與畫亦是一本同源，理法一貫。」如黃賓虹先生所言中國傳統藝術——書法、繪畫、篆刻，在審美評判之上是具有相通性的。根據“意”的呈現形態，前有唐代張懷瓘以「神」、「妙」、「能」三品評定畫作之等格。之後有唐代朱景玄在《唐朝名畫錄》中在神、妙、能三品外，又提出「逸品」一格。「所分凡神、妙、能、逸四品，神、妙、能又各別上中下三等，而逸品則無等次，蓋尊之也。」而以上所說的「逸」品在筆者看來這是「意」的一種表現形式，《論語•為政》中有言「子曰：君子不器。」，而關於器的定義《易經•系辭》有釋「形而上者謂之道，形而下者謂之器。」創作者不拘泥於印章個體形式而追求對立統一之形而上者，韻味自生，而所生的韻味便為逸品之中的「逸」亦是自然之“意”，是“道”之意。
In seal engraving, the seal character, the seal edge and the seal stone exist as separate individuals at the beginning, but in my opinion, when they form a work, they are no longer separate individuals in essence- The main reason for the integration of the three to form a whole is "Yi", which means intentions and wishes of people in Chinese culture- The Yi is the medium of the creator's individual perception of beauty, by following the steps below, the partitioning of the seal surface, the refinement of the shape of the seal characters, the carving of the seal script on the seal stone by a seal carving knife, and the initial integration of them, the modification of the details to give the creator the desired effect- Finally, with the integration of the modifications, the carvers combine the seal character, the seal edge and the seal stone into a whole, the Yi of the creator is finally expressed- But, how do people feel and comprehend the meaning of Yi in seal engraving works? A modern Chinese painter, Mr- Huang Binhong said in his article on painting, "Chinese art is inextricably linked- First there was gold and stone carving, then there was silk, paper, brush and ink- Calligraphy and painting are also of the same origin, consistent in theories and rules-" As Mr- Huang Binhong said, the traditional Chinese arts - calligraphy, painting and seal carving - have similarities in terms of aesthetic judgments- For examples, in Tang dynasty of ancient China, Zhang Huaiguan had a theory that assessed the quality of paintings in terms of their grades by three names of "Shen Pin", "Miao Pin" and "Neng Pin"- Later, Zhu Jingxuan of the Tang dynasty also made the statement of "Yi Pin" (the homophone of the previous Yi) in his "Record of Famous Paintings of the Tang Dynasty", which in addition to the preceding three grades of Zhang’s- "The four grades of "Shen Pin", "Miao Pin", "Neng Pin", and "Yi Pin" are divided into four categories: "Shen Pin", "Miao Pin ", and "Neng Pin", each of which has its own upper, middle, and lower grades, while "Yi Pin" has no grade, which is also respected" In my opinion, the "Yi" of "Yi Pin" is a form of expression another word of "Yi" (intention)- In book of "Analects of Confucius - for the government", Confucius said that a gentleman should not stick to the means without thinking about the purpose behind it- Another work, I Ching, states a similar truth- If the creator does not stick to the individual form of the seal but pursues the metaphysical unity of opposites, the rhythm and beauty will be appear in works, and the "Yi" of the Yi Pin, which is also the meaning of nature. |
