本校學位論文庫
CITYU Theses & Dissertations
論文詳情
张怡如
謝聖明
創新設計學院
藝術學碩士學位課程(中文學制)
碩士
鄧石如“以書入印”思想的接受 : 以吳昌碩, 吳讓 之, 趙之謙為例
The Acceptance of Deng Shiru's Idea of "Using Books as Seals" : Taking Wu Changshuo,Wu Rangzhi and Zhao Zhiqian as Examples
鄧石如 ; 以書入印 ; 吳讓之 ; 趙之謙 ; 吳昌碩
Deng Shiru ; Book into printing ; Wu Rangzhi ; Zhao Zhiqian ; Wu Changshuo
公開日期：4/6/2028
清代篆刻家鄧石如提出的“以書入印”思想是中國篆刻藝術史上的重要革新。鄧石如突破了傳統篆刻“印中求印”的局限，將書法筆意與篆刻技法深度融合，開創了“印從書出”的新理念。其理論的形成與清代中期印石材料的革新、金石學的興盛以及文人篆刻的發展密切相關。鄧石如的篆刻風格經歷了從“方正典雅”到“圓轉飄逸”，再到“蒼樸率意”的演變，體現了其對書法與篆刻結合的不斷探索與深化。然而，前人對鄧石如“以書入印”思想的研究多以單人舉例，或僅從文獻到文獻、篆刻到篆刻的角度進行分析，缺乏綜合性和立體性。因此，本文選擇從鄧石如及吳讓之、趙之謙、吳昌碩三位篆刻大家的文獻、篆刻作品、題跋入手，結合圖像分析，運用文獻學、社會學和圖像學等研究方法，全面探討“以書入印”思想的接受、轉化與歷史迴響。
吳讓之、趙之謙、吳昌碩三位藝術家對鄧石如“以書入印”思想的繼承與發展，展現了清代篆刻藝術的多元演進。吳讓之通過體系化繼承，完善了鄧氏刀法與章法，強調“篆法即印法，刀法即筆法”，在白文印中融入隸書筆意，使印面在嚴謹中見靈動，其晚年作品以“無法之法”深化了鄧氏“用我法”的自由精神。吳昌碩則以金石寫意拓展了“書印同源”的美學維度，將《石鼓文》筆意融入篆刻，創造出“金石篆法”，並通過殘破、並筆等手法重構印面節奏，賦予篆刻以蒼茫渾穆的現代意趣。趙之謙提出“印外求印”理念，突破傳統取法邊界，在邊款藝術中引入魏碑與圖像元素，推動篆刻的多元化發展。他們的實踐不僅延續了鄧石如的核心思想，還通過個性化探索賦予其新的時代內涵，共同構建了清代篆刻從“印中求印”到“印外求印”的演進脈絡。
鄧石如“以書入印”思想及其傳承與發展，對近現代篆刻藝術產生了深遠影響。這一思想強調篆刻藝術風格來源於書法，篆刻與書法相互作用，為篆刻藝術注入了新的活力。吳讓之、吳昌碩、趙之謙三位藝術家的探索，不僅推動了篆刻藝術從古典技法向現代美學的轉型，還為近現代篆刻的“金石氣”“寫意性”與“跨界融合”奠定了美學基礎。這一思想及其傳承至今仍對書法與篆刻研究具有重要的學術價值和創新意義，為當代書印創作提供了豐富的思想資源和實踐範例，激勵著藝術家們在繼承傳統的基礎上不斷創新，書寫出屬於新時代的篆刻藝術篇章。
吳讓之、趙之謙、吳昌碩三位藝術家對鄧石如“以書入印”思想的繼承與發展，展現了清代篆刻藝術的多元演進。吳讓之通過體系化繼承，完善了鄧氏刀法與章法，強調“篆法即印法，刀法即筆法”，在白文印中融入隸書筆意，使印面在嚴謹中見靈動，其晚年作品以“無法之法”深化了鄧氏“用我法”的自由精神。吳昌碩則以金石寫意拓展了“書印同源”的美學維度，將《石鼓文》筆意融入篆刻，創造出“金石篆法”，並通過殘破、並筆等手法重構印面節奏，賦予篆刻以蒼茫渾穆的現代意趣。趙之謙提出“印外求印”理念，突破傳統取法邊界，在邊款藝術中引入魏碑與圖像元素，推動篆刻的多元化發展。他們的實踐不僅延續了鄧石如的核心思想，還通過個性化探索賦予其新的時代內涵，共同構建了清代篆刻從“印中求印”到“印外求印”的演進脈絡。
鄧石如“以書入印”思想及其傳承與發展，對近現代篆刻藝術產生了深遠影響。這一思想強調篆刻藝術風格來源於書法，篆刻與書法相互作用，為篆刻藝術注入了新的活力。吳讓之、吳昌碩、趙之謙三位藝術家的探索，不僅推動了篆刻藝術從古典技法向現代美學的轉型，還為近現代篆刻的“金石氣”“寫意性”與“跨界融合”奠定了美學基礎。這一思想及其傳承至今仍對書法與篆刻研究具有重要的學術價值和創新意義，為當代書印創作提供了豐富的思想資源和實踐範例，激勵著藝術家們在繼承傳統的基礎上不斷創新，書寫出屬於新時代的篆刻藝術篇章。
The idea of "integrating calligraphy into seal engraving" proposed by the Qing Dynasty seal engraver Deng Shiru was a significant innovation in the history of Chinese seal engraving art. Deng Shiru broke through the limitation of the traditional seal engraving concept of "seeking seals within seals", deeply integrating the brushwork of calligraphy with the techniques of seal engraving, and initiated the new concept of "seals derived from calligraphy". The formation of his theory was closely related to the innovation of seal stone materials in the mid-Qing Dynasty, the flourishing of epigraphy, and the development of literati seal engraving. Deng Shiru's seal engraving style evolved from "square and elegant" to "round and graceful", and then to "rough and spontaneous", reflecting his continuous exploration and deepening of the combination of calligraphy and seal engraving. However, previous studies on Deng Shiru's "integrating calligraphy into seal engraving" idea mostly focused on individual examples or analyzed it merely from the perspective of literature to literature and seal engraving to seal engraving, lacking comprehensiveness and three-dimensionality.Therefore, this article chooses to start from the literature, seal engraving works, and inscriptions of Deng Shiru and the three seal engraving masters Wu Rangzhi, Zhao Zhiqian, and Wu Changshuo, combines image analysis, and employs research methods such as philology, sociology, and iconography to comprehensively explore the acceptance, transformation, and historical echoes of the "integrating calligraphy into seal engraving" idea.
The inheritance and development of Deng Shiru's "integrating calligraphy into seal engraving" idea by Wu Rangzhi, Zhao Zhiqian, and Wu Changshuo demonstrated the diverse evolution of Qing Dynasty seal engraving art. Wu Rangzhi systematically inherited Deng Shiru's style, refined his knife techniques and composition, emphasized that "seal script is the method of seal engraving, and knife technique is the method of brushwork", and incorporated the brushwork of clerical script into white seal engraving, making the seal surface rigorous yet dynamic. His later works deepened Deng Shiru's "use my own method" spirit of freedom with "the method of no method". Wu Changshuo expanded the aesthetic dimension of "seals and calligraphy sharing the same origin" through the freehand style of metal and stone, incorporated the brushwork of the Stone Drum Script into seal engraving, created "metal and stone seal script", and reconstructed the rhythm of the seal surface through techniques such as chipping and parallel strokes, endowing seal engraving with a modern interest of vastness and solemnity. Zhao Zhiqian proposed the idea of "seeking seals outside of seals", broke through the traditional boundaries of source seeking, and introduced elements of Northern Wei steles and images into the art of side inscriptions, promoting the diversified development of seal engraving. Their practices not only continued Deng Shiru's core ideas but also endowed them with new contemporary connotations through individualized exploration, jointly constructing the evolution of Qing Dynasty seal engraving from "seeking seals within seals" to "seeking seals outside of seals".
Deng Shiru's "integrating calligraphy into seal engraving" idea and its inheritance and development have had a profound impact on modern and contemporary seal engraving art. This idea emphasizes that the style of seal engraving art originates from calligraphy, and that seal engraving and calligraphy interact with each other, injecting new vitality into seal engraving art. The explorations of Wu Rangzhi, Wu Changshuo, and Zhao Zhiqian not only promoted the transformation of seal engraving art from classical techniques to modern aesthetics but also laid the aesthetic foundation for the "metal and stone quality", "freehand style", and "cross-border integration" of modern and contemporary seal engraving. This idea and its inheritance still hold significant academic value and innovative significance for the study of calligraphy and seal engraving today, providing rich ideological resources and practical examples for contemporary seal and calligraphy creation, inspiring artists to continuously innovate on the basis of inheriting traditions and writing new chapters of seal engraving art in the new era.
The inheritance and development of Deng Shiru's "integrating calligraphy into seal engraving" idea by Wu Rangzhi, Zhao Zhiqian, and Wu Changshuo demonstrated the diverse evolution of Qing Dynasty seal engraving art. Wu Rangzhi systematically inherited Deng Shiru's style, refined his knife techniques and composition, emphasized that "seal script is the method of seal engraving, and knife technique is the method of brushwork", and incorporated the brushwork of clerical script into white seal engraving, making the seal surface rigorous yet dynamic. His later works deepened Deng Shiru's "use my own method" spirit of freedom with "the method of no method". Wu Changshuo expanded the aesthetic dimension of "seals and calligraphy sharing the same origin" through the freehand style of metal and stone, incorporated the brushwork of the Stone Drum Script into seal engraving, created "metal and stone seal script", and reconstructed the rhythm of the seal surface through techniques such as chipping and parallel strokes, endowing seal engraving with a modern interest of vastness and solemnity. Zhao Zhiqian proposed the idea of "seeking seals outside of seals", broke through the traditional boundaries of source seeking, and introduced elements of Northern Wei steles and images into the art of side inscriptions, promoting the diversified development of seal engraving. Their practices not only continued Deng Shiru's core ideas but also endowed them with new contemporary connotations through individualized exploration, jointly constructing the evolution of Qing Dynasty seal engraving from "seeking seals within seals" to "seeking seals outside of seals".
Deng Shiru's "integrating calligraphy into seal engraving" idea and its inheritance and development have had a profound impact on modern and contemporary seal engraving art. This idea emphasizes that the style of seal engraving art originates from calligraphy, and that seal engraving and calligraphy interact with each other, injecting new vitality into seal engraving art. The explorations of Wu Rangzhi, Wu Changshuo, and Zhao Zhiqian not only promoted the transformation of seal engraving art from classical techniques to modern aesthetics but also laid the aesthetic foundation for the "metal and stone quality", "freehand style", and "cross-border integration" of modern and contemporary seal engraving. This idea and its inheritance still hold significant academic value and innovative significance for the study of calligraphy and seal engraving today, providing rich ideological resources and practical examples for contemporary seal and calligraphy creation, inspiring artists to continuously innovate on the basis of inheriting traditions and writing new chapters of seal engraving art in the new era.
2025
中文
46
答辯委員審議通過表 I
論文原創聲明 II
Declaration II
致 謝 3
摘 要 4
Abstract 6
目 錄 9
第一章 緒論 1
1.1選題背景及意義 1
1.1.1選題背景 1
1.1.2選題意義 2
1.2研究現狀分析 3
1.3研究方法 6
第二章 鄧石如生平與藝術交遊 7
2.1鄧石如生平概述與藝術交遊 8
2.1.1鄧石如的生平概述 8
2.2鄧石如的藝術交遊 15
2.3吳昌碩、吳讓之的傳承與趙之謙的突破 15
第三章 鄧石如「印從書出」印學理念的生成及風格分期 17
3.1“印從書出”理論形成的背景與契機 17
3.1.1印石材料的革新 17
3.1.2印從書出”理論形成的背景與契機 18
3.1.3金石學的興盛 19
3.1.4鄧石如書法、篆刻取法視野的開闊 19
3.1.5“印從書出”理念的提出及影響 21
3.2鄧石如書法在篆刻中的實踐——"以書入印"的技法體現 21
3.2.1篆法：碑帖融通，書篆互化 21
3.2.2字法：筆勢鑄形，破局生韻 22
3.2.3章法：書理為綱，印面如章 22
3.2.4刀法：書痕入石，刀筆同構 23
3.3鄧石如“印從書出”風格成因 23
第四章 吳昌碩、吳讓之對鄧石如「以書入印」的思想繼承 26
4.1吳昌碩金石寫意——“境生象外”的印格昇華 27
4.2書印同源——吳昌碩從“古制”到“今妍”的印格昇華 30
4.2.1石鼓文的“古質”解構 30
4.2.2金石化改造的終極形態：殘缺美學與風格成熟 32
4.3成古開新——吳讓之對鄧石如書印同源的體系化繼承 34
4.4筆意入石——吳讓之對“以書入印”的技法突破與審美重構 37
第五章 承襲與突破——“以書入印”思想的接受、轉化與歷史迴響 42
5.1客居京師——趙之謙金石趣味的確立與精神歸依 42
5.2印外求印——趙之謙對‘以書入印’的跨界擴展與重塑 44
5.3款識新貌——趙之謙邊款藝術的革新與印學理念的踐行 49
5.4歷史迴響——“以書入印”思想的轉化路徑及其藝術影響 52
參考文獻 44
作者簡歷 45
附 錄 46
論文原創聲明 II
Declaration II
致 謝 3
摘 要 4
Abstract 6
目 錄 9
第一章 緒論 1
1.1選題背景及意義 1
1.1.1選題背景 1
1.1.2選題意義 2
1.2研究現狀分析 3
1.3研究方法 6
第二章 鄧石如生平與藝術交遊 7
2.1鄧石如生平概述與藝術交遊 8
2.1.1鄧石如的生平概述 8
2.2鄧石如的藝術交遊 15
2.3吳昌碩、吳讓之的傳承與趙之謙的突破 15
第三章 鄧石如「印從書出」印學理念的生成及風格分期 17
3.1“印從書出”理論形成的背景與契機 17
3.1.1印石材料的革新 17
3.1.2印從書出”理論形成的背景與契機 18
3.1.3金石學的興盛 19
3.1.4鄧石如書法、篆刻取法視野的開闊 19
3.1.5“印從書出”理念的提出及影響 21
3.2鄧石如書法在篆刻中的實踐——"以書入印"的技法體現 21
3.2.1篆法：碑帖融通，書篆互化 21
3.2.2字法：筆勢鑄形，破局生韻 22
3.2.3章法：書理為綱，印面如章 22
3.2.4刀法：書痕入石，刀筆同構 23
3.3鄧石如“印從書出”風格成因 23
第四章 吳昌碩、吳讓之對鄧石如「以書入印」的思想繼承 26
4.1吳昌碩金石寫意——“境生象外”的印格昇華 27
4.2書印同源——吳昌碩從“古制”到“今妍”的印格昇華 30
4.2.1石鼓文的“古質”解構 30
4.2.2金石化改造的終極形態：殘缺美學與風格成熟 32
4.3成古開新——吳讓之對鄧石如書印同源的體系化繼承 34
4.4筆意入石——吳讓之對“以書入印”的技法突破與審美重構 37
第五章 承襲與突破——“以書入印”思想的接受、轉化與歷史迴響 42
5.1客居京師——趙之謙金石趣味的確立與精神歸依 42
5.2印外求印——趙之謙對‘以書入印’的跨界擴展與重塑 44
5.3款識新貌——趙之謙邊款藝術的革新與印學理念的踐行 49
5.4歷史迴響——“以書入印”思想的轉化路徑及其藝術影響 52
參考文獻 44
作者簡歷 45
附 錄 46
1. 安慶鄧石如書院. (2003). 《鄧石如研究》第一期.
2. 方紹武. (1990). 《鄧石如書法集》, 安徽. 黃山書社.
3. 傅愛國. (1996). 《鄧石如論》, 《書法研究》(06).
4. 馬國權. (1998). 《近代印人傳》, 上海. 上海書畫出版社.
5. 穆孝天. (1984). 《鄧石如書法篆刻藝術》, 安徽. 安徽美術出版社.
6. 穆孝天. (1988). 《鄧石如研究資料》, 北京. 人民美術出版社.
7. 穆孝天. (1991). 《鄧石如書法藝術》, 北京. 人民美術出版社.
8. 沙孟海. (1987). 《印學史》, 杭州. 西泠印社出版社.
9. 吳光榮. (1989). 《歷代名人印譜》, 上海. 上海書店出版社.
10. 吾丘衍. (1999). 《學古編》《歷代印學論文選》, 浙江. 西泠印社出版社.
11. 孫昕雯. (1982). 吳昌碩中晚年治印, 《故宮博物院院刊》(01).
12. 孫慰祖 & 俞豐. (2001). 《印裡求印--明清名家篆刻叢談》, 上海; 上海書店出版社.
13. 韓天衡. (1993). 《中國印學年表》, 上海. 上海書店出版社.
14. 韓天衡. (1999). 《歷代印學論文選》, 杭州. 西泠印社出版社.
15. 黃惇. (1994). 《中國古代印論史》, 上海. 上海書畫出版社.
16. 黃惇. (1984). 《論”印從書出”、”印外求印”-兼談書法對印章藝術的影響》, 《南京藝術學院學報(美術與設計版)》.
17. 黃賓虹. (1986). 《美術叢書》, 南京. 江蘇古籍出版社.
18. 黃秀英, 秦金根. (2009). 《從鄧石如的遊學與交誼看其書風的形成和影響》, 《書畫世界》(09).
19. 胡長春, 吳勁松. (2010). 《鄧石如書學師從考論》, 《學術界》年第 7 期.
20. 梁巘. (1984). 《承晉齋積聞錄·裴印本序》, 上海. 上海書畫出版社.
21. 周亮工. (2014). 《印人傳合集》, 浙江. 浙江人民美術出版社.
22. 中國書法家協會安徽分會. (1983). 《鄧石如研究叢刊》第一輯.
23. 中國書法家協會安徽分會. (1985). 《鄧石如研究叢刊》第二輯.
24. 朱培爾. (1997). 《試論清代中葉篆刻藝術崛起的標誌(上、下)》, 《中國篆刻》(01).
25. 朱琪. (2014). 吳昌碩對近代印壇的影響, 《中國書法》(23).
2. 方紹武. (1990). 《鄧石如書法集》, 安徽. 黃山書社.
3. 傅愛國. (1996). 《鄧石如論》, 《書法研究》(06).
4. 馬國權. (1998). 《近代印人傳》, 上海. 上海書畫出版社.
5. 穆孝天. (1984). 《鄧石如書法篆刻藝術》, 安徽. 安徽美術出版社.
6. 穆孝天. (1988). 《鄧石如研究資料》, 北京. 人民美術出版社.
7. 穆孝天. (1991). 《鄧石如書法藝術》, 北京. 人民美術出版社.
8. 沙孟海. (1987). 《印學史》, 杭州. 西泠印社出版社.
9. 吳光榮. (1989). 《歷代名人印譜》, 上海. 上海書店出版社.
10. 吾丘衍. (1999). 《學古編》《歷代印學論文選》, 浙江. 西泠印社出版社.
11. 孫昕雯. (1982). 吳昌碩中晚年治印, 《故宮博物院院刊》(01).
12. 孫慰祖 & 俞豐. (2001). 《印裡求印--明清名家篆刻叢談》, 上海; 上海書店出版社.
13. 韓天衡. (1993). 《中國印學年表》, 上海. 上海書店出版社.
14. 韓天衡. (1999). 《歷代印學論文選》, 杭州. 西泠印社出版社.
15. 黃惇. (1994). 《中國古代印論史》, 上海. 上海書畫出版社.
16. 黃惇. (1984). 《論”印從書出”、”印外求印”-兼談書法對印章藝術的影響》, 《南京藝術學院學報(美術與設計版)》.
17. 黃賓虹. (1986). 《美術叢書》, 南京. 江蘇古籍出版社.
18. 黃秀英, 秦金根. (2009). 《從鄧石如的遊學與交誼看其書風的形成和影響》, 《書畫世界》(09).
19. 胡長春, 吳勁松. (2010). 《鄧石如書學師從考論》, 《學術界》年第 7 期.
20. 梁巘. (1984). 《承晉齋積聞錄·裴印本序》, 上海. 上海書畫出版社.
21. 周亮工. (2014). 《印人傳合集》, 浙江. 浙江人民美術出版社.
22. 中國書法家協會安徽分會. (1983). 《鄧石如研究叢刊》第一輯.
23. 中國書法家協會安徽分會. (1985). 《鄧石如研究叢刊》第二輯.
24. 朱培爾. (1997). 《試論清代中葉篆刻藝術崛起的標誌(上、下)》, 《中國篆刻》(01).
25. 朱琪. (2014). 吳昌碩對近代印壇的影響, 《中國書法》(23).
