【双语印章史】篆刻理念的出新与印人群体的重组（三）
篆刻理念的出新与印人群体的重组（三）
New Ideas and New Groupings (Part three)
创作取向在工写之间，风格大多直师古玺印而间有融合晩近名家风格的印人，在近现代印坛上也是一个很大的群体， 但并非风格流派。这一群体无意为师门所囿，在技法与风格取法上表现为比较自由的状态，是构成印坛多元风格的因素之一。
Seal engravers whose creative path ran between the formal and the freehand, whose styles were mostly inspired by ancient seals but with the occasional admixture of modern masters\' influence, formed a group of considerable size in the modern age of seal engraving; however, they did not form schools with distinct styles. Unwilling to be restricted by masters and schools, their techniques and styles express a relatively free situation; this was an important factor for stylistic diversification in the seal engraving world.
王大炘刻“安吉吴昌石、武进赵仲穆、萧山任立凡、吴县王冠山、元和顾鹿笙同勒于汉玉钩室”（1900年）
“Seal jointly engraved in the Hangyugou Study by Wu Changshi of Anji, Zhao Zhongmu of Wujin, Ren Lifan from Xiaoshan, Wang Guangshan of Wu County and Gu Lusheng of Yuanhe” (安吉吴昌石、武进赵仲穆、萧山任立凡、吴县王冠山、元和顾鹿笙同勒于汉玉钩室), engraved by Wang Daxin. 1900
此期的“师古”亦有不同的表现。崇尚再现的观念与融入个性的表现之间形成了风格的距离。
崇尚纯正古法，不涉流派风习的罗振玉 (1866~1940年)、罗福颐 ( 1905~ 1981年) 父子和马公愚 (1893~ 1969年) 等人所事虽有不同，但印法均以追摹古玺印为审美准则，所作气息淳古，浑厚安雅。
Luo Zhenyu (1866-1940), his son Luo Fuyi(1905-1981), and Ma Gongyu(1893-1969) were all supporters of pure old traditions and did not get involved in the styles and usages of the various schools. They worked in different styles, but all imitated ancient seals and regarded ancient styles as their esthetic standard. Their works were simple, vigorous, serene and elegant.
罗福颐刻“甘孺”
“Gan Ru”(甘孺), engraved by Luo Fuyi
童大年刻“返老还童”
“Old Man Rejuvenated”(返老还童), engraved by Tong Danian. 1945
师古印风的另一路表现是以取法古玺汉印风格为门径，确立个人印法的古典基调，而又各从所好，引入不同的金石文字，并对晩清篆刻的形式有所借鉴，以丰富创作手法与艺术内涵 。 这一类型的印人中王大炘 (1869~1924年)、 童大年 (1873~1954年)、张樾丞 (1883~1961年)、秦咢生（1900~1990年）、邹梦禅 (1905~1986年)、钱君旬(1907~1998年) 等人大多以艺术家的身份参与社会活动，而在主张再现古风、讲求法度，不主一派的观念上则大体相同。风格或古朴淳厚，或整饬清雅，皆有不同个性表现。
Another approach to “modeling after the ancient” was to study the styles of the ancient seals as a way of establishing an identifiable personal style, introducing bronze and stone inscriptions that appealed to them, and drawing on late Qing seal engraving forms to enrich the methods of creation and artistic connotations.
Among this group were Wang Daxin (1869-1924),Tong Danian (1873-1954), Zhang Yuecheng (1883-1961), Qin Esheng (1900-1990), Zou Mengchan (1905-1986) andQian Juntao (1907-1998). They mostly took part in the social activities in their artist capacity, broadly embracing the same idea of restoring old traditions and sticking to the norms, not championing one particular school. Their styles were either plain and of primitive simplicity or neat and elegant, each showing individual personality.
秦咢生刻“千秋金石情”
“Eternal friendship”(千秋金石情), engraved by Qin Esheng
邹梦禅刻“鸣际长寿”，青田石，上海博物馆藏（1943年）
Qingtian stone seal “Longevity to Mingji”(鸣际长寿), engraved by Zou Mengchan. 1943. Shanghai Museum
“学者眼界一扩”。在新的基点上再现“真实秦汉”已并非守旧，而认为是“被发明的传统”，与“亦古亦今”和更多强调“我自为法”的创变理念一样，是近现代篆刻家力求个性表现的不同路径。
近现代社会阶层与鉴赏品位的分化使篆刻家风格的多元化获得了兼容。如果对晩明、清中期和晩清印风作一回溯，可以看到取径不一、流派各异的印人通过融汇衍化、 创变构筑了此期的风格群峰，豪放、雄浑、纤秾、绮丽、典雅、含蓄、隽逸等种种品格并呈一时，近现代篆刻艺术的长卷上闪耀着个性解放的辉光。
Expressing the “authentic Qin and Han” again on a new foundation was not regarded as sticking to the old ways, but rather as an “invented tradition,” a creative concept similar to the “both past and present” idea but with greater emphasis on individual autonomy as in “I make my own rules.” It was an alternative path by which modern seal engravers could express their individual character.
The stratification of society and increasingly diverse tastes of connoisseurs resulted in seal engravers becoming stylistically eclectic. Reviewing the seal engraving styles of the late Ming, the middle Qing and the late Qing, we see that the seal engravers who took different paths and belonged to different schools built a chain of stylistic peaks through a process of fusion, evolution and creative change. A multitude of styles flourished at the same time- bold and unrestrained, vigorous and firm, powerful, fine and luxuriant, ornate, refined and elegant, implicit and reserved, expressive and carefree. The long panorama of modern seal engraving art radiated with the glow of liberated personality.
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