【作者】 顾琴；

【导师】 阮荣春；

【作者基本信息】 上海大学 ， 美术学， 2011， 博士

【摘要】 有海派绘画、海派书法研究而无海派篆刻研究,本文就是填补这一课题而做的开拓性、原创性研究。本文是围绕着海派篆刻崛起的原因、存在的依据以及它的商业性格、文化性格及艺术风格依次展开的。海派篆刻的崛起是由于开埠带来的商业繁荣,战乱带来了大批的文化移民,外部新环境使文化移民形成新的文化-----心理结构导致一个篆刻流派的诞生。海派篆刻的商业性格,源于艺术品市场的形成,艺术商品市场促进篆刻创作的发展与多元,而市场多种运行方式又刺激润例的出现。海派篆刻因言利而生发达,又因讲利而使篆刻走向世俗,甚至庸俗。一些印人在经济浪潮中向世俗倾斜,导致篆刻创作主体性的缺少,故海派篆刻的艺术形态走向世俗不可避免。同时,处在全国文化中心的海派篆刻,因感受中西文化的最新成果而充满活力。此外,海派篆刻的印学研究也呈多元文化状态:其中既有沙孟海式的新印学研究构建,即研究视角“新”;亦有邓散木这种向篆刻学科建设方向发展的“广”,具有平民性;更有黄宾虹玺印研究的“深”。这三种层面的学术研究动向,代表了民国海派篆刻的不同文化层次。海派篆刻的最大亮点是艺术风格的创新与风格多样。本文选择不同的印人代表作个案研究,他们分别是吴昌硕、赵时棡、王福厂、简经纶、钱瘦铁、来楚生和韩天衡。本文运用社会学、经济学、文化学及风格学的多重视角观照海派篆刻的兴衰。视角新、材料丰富而详实,故是理解海派篆刻由来、海派篆刻风格内涵的极有价值的新成果。更多还原

【Abstract】 There are researches on painting in Shanghai style and calligraphy in Shanghai style but seal cutting in Shanghai style. This subject aims to do some pioneer and fundamental studies on seal cutting in Shanghai style.This paper centers about why seal cutting in Shanghai style rose, what it is based on, as well as its commercial, cultural and artistic characters. The rising of seal cutting in Shanghai style was due to the business prosperity brought about by Shanghai port-opening. The war brought a large number of cultural immigrants, who under the new circumstances formed a new culture, the new school of seal cutting coming from their psychological structure. The commercial characters of seal cutting in Shanghai style was derived from the formation of art market. Markets for artistic commodities boosted the development and diversity of seal cutting, while diverse market operation modes in turn stimulated the emergence of professional fees charged by seal makers. The pursuit of profits gave rise to the flourishing of seal cutting in Shanghai style. On the other hand, it also pushed seal cutting to worldliness, or even worse vulgarity. It is inevitable for seal cutting in Shanghai style finally to take its way to worldliness, for some seal makers tended to be worldly for monetary interests, which lead to the lack of creative subjectivity. Meanwhile, as national cultural center, seal cutting in Shanghai style was quite vigorous under the influence of the latest developments of Chinese and western cultures. In addition, studies on seal cutting in Shanghai style also appeared as multi-culture. For example, some researchers such as Sha Menghai focused on new research constructions of seal cutting, which means studying from a“new”perspective; other researchers like Deng Sanmu advocated subject construction of seal cutting, spreading among the plebian; some others like Huang Binhong emphasized the“profundity”of seal cutting. These three different levels of academic research also mirror the different cultural levels of seal cutting in Shanghai style during the period of the Republic of China.Seal cutting in Shanghai style distinguishes itself with the innovation and diversity of its artistic styles. This paper is to do case studies on several representative seal makers of different schools, namely, Wu Changshuo, Zhao Shigang, Wang Fuan, Jian Jinglun, Qian Shoutie, Lai Chusheng and Han Tianheng, who stands for the end of seal cutting in Shanghai style.The paper examines the rising and declining of seal cutting in Shanghai style from various perspectives of sociology, economics, culturology and stylistics. With new perspectives, plus rich and accurate materials, this paper is absolutely a valuable achievement to understand the origins and styles of seal cutting in Shanghai style.更多还原