周亮工及其《印人传》研究

【作者】 朱天曙；

【导师】 黄惇；

【作者基本信息】 南京艺术学院 ， 美术学， 2006， 博士

【摘要】 本文首次以明末清初著名学者、艺术鉴藏家、印论家周亮工(1612-1672)及其印学著作为中心进行专题研究，深入剖析这一时期的文人艺术活动与社会文化环境及其所显示的历史意义。在考察周亮工亦宦亦士的一生时，对其生活的时代特征、字号、里籍、明末行迹、“甲申之变”时的选择、顺康时期的疏劾、晚年焚书等方面讨论其在明末清初历史舞台的活动；又通过周亮工与北方、金陵、扬州、浙江、闽地等地文人圈的关系，揭示其广泛的文人交游与艺术活动的互动。文章还从思想行为、著作情况、师碑风气下的书法艺术等方面对周亮工进行了系统研究。在对周亮工其人讨论的基础上，着力研究其所著中国历史上第一部记录印人活动的著作——《印人传》。文章从三个方面进行探讨：第一，讨论明末清初文人印章活动的兴盛和周亮工《赖古堂印谱》编选的关系，进而对《印人传》的成书过程、版本流传和与《读画录》比较，揭示这一时期的文化风气与《印人传》成书的关联。第二，对《印人传》一书的编辑思想进行研究，一方面，比较分析钱谦益《吾炙集》、王渔洋《感旧集》和《印人传》写作动机的关系和清初选诗写传风气对《印人传》写作体例的影响，指出《印人传》的写作体现了明末清初文人感旧的历史和文化记忆；另一方面，从这一时期印章的发展来看，印章“文人品味”的形成，包括印人地位的上升、金陵文化环境的影响、印人与文人的交往、印材变革、功能变化等都使得印人和印章品味得到提升，此书写作实为印章发展之必然。文中所论“感旧记忆”和“文人品味”问题不仅在印章讨论中有着特别的价值，在艺术史范围内也有着普遍的意义。第三，《印人传》集中体现了周亮工的印学观，他提出的“此道与声诗同”的重要思想，大大丰富了印章的文化内涵。文章对其印学观的渊源作了探讨，指出其“合”、“分”等诗文观和公安派的文学观对其有重要影响。关于其印学思想的讨论包括印章的本质，文彭、何震等印章流派问题的批评，印章的“正”、“变”规律，取法秦汉的问题、品评话语的出现、印人创作状态，篆法、章法、刀法的关系等等，全面反映了周亮工从文化和艺术立场上对印章的阐发，凸现其在印章史上的历史地位与价值。通过这些细致分析，勾勒出明末清初印章发展的线索和印章审美观的嬗变轨迹。《印人传》还运用了多种批评方法，突出以印人印章为艺术批评的中心，丰富了中国古代的文艺批评。文章后还附录有《乾隆禁书与周亮工著作的抽毁问题》、《周亮工年表》、《周亮工交游人物表》三个部分，和正文的讨论互为补充，体现印人活动与社会文化环境的内在联系，藉此关照文人著作在特定历史语境的命运以及明清易代之际士人艺术活动的整体特征，使明清艺术史研究向更深方向掘进。更多还原

【Abstract】 This is the first study of the famous literati, connoisseur and artworkcollector, seal carver Zhou Lianggong(1612-1672)who lived at the end of MingDynasty and the beginning of the Qing Dynasty, focusing on himself and hiswritings on seal carving. The literatis’ cultural activities in this period and theirrelationship with the social and cultural environment are discussed thoroughlyin this dissertation.In the study, as either an literati or an official, Zhou Lianggong’s entire lifeis investigated. His activities on the historic stage of the end of Ming Dynastyand the beginning of the Qing Dynasty are analyzed by looking at thecharacteristics of his era, his names (ancient Chinese literator usually hadthree names, the first one was got from their parents; while the others aredecided by themselves according to their own thoughts, ambitions, or affection,etc.), his native place, the places he visited, the choice he made during "thechange of Jiasheng", his impeachment during the period of Shunkang, andburning books. Zhou Lianggong’s extensive acquaintance of literati andinteraction in arts activities are showed by looking at his relationship withliterati circles in the North, Jinling, Yangzhou, Zhejiang, and-Fujian. Thisdissertation also conducts a systematic study on the thoughts, behaviors,works, and calligraphy arts.Based on the discussion of Zhou Linggong himself, this dissertationfocuses on the first work in Chinese history recording the activities of carverswritten by Zhou-yinren zhuan. It is discussed in the following three fields:Firstly, it discusses the relationship between the prosperity of seal cuttingactivities of literatis at the end of Ming Dynasty and the beginning of the QingDynasty and the edited Laigutang Seal cutting Paper. And the writingprocesses, version development of yinren zhuan and Duhualu. Secondly, itinvestigates the thoughts of yinren zhuan. On one hand, it compares andanalyzes the relationship of writing motives of Qian Qianyi’s Wuzhi ji, WangYuyang’s ganjiuji, and yinren zhuan; it studies the influence of poets-selectingand biography-writing fashion at the beginning of Qing Dynasty on the writingstyle of yinren zhuan; it indicates that the writing of yinren zhuan shows thehistory and cultural memory of literatis’ reminiscence at the end of MingDynasty and the beginning of the Qing Dynasty. On the other hand, from theperspective of the development of seal cutting in that-period, thecome-into-being of seal cutting "literati taste", the promotion of the status ofcarvers, the influence of Jinling cultural environment, the exchange betweencarvers and literatis, the changes in seal cutting materials, and the changes infunctions have all improved the tastes of carvers and seal cuttings. The writingof this book is really a necessity of seal cutting development. The"reminiscence memory" and "literatis taste" talked about in the book is not only of special value in the seal cutting discussion, but also of universal significancein the area of art history. Thirdly, yinren zhuan represents the seal cuttingartistic viewpoints of Zhou Lianggong. The important point "the skill is similar tothat of literature and poetry" proposed by him greatly enriches the cultureconnotation. The dissertation probes into the origins of his seal cutting artisticviewpoints and indicates that he is greatly influenced by "join" and "separate"of his poetry viewpoints and Gongan school of literature viewpoints. Thediscussion concerning his seal cutting artistic viewpoints include the essenceof seal cutting, the criticism of problems about Wenpeng, Hezhen seal cuttingschools, the rules of "upright" and "changes", the problem of adopting Qin andHan carving style, the appearance of comments tanguage, the creationstatus of carvers, the relationship of seal cutting methods, the carvingtechniques, and the knife techniques, etc. These contents comprehensivelyrepresent Zhou Lianggong’s clarification in terms of culture and art. They verifythe historic status and value of this book. By the thorough analysis, the clue ofseal cutting development at the end of Ming Dynasty and the beginning of theQing Dynasty and the track of changes in seal.cutting taste, yinren zhuan alsouses a few criticizing methods to make carvers and seal cuttings the center ofartistic criticism, which enriches the literature criticism of ancient China.Attached there are three parts as supplements of the discussion in thebody. They are: Deleting and Destroying Problem of Prohibited books byQianlong and Works of Zhou Lianggong, The Chronological Table of ZhouLianggong, The table of Zhou Lianggong’s Acquaintances. These parts keepan eye to the fates of literatis’ works in particular historic period, and thegeneral characteristics of artistic activities held by literatis during the dynastychanging period. They show the internal relationship between carvers’activities and cultural environment and boost the art history research of Mingand Qing Dynasty a deeper and further development.更多还原