- 上一篇：当代书法创作“形式至上”的利与弊
- 下一篇：汉与宋元肖形印的对比研究
摘 要：现代意义上的篆刻艺术，由古代的实用印章演变而来，其转化的关键因素就是因为文人的直接介入。边栏、界格作为篆刻艺术的一部分在文人团体的出现以后得到了广泛的运用。它们的运用基本上沿着两个方向发展，一种就是沿袭之前的范式，把文字变形使其充满界格，一种是仍尊重文字风格，任其留出红地（或白地），再对边栏、界格进行合理的运用，使其与印文相互为用，相得益彰。当代篆刻家中，马士达先生对边栏、界格的运用可以说是在前人的基础上又进一步，他在篆刻创作中已完全将边栏、界格融入篆刻中，无论是与印文线条的统一运用，还是在印面布白的综合处理上都走在了很多印人的前列。因此，本文想通过对马士达先生篆刻中边栏、界格运用的形式与特点加以归纳总结，揭示其在篆刻中的意义，来充实今后篆刻学习。59022
毕业论文关键词：篆刻 边栏 界格 马士达。
Abstract: in the modern sense of seal cutting art, by the ancient practical seal evolution and, the transformation of the key factors is due to the direct involvement of the literati. The sidebar, bounded lattice as a part of the art of carving in the later scholar group has been widely used. They basically along the two directions, one is followed before paradigm, the text deformation of the full lattice, a is still respected text style, let it leave red (or white), the sidebar, bounded lattice were reasonable use of, the printed text with each other with each other. Contemporary carving home. Application of Mr. Ma Shida on the sidebar, bounded lattice can be said is on the basis of previous went a step further, he in the carving creation have been completely the sidebar, bounded lattice into the seal, both the application and the unity of the seal lines or in the printed surface cloth white processing are walking in the forefront of many Indian people. So, this article wants to through to Mr. Ma Shida seal sidebar, bounded lattice in the use of forms and characteristics summarized, reveal its significance in carving, to enrich the seal in the future study.
Key words :carving ,sidebar，border， Ma Shida.
1 边栏界格在文人印中使用调查 4
1.1 遵循印制的运用 4
1.2 作为形式语言的运用 5
2 马士达篆刻中边栏的运用辨析 7
2.1马士达篆刻中边栏运用的形式 7
2,2 马士达篆刻中边栏运用的特点 9
3 马士达在篆刻中对界格的运用辨析 11
3.1 马士达篆刻中界格运用界格的形式 11
3.2：马士达印章中界格运用的特点 12
4 马士达篆刻艺术中对传统边栏界格的继承和发展 14
结 语 15
注 释 16
参考文献 17
致 谢 18
1 边栏界格在文人印中使用调查
篆刻中的边栏、界格形式是篆刻艺术形式的重要审美特征之一。从实用印章制作的立场看，印文与边栏、界格各具功能、相互区别。而以艺术形式之抽象分析的立场看，边栏、界格其实与印文一样，也是印面的线条及其相互关系，是印面构成之必不可少的元素；无论是突出表现边栏、界格线条还是将之含隐，也无论是强调边栏、界格线条与印文线条统一还是形成反差对比，它都与印文线条有着同等重要的地位和作用，有着相互依存、不可分割的联系。边栏、界格成为一种重要的形式语言并在以后的篆刻创作中得到广泛的使用，离不开文人团体的介入对篆刻艺术的推动，在明清及以后的篆刻创作中，印人多有涉及。