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1、中文摘要印章源于实用，唐以降，随着文人书画用印的广泛，和对印章独特审美价值的认定，逐步演变为一种艺术形式。而石质印材的发现和使用，更使得文人能够自主地进行篆刻艺术美的创造，摆脱了文人篆、工匠刻的治印模式，步入到文人自篆自刻的新阶段。篆刻艺术作为一种自觉的艺术审美形式，就时间而言应该说要远远滞后于书法，而作为皆以汉字为载体的艺术，篆刻在审美观的形成、审美价值的判断等诸方面，就不可能不受书法艺术的影响。笔意，原本属于书法艺术审美范畴，但篆刻艺术从它步入艺术自觉的一开始，就被文人视为篆刻文字之美的一个重要组成部分而受到广泛关注。而笔意论
2、也正是随着印章文人化、艺术化的进程得以产生，并随着篆刻艺术的发展而嬗变，可以说不论是“宗汉”还是“印从书出”、“印外求印”等印学发展史中的重要主张皆与笔意论不无关系。本文以篆刻笔意论为切入点，以篆刻艺术笔意论的成因、发展嬗变过程为脉络，试图在篆刻艺术发展史的维度中对笔意论进行系统的梳理，从而从这一视域对篆刻艺术进行审视。关键词篆刻艺术笔意论发生嬗变IAbstractTheseal-cuttingartisfromthepractical.SincetheTangDynasty,withtheliteratipaintingandc
3、alligraphyusingthesealwidely,andtheidentificationofuniqueaestheticvalueoftheseal,theseal-cuttingartgraduallyevolvedintoanartform.Thediscoveryanduseofstoneprintedmaterial,alsomakestheliteraticarvingartcreationofbeautybythemselves,andgetsridofthemodeofliteratiprintingan
4、dcraftsmencutting,entersanewstageofliteratiprintingandcuttingallbythemselves.Asaconsciousartisticaestheticform,itshouldbesaidthattheseal-cuttingartmuchlagsfarbehindthecalligraphy.AndastheChinesecharactersasthecarrierofart,intheformationoftheaesthetic,theaestheticvalue
5、judgment,itisimpossiblethattheseal-cuttingartnotsubjecttotheinfluenceoftheartofcalligraphy.Calligraphy-strokestyle,isoriginallybelongedtotheartaestheticareasofcalligraphy,butwhentheseal-cuttingartsteppedintotheartofconsciousoutset,regardedbytheliteratiasthebeautyofeng
6、ravinginitialsandattractedwidespreadattention.Calligraphy-strokestyletheoryisalsoabletoproducewiththesealoftheliteratizationandartistizationprocess,andhasevolvedbythedevelopmentoftheseal-cuttingart.Wecansaythattheimportantpropositionsinthehistoryofseal-cuttingartsucha
7、s“studyingsealcuttingmustfollowthetraitsofQinandHandynasty”,“thesigilcharactersshouldbaseonthewayofcalligraphy”,“acquiringthenutritionfromouterfieldoftheseal-cuttingart”,haveverycloserelationshipwiththetheoryofstrokestyle.Inthisarticle,weputthetheoryoftheseal-cuttings
8、trokestyleasthestartingpoint,thecausesofthetheoryoftheseal-cuttingstrokestyleanddevelopmentoftransmutationprocessasasequence
