世界眼光中的印學(xué)視野

肖艷艷

三面云山一面城的杭州，有一座海拔僅35米的山——孤山。在這西湖邊最小的一座山上，坐落著被譽(yù)為“天下第一名社”的西泠印社。穿越一個(gè)多世紀(jì)的歷史云煙 ，從“保存金石、研究印學(xué)”出發(fā)的西泠印社不僅在海內(nèi)外金石書畫界享有無可替代的地位，更以其傳承的文化、堅(jiān)守的信仰、不絕的風(fēng)骨聞名于世，增加著孤山的精神海拔，印刻下“天堂之城”的人文厚度。

西泠印社是中國成立最早的著名全國性印學(xué)社團(tuán)，不僅是海內(nèi)外研究金石篆刻歷史最悠久、成就最高、影響最廣的學(xué)術(shù)團(tuán)體，還以篆刻書畫創(chuàng)作的卓越成就和豐富的藝術(shù)收藏享譽(yù)海內(nèi)外，被譽(yù)為“印學(xué)研究中心”。

日前，作為西泠印社副社長兼秘書長的陳振濂教授，就西泠印社新時(shí)代創(chuàng)新思維、如何走向世界、打造國際印學(xué)中心接受了采訪。

堅(jiān)定信仰與守正創(chuàng)新

陳振濂現(xiàn)任中國文聯(lián)副主席，中國書法家協(xié)會(huì)副主席，中國文藝評論家協(xié)會(huì)副主席，浙江省文聯(lián)副主席，浙江大學(xué)人文學(xué)院院長、教授、博士生導(dǎo)師。今年是西泠印社創(chuàng)建118年，在陳振濂教授看來，關(guān)于西泠印社118年輝煌歷史的回溯梳理，已經(jīng)有海量的論文著作、紀(jì)錄片、專訪與視頻節(jié)目、國家級科研課題甚至大學(xué)課程與教材，當(dāng)然包括每年十幾次專業(yè)展覽和大型學(xué)術(shù)研討會(huì)作為強(qiáng)有力的見證。許多內(nèi)容已經(jīng)成為業(yè)界的常識，家喻戶曉，人人都能如數(shù)家珍。

百年名社為何能成就百年偉業(yè)？陳振濂教授深思后指出，一定有一種堅(jiān)定的信仰宗旨即共同目標(biāo)的“精神維系”。具體說來，就是創(chuàng)社之初確立的“保存金石、研究印學(xué)”和后來的“兼及書畫”。又在百年社慶之后，設(shè)定了打造“國際印學(xué)研究中心（大印學(xué)）”、“重振金石學(xué)”、“詩書畫印綜合（兼能）”的既根植于傳統(tǒng)又與時(shí)俱進(jìn)的嶄新時(shí)代目標(biāo)。這方面的內(nèi)容，只要看一下這二十年來西泠印社社團(tuán)工作的藝術(shù)學(xué)術(shù)活動(dòng)記錄，即可明了。

陳振濂教授十分肯定地認(rèn)為，一百多年前的1904年，吳昌碩與“創(chuàng)社四子”丁輔之、王福庵、葉為銘、吳隱共同擬定的“保存金石、研究印學(xué)”，一直是西泠印社永久的“定海神針”，它是“根”。對照今天全國文藝界講“守正創(chuàng)新”，毫無疑問，它就是必須守的“正”，是我們認(rèn)識的前提。

時(shí)代在發(fā)展，社會(huì)經(jīng)濟(jì)客觀環(huán)境與人文藝術(shù)環(huán)境發(fā)生了根本變化。作為西泠印社掌舵人的陳振濂教授為了適應(yīng)新時(shí)代新要求，2003年百年社慶之后，陳振濂與印社團(tuán)隊(duì)對印社進(jìn)行了與時(shí)俱進(jìn)的邏輯延伸：一是從早期原有的“保存金石”延伸出“重振金石學(xué)”;二是從原有的“研究印學(xué)”延伸出沙孟海先生號召的“國際印學(xué)研究中心”;三是從60周年大慶時(shí)補(bǔ)立的“兼及書畫”宗旨延伸出“詩書畫印綜合（兼能）”。創(chuàng)社時(shí)代和中興時(shí)代印社前輩確立的三個(gè)宗旨，都被我們以“守正”精神堅(jiān)決“守”住并賦予新的含義了。

“一帶一路”與世界印章史

作為一個(gè)學(xué)術(shù)社團(tuán)，西泠印社已有近百年的歷史，其學(xué)術(shù)地位和社會(huì)聲譽(yù)不但在國內(nèi)印學(xué)界和書畫界獨(dú)樹一幟，在日本、韓國和東南亞更是頗具影響，已為《辭?！贰缎氯A詞典》等多種權(quán)威辭書機(jī)構(gòu)所記載和認(rèn)定。其悠久的歷史、厚重的文化內(nèi)涵、深遠(yuǎn)的國際影響和久負(fù)盛名的社會(huì)聲譽(yù)，全國只此一家。

作為一個(gè)民間的印學(xué)社團(tuán)，西泠印社成立之始就具有獨(dú)特的號召力，其原因是社員多為名家，且來自全國各地甚至海外，就連日本的篆刻家也慕名而遠(yuǎn)涉重洋前來入社。近百年來，西泠印社共有社員近400人，現(xiàn)有社員250余人，分布在全國二十多個(gè)省、市、自治區(qū)，香港、澳門特別行政區(qū)和臺(tái)灣地區(qū)，多為全國和各地著名篆刻家、書畫家、鑒定家及學(xué)者。社員中還包括小林斗庵、梅舒適、金膺顯等日本、韓國、新加坡的20多位國際篆刻書畫界知名人士。

在新時(shí)代，在國家日新月異的迅速發(fā)展過程中，西泠印社如何才能做到與時(shí)代同頻共振、與時(shí)俱進(jìn)？這是擺在西泠印社面前的一大命題。正是在反復(fù)斟酌推敲、分析形勢走向的深思熟慮之后，在2012年尤其是2015年之后，西泠印社在學(xué)術(shù)藝術(shù)關(guān)注側(cè)重點(diǎn)上，作出了有指明方向性意義的重大“戰(zhàn)略調(diào)整”。陳振濂教授說，其主要目標(biāo)是兩個(gè)：

首先，以傳統(tǒng)印學(xué)、篆刻學(xué)為基盤，依仗多年（至少近二十年）以來的積聚，以“守正”為社務(wù)展開的底線和出發(fā)點(diǎn)。

其次，迅速擴(kuò)大視野，構(gòu)建當(dāng)代“大印學(xué)”的時(shí)代新格局，除以篆刻藝術(shù)創(chuàng)作、古典印學(xué)印史印家印作印派研究作為品牌之外，在以古璽漢印、唐宋元明、皖浙流派、趙之謙、吳昌碩、黃牧甫的正宗正統(tǒng)風(fēng)格類型的基礎(chǔ)上，先轉(zhuǎn)向過去曾經(jīng)不太受關(guān)注的“戰(zhàn)國小璽”形式、“封泥”形式、“漢玉印”形式、“爛銅印將軍印”形式、“唐宋官印”形式、“元押”形式、“圓朱文”形式、“多字印”形式等，通過西泠印社舉辦的全國篆刻評展的投稿規(guī)定、現(xiàn)場考試題等，進(jìn)行有意識的專業(yè)提倡，以促使當(dāng)代篆刻創(chuàng)作風(fēng)格技巧的多樣化——這是從過去印學(xué)界長期形成的固定審美模式出發(fā)，擴(kuò)大為具有現(xiàn)代藝術(shù)意識的“全印史”式以熱點(diǎn)與冷門交替交融、不留盲點(diǎn)的創(chuàng)作視野大開發(fā)。在十多年間，當(dāng)代中國甚至域外之印學(xué)藝術(shù)創(chuàng)作的每一輪新風(fēng)興起，幾乎都與西泠印社基于“創(chuàng)新思維”的倡導(dǎo)和引領(lǐng)有關(guān)。

陳振濂教授認(rèn)為，西泠的創(chuàng)新，不僅限于此。近年來，受國家倡導(dǎo)的“一帶一路”世界戰(zhàn)略布局的啟發(fā)，絲綢之路沿線的諸多國家和地區(qū)，從中國的新疆、西藏等西域開始，經(jīng)阿富汗、土耳其、伊朗、伊拉克、敘利亞到埃及，再進(jìn)入歐洲，以及南亞印度等，在古代這些土地上都有印章遺存。

站在“世界印章史”史無前例的大視野上，又逢西泠印社長期遵從沙孟海社長“建設(shè)國際印學(xué)研究中心”和饒宗頤社長“東學(xué)西漸”的宏偉構(gòu)想，同時(shí)深刻領(lǐng)悟、認(rèn)同國家文化建設(shè)與交流的大目標(biāo)，陳振濂與西泠印社的管理層開始對當(dāng)代印學(xué)史“一帶一路”的創(chuàng)新創(chuàng)作實(shí)踐予以更系統(tǒng)的細(xì)化與構(gòu)架嘗試：以廣義上的絲綢之路“一帶一路”印章篆刻主題創(chuàng)作實(shí)踐，將沿線一百多個(gè)國家的中文國名、本國文字國名、國花等要素進(jìn)行排列組合，通過“印章”形式與成熟的經(jīng)典式篆刻藝術(shù)表現(xiàn)，形成一個(gè)完整的、于篆刻而言也許是過去聞所未聞的嶄新的“知識鏈”和“視覺形式鏈”。在賦予它以承載國家層面上的外交涵義、商貿(mào)涵義、民族交流融合與文化傳播涵義的同時(shí)，還在藝術(shù)上創(chuàng)造出過去篆刻藝術(shù)之前所未有的新圖像涵義、創(chuàng)造涵義與“印文化”拓展與再造涵義。

目前，構(gòu)想已經(jīng)成熟，實(shí)踐嘗試正在進(jìn)行中。陳振濂教授笑著說，雖然目前還有不少困難，尤其是既要嚴(yán)格遵守傳統(tǒng)金石學(xué)、印學(xué)的審美目標(biāo)（守正的要求），又要置換掉篆刻已有的早已熟悉成習(xí)慣的中國古文字大小篆書的規(guī)范，而去研究古埃及文字、古波斯文字、古印度文字和今天西域各國通行的各民族文字如阿拉伯文字和中亞、西亞、北非各國文字，研究如何使這些異域文字形態(tài)妥帖地納入篆刻印面而沒有“違和感”。一旦成功，更可據(jù)此而延伸向歐美的英、法、德、俄、意大利、西班牙等文字。倘若以西泠印社為平臺(tái)載體，倘若能以若干年的努力，接近或完成這一目標(biāo)，則國家倡導(dǎo)的“文化自信”“講好中國故事”“中國文化走出去”，在篆刻藝術(shù)這一小眾藝術(shù)領(lǐng)域里就有了實(shí)踐推動(dòng)的可行性。而對于我們本來十分熟悉、視為己出的篆刻藝術(shù)創(chuàng)作、印章學(xué)與金石文化來說，也就有了一個(gè)激活新思維、開拓新資源、吸收新理念、創(chuàng)造新時(shí)代新任務(wù)新發(fā)展目標(biāo)的千載難逢的歷史機(jī)遇。

對今天的篆刻家尤其是“篆刻藝術(shù)家”（而不是刻印工匠）而言，基于“新時(shí)代”宏圖大業(yè)，如何來實(shí)現(xiàn)專業(yè)的重新塑型？陳振濂教授再次解讀了“守正、創(chuàng)新”四個(gè)字——“守正”，是對傳統(tǒng)篆刻藝術(shù)創(chuàng)作的持續(xù)深化;“創(chuàng)新”，則是對“印章”“篆刻”“金石”的已有領(lǐng)域，從理念上實(shí)踐上的一次幾千年以來未有之“大拓展”?！笆卣?，是因?yàn)榘倌晡縻鲇∩缫延忻鞔_的“首位度”，是享有世界聲望的“天下第一社”，它的存在，必然是“正”而不可能“誤”“邪”。而“創(chuàng)新”，是借助已有舉世無雙的雄厚積累，又能以團(tuán)隊(duì)的不懈努力，不斷尋求專業(yè)學(xué)科領(lǐng)域在新時(shí)代的新發(fā)展新空間;更能巧妙妥帖地配合國家的大政方針，而使得作為一個(gè)小眾而高端、局部的“篆刻藝術(shù)”，融入到國家發(fā)展前行的文化洪流大潮中去而不缺位，想國家之所想，從而使篆刻家、印學(xué)家、金石家們在堅(jiān)守專業(yè)本位的前提下，成為一個(gè)具有“家國情懷”的真正的時(shí)代藝術(shù)家。

百年名社與老樹新花

基于“創(chuàng)新思維”的“大印學(xué)”的提出——以學(xué)術(shù)治社。

西泠印社在這幾年里，以“創(chuàng)新思維”為統(tǒng)領(lǐng)，已經(jīng)有意識地在知識、學(xué)術(shù)研究、人才培養(yǎng)層面上有了很好的積累布局，審時(shí)度勢地提出了“大印學(xué)”的時(shí)代新理念。作為它的構(gòu)成步驟與有序推進(jìn)，從2016—2021年的五年間，西泠印社有意識地召開了五次大型國際學(xué)術(shù)研討會(huì)，如“圖形印與非漢字系統(tǒng)印章”（2016）、“世界圖紋與印記”（2018）兩次研討會(huì)，就是直接針對世界印章史這一課題而發(fā)起的。100多篇學(xué)術(shù)論文，構(gòu)建起了對世界印章史（包括絲綢之路印章史與“一帶一路印章史”）的基礎(chǔ)認(rèn)知框架。而關(guān)于印譜史、金石傳拓史、兩宋金石學(xué)之相關(guān)研究，我們也多有圍繞印章、金石學(xué)核心概念下的相關(guān)資料研究和現(xiàn)有資料的展開。因此，對于印學(xué)界本來陌生、從未有過的新的認(rèn)知建構(gòu)與專業(yè)知識儲(chǔ)備，我們胸有成竹。

百年名社，老樹新花，西泠印社本身就代表了傳統(tǒng)金石書畫篆刻的精髓。在當(dāng)下， 它缺的是什么？缺古代經(jīng)典與傳統(tǒng)嗎？陳振濂教授肯定地說，當(dāng)然不是。它缺的，正是創(chuàng)新精神。

從治社理念創(chuàng)新、社務(wù)創(chuàng)新、藝術(shù)學(xué)術(shù)創(chuàng)新到基于“解放思想”的觀念創(chuàng)新，百年西泠印社向來就是“守正”的大本營，傳統(tǒng)積累深厚而穩(wěn)固，能夠取得百年輝煌，正基于此。而且，西泠印社中人也皆以“正”之權(quán)威與代表性而互相標(biāo)識，互相砥礪，引為同道。但正因如此，我們就更需要在“創(chuàng)新思維”方面下大力氣，銜接歷史，超越已有，創(chuàng)造世界大背景下中國篆刻界、印學(xué)界、本行本業(yè)發(fā)展進(jìn)步的“新時(shí)代”。

1904年，在國艱民困、兵荒馬亂之際，“創(chuàng)社四子”丁王葉吳“四公”聯(lián)手吳缶翁遂取當(dāng)時(shí)被“新學(xué)”浪潮擠壓而凋零衰敗、眾皆棄若敝履的篆刻、印章、金石學(xué)，作登高一呼，從而保存了傳統(tǒng)文化最珍貴之一脈香火。這震鑠古今的大業(yè)績，正是緣于他們這一輩圣賢之士頭腦中擁有的創(chuàng)新精神。

最后，陳振濂教授表示，今天我們以與時(shí)俱進(jìn)、同頻共振的“創(chuàng)新思維”，推進(jìn)“大印學(xué)”的新理念，植入世界眼光，拓開印學(xué)視野，它恰恰可被視為1904年創(chuàng)社這一石破天驚之舉百年之后在精神上的繼承與延續(xù)。它表明，篆刻藝術(shù)這一小眾項(xiàng)目，在國家強(qiáng)盛發(fā)展與宏觀文藝思想的映照下，是同樣可以有“家國情懷”的。

The Xiling Seal Art Society is located on Gushan Hill by the West Lake in Hangzhou. Founded in 1904 with preserving epigraphic art and promoting seal studies as its primary purpose， it is now a leader in the circles of seal art， epigraphy， calligraphy and painting known to the world with its inherited culture， strong faith， and everlasting vigor of style. It has made Gushan Hill and the city of Hangzhou known by the world.

The Society tops nationally as one of the earliest established associations of the kind in China and is one of the most long-standing， fruitful and influential academic communities in epigraphy and sigillography in the world. Given its achievements in as well as collections of seal engraving works， epigraphic art， calligraphy， and paintings， it is known as the “Center for Sigillography”.

Recently， Professor Chen Zhenlian， deputy director and secretary-general of the Society， was interviewed on its innovation in the new era， i.e.， how the Society introduces seal studies to the world and how it builds the International Center for Sigillography.

Chen Zhenlian is a vice president of several national academic associations. He is a professor and a doctoral supervisor of the School of Humanities at Zhejiang University. He pointed out that the 118-year history of the Society has witnessed a sea of relevant publications， dozens of annual specialized exhibitions and large-scale academic conferences， and involved national research projects， university courses and teaching materials， many of which have become common sense in the field.

What makes the Society a success？ Professor Chen suggested a firm belief in a common goal. Its founding mission is preserving inscriptions on ancient bronzes and stone carvings and promoting seal studies， with calligraphy and paintings later added as an integral part. After its centennial celebration， the Society begins work on the International Center for Sigillography， aka Comprehensive Sigillography， to reinvigorate epigraphy and to integrate works of poetry， calligraphy， painting， and seal engraving. These are rooted in tradition but also keep up with the times， which is obviously shown by the records of the Society’s activities in the past two decades.

“The mission agreed on in 1904 by Wu Changshuo and the four founders， Ding， Wang， Ye and Wu， has been the anchor of its development. It is also the root， or what has worked well in the past， to which we must stick to. This is the premise of our understanding，” Professor Chen asserted.

Times have changed， so have socio-economic and humanistic contexts. As the man behind the wheel， Chen and his team have expanded their commitments： to revive epigraphy based on the earlier works saved， they build the International Center for Sigillography in accordance with Sha Menghai’s call， and integrate poems， seal engraving， calligraphy， and painting， since the latter two have become part of the family since the 60th anniversary of the Society.

As an academic community， Xiling Seal Art Society is well known to circles of seal-engraving， calligraphy and painting. It is especially influential in Japan， the Republic of Korea and Southeast Asia. It is the one and only seal art society that has a long history， a rich culture， and an international prestige.

Although non-governmental， the Society has its appeal as it has a total of 400 members， and currently more than 250 from different parts of China： many are famous seal-carving artists， calligraphers， painters， connoisseurs， and scholars， some are internationally renowned， such as Kobayashi Toan and Bai Joteki from Japan and Kim Eung-heon from the Republic of Korea.

How can the Society keep abreast of the rapid progress throughout the nation？ After a review of what has happened since 2012， especially after 2015， strategic adjustments have been made regarding the academic and artistic focuses for future development. Chen stated two main aims.

First， based on the experience accumulated from traditional sigillography over the last two decades， the Society adheres to what has worked well in the past as the bottom line or the starting point.

Second， the Society builds a new paradigm for Comprehensive Sigillography. Apart from regular studies， the society diverts its attention from the seals in traditional styles to the works that used to go unnoticed. It has put this into practice by enforcing subscription rules for the national seal engraving competitions and exhibitions， and by holding on-site tests. It also promotes professionalism and encourages versatile skills and styles. Moreover， it changes the aesthetic stereotype in previous sigillography to contemporary comprehensive sigillography， characterized by a mingling of popular and unpopular issues and an all-inclusive perspective for seal art. In the past decade or so， almost every new trend of seal art creation inside and outside China is related to this line of innovative thinking.

Chen argued that its innovation is reflected in more than the above-mentioned points. In recent years， inspired by the Belt and Road Initiative， the remains of ancient seals are found and studied in many places along the Silk Road.

The Society is aimed at writing the World History of Sigillography， which echoes Ex-Director Sha Menghai’s proposal of Building the International Research Center for Sigillography and that of Introducing Eastern Learning to the West initiated by Ex-Director Rao Zongyi. Chen and his staff endorse the national blueprint for promoting culture and communication and attempt to chart systematically the history of sigillography in alignment with the Belt and Road Initiative. They also practice seal engraving related to the theme of the Silk Road， arraying elements on seals， or expressing them in terms of classic seal art， which forms a knowledge chain and a chain of visual art， complete and brand new for seal engraving. This is important to diplomacy， business and trade， and communication between nations or cultures， and artistically， motivates the creation of new motifs and new meanings in seal culture.

We already have a plan and are putting it into practice， Chen smiled， although there is difficulty in balancing the traditional aesthetic standards and innovation when coming to replacing the conventions used for Chinese characters with those for the languages used in other countries west of China. It is challenging to have them fit nicely onto seals. Once achieved， however， this practice can be extended to alphabetical languages from Europe and America. If we achieve this goal with several years of hard work， it is highly possible and practical for us to enhance cultural confidence， tell China’s stories well， and support Chinese culture in going out via seal art. It is also an opportunity to encourage thinking， explore resources， absorb new ideas， undertake different tasks， and set new goals. Seal engravers themselves would be challenged by the changing knowledge and skills required and faced with the responsibility for and the mission of the times to emancipate minds.

Regarding this big plan in the new era， how can seal engravers， especially seal artists， rather than engraving artisans， achieve their professional re-molding？ Chen re-elaborated the meaning of Innovation on the Basis of What Has Worked in the Past. Continuing what has previously worked furthers the development of the art of seal engraving， whereas innovation is aimed to expand the studies of seals， seal engraving， and epigraphic art. Keeping the original work is premised on the fact that the Society has been known as one of the best in the field and won itself the honor of ‘The Greatest Society in the World’. Calling for innovation， the society can resort to its team efforts in pursuit of new progress in its specialty. This aligns with China’s major principles and policies. Although limited to a few people， sophisticated and regional， the art of seal engraving plays a role in the development of culture. In so doing， seal engravers， sigillographers， and epigraphers are considered as true artists as they adhere to their professionalism and care about their family and country.

The Society proposed Comprehensive Sigillography under the guideline of innovative thinking. Academically， it has accumulated knowledge， planned research， and cultivated talents for years. It held five large-scale international conferences between 2016 and 2021， which were directed at the research topic of the world history of sigillography. Moreover， over 100 academic papers contribute to the outline of this project. Many studies that focus on the rubbings of stone tablets and others also center on the core idea upheld in sigillography and epigraphy. The society has had a good understanding and a store of knowledge required for the professional preparations for this proposal.