汉印形制的艺术创意
Artistic Creativity of Han Seal Forms
西汉，“家君”,琉璃
Glazed seal 'Jia Jun'(家君). Western Han Dynasty.
汉代玺印的艺术意识不仅贯彻于印文书法、章法与雕镂技巧，而且持续倾注于印体的美化。由比较单一的青铜转为更为突出体现财富与地位的金、银、玉的追求，是社会等级秩序明晰化并走向追求视觉美感的表现。私印的质料不受等级的限制，选材范围便有了更大的拓展。水晶、琉璃、木、牙以及镶嵌彩石的创意在汉代私印中层出不穷。
The artistic consciousness of Han Dynasty seals resided not exclusively in the script, the layout and carving of seals; it was also continuously contributing to the beautification of the seal body. The shift from a single material, namely bronze, to materials expressive of fortune and status, namely gold, silver and jade, represents the class stratification of society and the pursuit of visual esthetic feeling. The materials of private seals were not restricted by social ranks, so a large range of materials could be drawn on. Crystal, glass, wood, ivory and inset colored stone show the unlimited creative ideas in the world of Han Dynasty private seals.
西汉，“陈请士”，水晶
Crystal seal 'Chen Qingshi'(陈请士). Western Han Dynasty
工艺的发展建立在社会应用的基础之上。汉代玺印是生活中的佩用之器。追求美观和个性促进了钮式题材的多样化，一部分装饰色彩突出的形制如戒指、臂钏、带钩、角觿钮都在此期间出现。熊、鹿、羊、鼠、蛙钮等动物造型别具创意，充满了生活情味。这些动物钮式多具写实、简洁的风格，形态十分传神，如虎钮，虎身比例匀称，形态强健有力。
The development of technology is founded on social application. In the Han Dynasty, seals were used across a larger range of activities and so they became everyday objects. Promoted by pursuits of beauty and individuality, the seal knobs have diverse themes; this period saw the emergence of knob forms of pronounced decorative nature, resembling rings, amulets and belt hooks. Knobs in the shape of bear, deer, sheep, mouse and frog are of distinct creativity. Their styles are mostly realistic and simple with lively forms and full of the flavor of ordinary life. For instance, the tiger figure on the tiger knob has a well-proportioned, strong and powerful body.
东汉，“干阳”，龙虎环形钮，铜
Bronzed seal 'Gan Yang'(干阳) with dragon-shaped circular knob. Eastern Han Dynasty.
官印的钮式注重谨严规范，因而形式上无多突破。螭、龟、鼻（瓦）钮三种是两汉官印的基本形态。西汉瓦钮的模式是钮面稍窄，钮壁较薄，跨度亦不甚大。东汉中晚期瓦钮形成厚壁宽面、覆盖印台的风格。同时又出现回归鼻钮的一式，形态规整，与西汉初期的鼻钮不同。龟钮在西汉早期表现为形体狭长，钮身低伏，龟首较短的特点，典型之品如“长沙丞相”、“宛朐侯埶”。西汉中期以后，龟钮的造型形成比较饱满的风格，背部明显拱起，背甲渐宽，纹饰趋于精细，如新莽官印“广汉大将军章”、“社屏农尉章”。东汉继续向精整华茂的风格发展。东汉初的“广陵王玺”和东汉中期的“琅琊相印章”造型敦厚圆浑。印台逐渐增高的特点在龟、瓦两种钮式的官印中都有所表现，这是随年代推移而出现的一个变化，具有鉴定意义。
The knob forms of official seals focus on precision and standardization and therefore show fewer creative ideas. The chi tiger, turtle and nose (tile) knobs are the three basic forms of official seals of the Western and Eastern Han dynasties. The Western Han tile knob had a narrower surface, thinner knob wall and smaller span. In the middle and late Eastern Han Dynasty the tile knob developed a thicker wall and broader surface, covering the seal body. Another knob form of regular and trim form emerged as a return to the nose knob, but a different nose knob from that of the early Western Han. The features of the early Western Han turtle knob are a long narrow body, low prostrate position and shorter head and neck. Typical examples include “Seal of Marquis of Dai”, “Seal of Marquis of Wanqu”. From the middle of the Western Han, the turtle knob developed into a style of plump shape, obvious humpback, broader back shell and refined patterns. It developed further toward a style of refinement, trimness and luxuriance. The “Seal of King of Guangling” of the early Eastern Han and the “Seal of Grand Chancellor of Langya” are both thick, round and firm in shape. A gradual increase in the height of the seal body was seen in both the turtle- and tile- knobs of official seals. This change progressed with time and has a certain importance when it comes to antique identification.
西汉，“程惄人”，蛙形钮，铜
Bronzed seal 'Cheng Niren'(程惄人) with frog-shaped bodkin knob. Western Han Dynasty.
汉代印钮形式与雕镂风格代表了古玺印钮制演进过程最为活跃阶段的艺术成就。它表明：这一时期社会对玺印的艺术关注已经趋向整体的审美，在印文、印材、印纽几个方面都力求体现征信以外的欣赏功能，由此构成汉印多样化的文字形式风格和多层面的艺术表现。两汉社会政治经济的长期稳定，为文化艺术提供了充分的发展条件，玺印艺术的成就则是这一时期诸多艺术门类综合发展水平的表现之一。
The form and carving style of Han Dynasty seal knobs represent the artistic achievement in the most active period in the evolution of knob forms in ancient seals. It reveals that the artistic focus of society in this period, in terms of seal content, material and knobs, tended to pursue the appreciative function rather than the authentication function. This resulted in Han Dynasty seals having a great diversity of styles and many levels of artistic . The long-term social , political and economic stability of the Western and Eastern Han dynasties provided the right conditions for the development of culture and art. The achievements in seal art are just one of the general flowering of many artistic genres in the period.
本文节选自孙慰祖：《中国印章-历史与艺术》，外文出版社，2010年。
Sun Weizu: The History and Art of Chinese Seals, Foreign Languages Press, 2010
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