碰撞与交融——抗战时期陪都重庆篆刻艺术的特征及对当代篆刻的影响  

Collision and Fusion—Character of Seal Carving Art in the Auxiliary Capital,Chongqing during the Anti-Japanese War Period

作　　者：龙红[1] 陈鹏[1] 

机构地区：[1]重庆大学艺术学院,重庆401331

出　　处：《南京艺术学院学报（美术与设计）》2012年第6期106-110,197-198,共5页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：教育部人文社会科学研究规划项目<抗战时期陪都重庆书画艺术研究及其数字化应用建设>(编号:09YJA760054);重庆市哲学社会科学规划项目<抗战时期陪都重庆书画艺术研究>(批准号:2009xw04)阶段性成果之一

摘　　要：抗战时期陪都重庆篆刻艺术在中国近现代篆刻史上有着突出的地位和重要意义。曾经活跃于此的众多篆刻家无疑是近现代篆刻艺术发展的中坚力量。他们因国民政府内迁,从全国各地汇聚于重庆,并在此留下了大批精彩篆刻作品和印学著述。抗战胜利后,又随着国民政府还都南京而分散至全国各省市。因此,抗战时期陪都篆刻艺术对当代篆刻的深刻影响,决不仅仅体现在以重庆为中心的西部地区,而是辐射至全国。The seal carving art in Chongqing,the auxiliary capital,during the anti-Japanese war period was with an outstanding status and important meaning in the history of seal carving art in modern China.The many seal carving artists once worked actively here were undoubtedly the backbone of the development of this art in modern China.They gathered from all over China to Chongqing because the government of the Republic of China moved to the internal area,and left large group of brilliant seal carving works and writings.After the victory of the war,they dispersed all around China when the government moved back to Nanjing.Thus,the seal carving art there at that time influenced this art today deeply,and the influence was not just within the south area taking Chongqing as the center,but nation wide.

关 键 词：抗战时期 陪都重庆 篆刻艺术 当代篆刻 发展 

分 类 号：J292[艺术—美术]