序二 既尊古又自運 執着追求結碩果
傅嘉儀
庚午春節，安慶君的新作《秦兵馬俑印譜》刻就，一印一款，圖文並茂，真是美不勝收，趣味無窮。
羅丹說：『藝術就是感情』,篆刻亦然。安慶君在秦兵馬俑博物館工作十餘年，對那裏的一草一木都有着深厚的感情。那裏所發現的每一個兵馬俑，每一件磚瓦、兵器，每一處遗址，都引發着他的創作激情。這部印譜，有詩情、富畫意，是一部雄壯絢麗的交響樂章。
他六十年代初開始自學篆刻，習印關中，采石秦南，尤重傳統技法的學習。印譜中不少作品就采用了秦璽、漢印、封泥、花押、元朱文等形式，並將磚瓦、貨幣、銅鏡、印陶、簡牘等金石文字入印。他繼承明清流派印，能博采众長，自成面目。入印文字，多取秦篆漢隸，形成清新、凝重、樸茂、宏偉之美，運刀敏悟，因印生法。或頑白之飄逸，昌碩之蒼渾，或牧甫之秀勁，白石之縱橫，皆可靈活運用，妙造自然。
他繼承傳統能突破『具象』的陳舊巢穴。他銳意求新能力避『抽象』的怪誕深淵。他既尊古，又自運，執着追求，努力表現篆刻的『意象』之美，賦予篆刻以濃鬱之時代精神。
『魚池』一印為圓形朱文，仿戰國古璽印式。『池』字安排在圓印面的左下方，猶如清水一潭，『魚』躍而起，天趣神奇，令人浮想聯翩。『車馬』一印為橫長方形。『馬』字作了誇張變形，有昂首奔馳之態。『車』字取金文字形，有旋轉向前之勢。方寸之間展現出一種馬鳴車飛的運動感。以情入印，印境為上的創作心理，正揭示了當今篆刻藝術的審美情趣，使觀賞者如飲醇酒。
此外，他將甲衣、磚瓦上的一些幾何紋樣、自然紋樣、植物紋樣，經過概括、取捨，以簡潔洗煉的手法，再現於印面。他还將各種不同的兵馬俑形象，用浮雕、綫刻等手法，刊於印側，造型準確，刀法精湛，得魏人造像之風骨，現唐人綫刻之神韵。
《秦兵馬俑印譜》將文物知識與篆刻藝術融為一爐，應為創舉。安慶君三十年篆刻功力，『納古法於新意之中，生新法於古意之外』，實為不易。印譜付梓，欣讀有感，寫幾句話，作為我學習的心得，也作為對安慶君的祝賀。
庚午元宵節於紅柳室
序文の二 古を尊重し、思いのままに応用できる獨特な風格
庚午年舊正月の際、安慶君の新作『秦兵馬俑印鑑』が出来上がり、その印鑑は図と文を兼ね備え、一度には鑑賞しきれないで、趣が出きることがないのである。
芸術は感情だとロ—ダンは言つたが、篆刻もそうである。安慶君は秦兵馬俑博物館に十余年勤めていて、厚い感情を抱いている。あそこで発見された一体一体の兵馬俑や一点一点の磚と瓦、兵器やそれぞれの遗跡は、彼の創作激情を振るいたたせるのである。本印鑑集は詩情画意がこもり、、勇壮でそして華やかなシンフオニ—であると言えよう。
彼は六十年代初めの頃から、篆刻の習得を始め、他人の長所を広く取り、特に伝統的な技巧を重んじる。印鑑集の中には、秦玺、漢印、封泥、花押、元朱文などの形式を用い、それに磚瓦、貨幣、銅鏡、印陶、簡牘などの金石文をも彫り込んだ。彼は明、清流派を受け继ぎ、長所を取り、己の風格を作りだした。印鑑の上に彫りこまれた文字は、大分秦、漢の篆と隷書であり、清々しく、飾り気がない。その彫り方は機敏で悟りがあり、「法」を生み出している。頑白の飄逸、昌碩の蒼渾、牧甫の秀勁、白石の縱橫などをうまく活用し、自然さを保つている。にもかかわらず、鄭氏は「具象」の古い枠を打ち破り、新しきを求め、荒唐無稽の「抽象」を避け、篆刻の「意象」美の表現を勉め、篆刻に時代の精神を賦与している。
「魚池」の印鑑は円形朱文で、戦国の古玺の印式を真似ている。「池」の字円形印鑑の左下方にあり、清水のようである。「魚」の字は飛び躍していて、人を佳境に誘いこむ。「車馬」の印鑑は横の長方形である。「馬」の字は誇張し形を変え、昂然と疾走する姿を呈している。「車」の字は、金文の形を用い、旋回して前へ向かう势いをしている。この印鑑は馬が鳴き、車が走つている動感をよく現わしている。感情を印鑑の中に入れ、意境をべストとする創作は、今日篆刻芸術の味わいや趣をよく反映している。
そのほかに、安慶君は磚瓦の幾何文樣、自然文樣、植物文樣を概括取捨し、簡潔な手法で印鑑の上に描いている。種類の違う兵馬俑形象を浮彫や線刻の手法で印鑑の側面に彫り込んでいる。その造型が正確で、彫り方も精巧である。魏人造像の風骨をマスターし、唐人線刻の神韻をよく表している。
『秦兵馬俑印鑑』は文物知識と篆刻芸術を一体に融合させ、初めての試しみであろう。安慶君は三十年の篆刻功力を持ち、古法を新意の中に入れ、新法を古意の外に作り出すのは、たいした腕とも言えよう。印鑑集が刊行に当たり、感があつてご挨拶を申し上げる。以上は私の体得したことであり、安慶君への賀辞でもある。
庚午年元宵節紅柳室にて
傅嘉儀
PREFACE By Fu Jiayi the President of Zhongnan SEAL Script Society
In the Spring Festival of 1900,Mr.Anqing has just finished his new work "A Collection of Impressions of Seals concerning Qin Terra-cotta Warriors and Horses", In which all seals have so infinite interest and beautiful illustrations and words that nobody can take them all in .
AS Auguste Rodin said that art is just an affection Seal inscrip-tion is an art, too, so that it is also an affection Mr. Anqing has worked in the Museum of Qin Shi Huang pottery Figures of War-riors and Horses for more than ten years and cherished a deep affec-tion in every tree and bush of it. Everything discovered in this place, such as the terra-cotta warriors and horses, bricks, tiles, weapons and other relics, activated his artistic fervor. This collection of impressions of his seals contains flavor of poetry and painting in the central and magnificent symphony.
At the beginning of 1960s, practicing in the central Shaanxi and collecting seals stones in its south, he started to learn seal inscription. More efforts he made in learning from the traditional manipulations used in royal seals of Qin Dynasty, seals of Han dynasty, ancient clay seals and relief characters on seals of Yuan Dynasty and additionally, he used the engraving manipulations of the characters on ancient bricks, tiles, coins, bronze mirrors stamped potteries and bamboo slips in his seals. Learning from the schools of Ming and Qing Dy-nasties and melting their strong points together, he has created his own characteristics in seal inscription. In most of his seals, he used the official and seal scripts of Qin and Han Dynasties calligraphically and achieved fresh, lively, simple and flourishing effects. Different manipulations in engraving strokes were used in his different seals, some being of Wanbai's (Deng Shiru) elegance, some Wu Chang-shuo's vigor, some Huang Mufu's beautifulness and some Qi Baishi's forcefulness.
He could carry out all traditions but beyond a stickler for forms, and he strived for new ideas but without incredible abstrac-tion. Beautiful imagery is what he did best to express in his seals and the spirit of modern time is what he endowed with to seal script.
The seal "YU CHI "(Fishpond) is a round one,carved in relief and imitating the ancient royal seal of Warring States, which evokes people a vivid imagination by arranging the character "Yu" (fish) above and the character "Chi" at lower part of the left as a fish jumping up from the water. On the rectangular seal "Che Ma"(chari-ot),the irregular and exaggerated character of "Ma"(horse)looks like a horse galloping with its head held up and the character "Che"(chari-ot),engraved as ancient inscriptions on bronze objects, looks like a wheel spinning. The whole seal gives people a feeling of a horse neighing and a chariot speeding. The author's creation mentality to engrave his emotions on the seals and to take magnificent concep-tion of art as his highest aim subtly delineates the aesthetic tempera-ment of seal script of modern time.
Besides, on his seals he condensated, selected and pithily repro-duced the geometric veins, nature veins and plants veins of some an-cient bricks and tiles, and he also accurately and delicately engraved various images of the terra-cotta warriors and horses on the side of some seals with manipulations of relief sculpture and intagliated en-graved. The vigorous style Wei Dynasty and romantic charm of Tang Dynasty were represented by his hands delicately.
"A Collections of Impressions of Seals concerning Qin Terra-cotta Warriors and Horses "is really a great pioneering undertaken since it melts the knowledge of cultural relics into the art of seal in-scription. Mr. Anqings" succession iri combining old skills with new ideas and bring forth new skills out off old ideas "is the extraordinary result of his painstaking work on seal inscription for 30 years.
Before Mr. Anqing's book is to be published, I would like to write some words above as its preface to show my congratulations to him and many thanks for his book because I have been deeply af-fected by it and have learned a lot from it.
(Translated by Wang Yinqing)
秦兵馬俑印譜/鄭安慶著．—深圳：大中華文化出版社，2008.4