施伯松個人部落格The Blog of Shih Po-Sung

◎    口述整理：施伯松 

攝    影：張峰碧 

    很幸運地，心玉盦主—薛平南教授爽快地答應安廬雜誌編輯專訪的邀約，讓我們滿懷著期盼精神進入篆刻的寶庫，和薛教授愉快的討論其多年來篆書及篆刻的創作心得。

 Fortunately, Xin-Yu An Master - Professor Xue Pingnan readily accepted an invitation to interview An-Lu magazine editor, let's hope the spirit was driven into the carving of the treasure, and Professor Xue happy to discuss its years of creative experience of seal characters and sculpture.

    首先，薛教授先談起其對篆書創作的理念是：「篆書為篆刻之本，宜刀筆並作，相輔相成。」。所以篆刻上要有進展，首要的工作是將篆書學好。而薛教授的篆書風格是介於吳讓之和吳昌碩二位先生之間，會形成這樣的風格是經年累月不斷的陶鎔而成。其形成的要素是筆畫的線性要合轍，合於自己的個性。而結構的統一更是創作出具有個人風貌書風的要點，薛教授提出其要點是：臨摹和自運不斷的交互運用，日積功深便可以水到渠成。而如何將篆書功力運用到篆刻上呢？筆者特別提出問題請教薛教授：該如何成熟的運用中山王國器銘文字入印。眾所周知，薛教授近幾年所發表的篆刻作品中，以中山文字入印的佳構常令人印象深刻，想必這一路的印風應該是薛教授拿手且得意之作。教授馬上詳細分析解說此路印風形成的方式：首先是多寫中山王文字，並試著完成不同形式的書法作品，如圖（一）。將文字藝術風格創作出來後，便可以進一步拿來設計印稿。因中山王文字屬於東周時期，和金文可以混用；且其結構形體較長，所以刻成長條或橢圓章較為合適。當印稿用書法寫就之後，便進行「按圖索石」的步驟。薛教授特別強調此法是他個人的習慣，因為依設計稿選印材形式，刻出來的章法較不會牽強、效果也較佳。薛教授此時拿出一份篆刻人名示範作品，裡面皆以文字橫排的方式刻就，如圖（二）。這種文字橫排的方式在歷代篆刻作品中較為少見。薛教授示範例子中是以人名三字為範本，朱文三字印排列起來常需要左右借邊或逼邊，上下的空間就較為疏朗。白文三字印的章法就更為特別，因橫排造成上下空間較大，所以安排上下兩條欄線補實，而印面左右便空出來讓文字得以伸縮運用。另外，設計這種印章還有一個特別條件：便是使用的文字下端必須能伸長－要有腳，這樣一來，全印看起來才會婀娜多姿、疏密有致。

 First of all, Xue professor first talked about its seal character creation philosophy is: "Seal script for the carving of the book, pen knife and make appropriate and complementary.". So, to have progress on the carving, the first job is to seal character to learn. The Professor Xue's Seal script style is between Ng's and between Mr. Wu Changshuo 2 will develop this kind of style is made long years of constant Tao Rong. Formation element is a linear strokes to Hezhe, together in their own personality. The unity of the structure is to create a personal style of the book the main points of the wind, Xue Professor The key points are: copying and self-transportation interaction constant use, day of merit and could be ripe for the deep. How to seal character and the skill applied to the carving to? I particularly raise questions for Professor Xue: The use of maturity of the Kingdom of Zhongshan Ming-writing and printing devices. Is well known, Professor Xue published in recent years, carving works, in order to Zhongshan printed on good writing and often an impressive structure, presumably the road winds and India should be good at and proud of Professor Xue. Professor explanation of this road once a detailed analysis of the formation of India and the wind the way: first, to write, Wang Zhongshan, text, and try to complete the various forms of calligraphy works, shown in Figure (a). Creative artistic style to the text came out, they can be further brought the design printed draft. A result of the text belongs to the Eastern Zhou period, Zhongshan Wang, and Jin can be mixed; and its structure, shape are rather long, carved oval section or chapter to grow more appropriate. When printed with calligraphy written after the draft, then a "click Tussaud stone" steps. Professor Xue specifically emphasize that this method is his personal habits, because the design is issued in accordance with the election material printed form, will not be carved out of tricks of the more far-fetched, and the results better.薛教授此時拿出一份篆刻人名示範作品，裡面皆以文字橫排的方式刻就，如圖（二）。 This text horizontal manner in rare ancient stone carving works. Professor Xue is a model example, name the words as a template, Zhu often need to line up the words printed about by the forced edge or the edge of space up and down on the more Graceful ease. Bai tricks of printed words even more special, because the upper and lower horizontal resulting larger space, so arrangements for the upper and lower two bar lines filled, while the Indian side in around an empty stretch out so that the text can be used. In addition, the design of this seal there is a special condition: that is, the language used in the lower end must be able to stretch - to have legs, this way, the All India looks only Graceful, density has caused.

    緊接著教授拿出作品集中的印例，解說中山王文字入印的心得。圖（三）及圖（四）分別是：「三省吾身」及「有所不為」二方印，讀者可以和圖（一）的書法作品相互比較，從中便可充分體會薛教授所堅持的「印從書出」理念，這和清代皖派大篆刻家—鄧石如、吳讓之的創作思想相符。另外圖（五）的印文是：「賢者而後樂此。」其邊款文中云：「語出孟子，梁惠王上，丁亥暮春，平南擬金文。時年六十三。」這段文字中點出一個重點，便是使用金文為創作主體，但印文六個字中，「賢」及「者」二字皆出自中山王國器銘，其他四個字則散見在其他鐘鼎鑄器或璽印中。雖然印文來源差異很大，但整方印面章法設計卻是活潑中又見和諧，達到熔鑄一爐的大化境界。

    在篆刻的技巧分析告一段落後，薛教授緊接著談到印材的收藏及施刀效果的多年心得。不一會兒，桌上便已擺上許多高品味的壽山石。國內篆刻家中，收藏精品印石頗負盛名的便是薛教授，他不藏私地逐個為我們介紹。如圖（六）中，印石由左而右分別是：蠟燭紅巴林石、大材質均的白文洋、巧色大芙蓉對章及最右側的極品巴林福黃凍。這些石材均具備石之六德：「細、膩、溫、潤、凝、結。」尤其是福黃凍能具備如此大材且凝結者，世所罕見，可說是心玉盦之寶。圖（七）是一巴林彩霞紅巧色對章，其巧色的特點是似樹木的年輪，層次分明、濃淡有致，實屬難得之材。薛教授接著補充道：「各種印石中，個人獨鍾芙蓉石，其受刀性最爽利如意，且潤澤可人，實用收藏兼美」。最後，薛教授出示一方私人收藏的閑章，是趙古泥先生所刻的「道在瓦甓」印，見圖（八）。印身邊款為：「甲子夏日，古泥刻」。見圖（九），印體為白壽山石，夾雜著ㄧ些棉絮紋。這一方印吳缶老也曾刻製過，所以對篆刻界的人來說是頗熟悉的。細觀圖（十）的印面放大圖，可以理解趙古泥先生刻此印所用的一些手法特點：刀法在線條轉折處犀利挺勁，起筆收筆處有破鋒的現象，這是切刀的效果使然，線條輕重虛實對比強烈，敢於併筆處理。行刀過程中有衝有披削，局部施以切刀輔助以產生殘破感。章法取對角疏密對比的特色，右上左下為密結構，左上右下為疏結構，這樣的佈局可讓人覺得印面生動靈活許多，整體而言，是一件趙古泥閑章的佳作。薛教授也簡單說明：此章是藝專的老校長張隆延先生所贈，其代價是請薛教授治二方印給子孫留存，這種因緣也誠屬難得。

   Professor works to focus immediately come up with the Indian cases, and explanations into the printed text, Zhongshan Wang experiences. Figure (c) and Figure (d) are: "the three provinces Wu Shen" and "Do Nothing" two side printing, readers can and Figure (a) the comparability of calligraphy works, from which experience can be fully upheld by Professor Xue "Indian from the book a" philosophy, which were large and Qing Wan and seal - Deng Shiru, Wu so that the creative thinking of the line. Another diagram (e) of the printed text is: "Le Sage and then this." Zhongyun its side-sections: "a phrase from Mencius, Lianghui Wang, the Chinese New late spring, flat south to be Jin. When he was 63." a focus on mid-point of this passage is to use Jin as the creation of the main, but the printed text of six words, the "yin" and "those" words are from the Kingdom of Zhongshan device-ming, other words are scattered in other tripods cast or the Xi India. Although very different sources of printed text, but the whole side face India tricks of the design is lively and see harmony, to cast a furnace Dahua realm. 

 In the carving skills of analysis is completed, followed by Professor Xue printed material about the collections and facilities knife effect of years of experience. A moment later, the table had already put many high-taste Shoushan stone. Domestic and seal in Collections in India is quite famous Stone Professor Xue is that he does not Cangsi presented to us one by one. Figure (6), the Indian stone Youzuoeryou are: candle Red Balin Shi, large materials are of the Bai Yang, Qiao-color large hibiscus and most of the chapter the right Acura Balin Fu Huang frozen. These stones are available stone 6 Germany: "thin, greasy, temperature, moisture, condensate, knot." Huang Fu in particular, can have such a big timber to freeze and condensation persons, rare in the world can be said that the An Xin-Yu Bao. Figure (7) is a Pakistani Qiao Lin Caixia red color of the chapter is characterized by its clever color like tree rings, structured, shading delivered, it is rare talents. Professor Xue and then added: "The variety of Indian rock, personal fondness for ROSE QUARTZ, which by the knife of the most refreshing and high-ju, and moisturizing, pleasant, practical collection and the United States." Finally, Professor Xue idle private collections to produce one chapter, is engraved by Mr. Zhao Guni's "Road in tile glazed tile," India, shown in Figure (VIII). Indian side shall read: "Jiazi summer, the ancient carved mud." Figure (9), Indian body as Bai rocks, mixed with some cotton ㄧ pattern. The Indian side has engraving Guo Wu Fou old, so people who are carving industry is quite familiar. Micro-Plan (10) Enlargement of the Indian side, it is understood Mr. Zhao Guni engraved on the printing techniques used by some of the features: blade sharp twist in the lines quite strong, and Qi Bi received pens Department has broken front phenomenon, this is Cutter effect, by their actual situation compared light and heavy lines, strong, daring and pen treatment. OK knife in the process of cutting red with Phi partial impose auxiliary cutter to generate a sense broken. Methodicalness take diagonal density contrast to the characteristics of the lower left to upper right dense structure, and left bottom right for the sparse structure so that people feel that the layout of the printed surface may be a number of lively and flexible, in overall terms, is an ancient mud busy Zhao Zhang excellent work. Professor Xue is also a simple explanation: This chapter is an old art school principal Mr. Zhang Longyan the gifts, the cost is to ask the Professor Xue Zhi two parties to the descendants of India retained, this is also indeed a hard fate.

    最後，專訪便在美酒（葡萄酒）及薛教授精闢的談話中逐漸來到尾聲，此次聽了教授一席話如沐春風，雖然外面為七月溽暑，但心頭總覺得清涼許多了，我們也載著豐碩的行囊向教授道別，期待再次的相聚！

 Finally, the interview will be in the wine (wine), and Professor Xue insightful conversation gradually came to an end, after listening to the professor's words spring breezes, while the outside Rushu for July, but the heart always felt that a number of cool, we are also carrying great things on the professor say goodbye and look forward to once again to meet!