鐵筆柔情：近代篆印世界的女性側影

Abstract

在中國藝術的發展過程中，篆刻一向以男性為中心，女性印人寥寥而居於邊緣位置，其參與人數不僅遠低於男性，亦遠低於女性的詩人、畫家。究竟可考的女性印人有哪些？身份為何？從事篆印者的兩性比例大概是多少？這些問題一直缺乏專門探討，亦即本文期以補闕的一項重點。其次，明代中葉以降，文人親自操刀篆刻的風氣轉盛，所謂「無事不可入印」之閒章亦隨而蓬勃發展，那麼，男性印人之柔情寄託於篆印的風貌若何？此為本文重點之二。從傳世印譜與相關文獻普遍考察，筆者發現四個世紀以來，其內容刻記兩性繾綣之情者微乎其微，有之，或出以含蓄手法，或彰顯情義而抑制情欲。明、清時期在兩性情欲方面，詩文戲曲明顯呈現開放趨勢，對照之下，閒章文本則甚為保守，民國後，女性印人增多，此現象卻未見突破，因知篆刻本身即藏有深固的歷史印記。

In Chinese seal art development,not the female, but the male artists always stand in its center. Not only the female were less than the male in this field, to contrast with another forms of creation, such as poems, paintings, the female were much less either. How many seal-woman were there? What were their status? And what the ratio of the female to the male was? Academic studies about these are quite little, and the subjects mentioned above are this paper attempt to go into. From mid-Ming dynasty, many men of letters participated in engraving seals, and almost any kind of text can be brought into the seal. How the love to the opposite sex were shown in seal-texts? To study seal texts that remained, we found there were few that with amorous emotion in past four centuries, and they largely with veiled expressions, or beyond sex. Even if the seal-women had increasing after 1911, this situation is still exist.