「離奇錯落」，是周亮工對程邃篆刻風格的評價，但歷來因為程邃印章樣本過少而無從細緻探究。本文以幾種新發現的程邃印譜為基礎，首先分析了程邃篆刻形式的特色。尤其注意到程邃將一些不標準的印章形制風格化；其白文印以漢印為主，少量接近古璽趣味，朱文印則反之，為數甚多的朱白文印反映出他試圖混融朱白，營造具有錯覺的觀看趣味；他對框格的複雜運用在清初也獨一無二，不僅增強了裝飾趣味，框格與印文之間也形成一種張力；在印文的排布上，他的很多印章無論是塊面分割還是單字占地都不均等，有些印章閱讀順序也一反常規，這些都呼應了其印文字樣的深奧。本文進而討論了程邃篆刻的印文特色。他大量使用傳抄古文並將之印化，以漢印章法來統攝古文與小篆，參差錯落中饒具秩序感；傳抄古文中的幾何形得到巧妙運用，既顯得質樸，也富有現代意味；程邃賦予傳抄古文以筆意，除了起承轉合中微妙的變化，還有因印泥和鈐蓋而產生生拙趣味與虛實變化。這些分析無疑能夠幫助我們理解程邃篆刻何以「離奇錯落」，在明末清初的印壇又展現出怎樣的創造性。在此基礎上，本文還對篆刻史上一些重要的問題進行了反思。一是印學批評中的「二篆雜糅」，程邃將漢印文字與字書中的傳抄古文相糅合，發展出一種毫無依傍卻新穎絕倫的印章風格，同時也終結了白文印與朱文印創作相分離的局面；二是印史敘述中的「印外求印」，趙之謙等人只是明確提出了取法印外資源，但「印外求印」的實踐並不始於晚清，程邃對傳抄古文的創造性運用也是一種「印外求印」；三是流派論說中的「皖派鼻祖」。程邃與鄧石如相隔一個多世紀，且印風沒有承續關係，將程邃視為皖派的開派人物，皖派便只剩下地域、而喪失了時代與風格的內涵。

Zhou Lianggong (1612-1672), a renowned painter, calligrapher, and art patron, described Cheng Sui’s seal cutting style as peculiar and eccentric. However, the limited number of Cheng’s extant works has left this observation largely unexplored by art historians. This study examines newly discovered seal books by Cheng to analyse the distinctive characteristics of his seal cutting style and its significance in the history of Chinese seal cutting. The analysis reveals a pronounced stylization in Cheng’s non-standardized seals, contrasting with the more consistent Han-style of his white-character seals, some of which exhibit Warring States influences, his red-character seals demonstrate a varied approach. Notably, Cheng often combined white and red characters to create a striking visual juxtaposition. He innovatively incorporated complex border designs with scripts, enhancing the seals’ aesthetic appeal and coherence. Cheng’s approach to script layout involved non-uniform spacing and unconventional character ordering, echoing the profound meaning and style of archaic scripts. His seals, characterized by their rustic yet contemporary appearance, highlight the geometric shapes of ancient scripts and emphasize calligraphic quality through nuanced stroke variations. Additionally, the effects of seal paste and impressions adds a layer of subtlety and versatility to his work. The author concludes the characteristics of Cheng’s seals, emphasizing his peculiar and eccentric style and exceptional creativity in the Late-Ming and Early-Qing period. This study also addresses three key issues in Chinese seal cutting history. First, Cheng’s unique style merges small-seal scripts from Han seals with ancient scripts from transcriptions, ending the polarization of white and red characters in seal creation. Second, it also critiques the concept of “Seeking Seals Beyond Seals” advocates by Zhao Zhiqian (1829-1884), suggesting that Cheng’s innovative use of the transcribed ancient scripts predates this theoretical framework of utilizing diverse calligraphic resources in seal cutting. Lastly, the conventional view of Cheng Sui as the founder of the Anhui School of seal cutting is reevaluated. The comparison with Deng Shiru (1843-1805) suggests that the two artists share little stylistically aside from their Anhui origins, challenging the superficial linkage between them.

程邃; 清初; 篆刻; 傳抄古文; 離奇錯落

Cheng Sui; early-Qing Period; seal-cutting; transcribed ancient scripts; peculiar and eccentric