寄件者:Yutang Lin
收件人:Dharma Friends
日期:2014年9月2日 上午7:14
主旨:Calligraphy and Seals

Upon request from disciple Mi En I have written the title of a booklet on explanations for his daily practice contents in calligraphy.

At the center I applied all four seals that disciple Wang Hao recently carved for me, showing the same-pronunciation names at four levels of my name.


May all beings attain Enlightenment soon!

 

寄件者:Yutang Lin
收件人:Dharma Friends
日期:2014年9月5日 上午2:24
主旨:Couplet in Calligraphy

As requested by disciple Mi En I have written a couplet composed by me in calligraphy, and the top one is the title of the book that he is editing.


May all beings attain Enlightenment soon!

Yutang

寄件者:Yutang Lin
收件人:弥恩
日期:2014年9月5日 上午9:25
主旨:墨宝及印之解释

In addition, as to the way I wrote the calligraphy for the cover, actually it can be read in many ways and all will have congruent meanings:

钟鼓和鸣

钟鸣鼓和

钟和鼓鸣

和钟鸣鼓

和鼓鸣钟

 

As to the arrangement of the 4 seals, originally I was going to put them in the square like this:

浴塘(阴文)

钰堂(阳文)

遇糖(阴文)

育棠(阳文)

 

So it will be going clockwise from 钰堂.

But then it will be all Yang Wen (阳文) on the right side and all Yin Wen (阴文) on the left side, and that does not look very nice and lack the meaning of?交融。

So I changed it to what you see now:

浴塘(阴文)

钰堂(阳文)

育棠(阳文)

遇糖(阴文)

 

In this way, 阴阳交融 is implied and the total image is balanced and harmonized.

 

寄件者:Yutang Lin
收件人:Dharma Friends
日期:2014年9月6日 下午11:04
主旨:Article on Seals

Disciple Wang Hao sent in better image files for the 4 name seals he recently designed and carved for me.
Upon my suggestion he also wrote in Chinese a brief report on the making of these seals, and his views on the art of seal carving.

We will post them in Yu Tang Yin Xin and Miscellaneous Category.

May all beings attain Enlightenment soon!

 

Yutang

「玉」印雕琢记

今年夏天在北京,林上师嘱托我为他制作「钰堂」等四枚法印。我结合法印的特点买到了一组青绿色的石章,它们晶莹纯净温润秀雅,如同美玉一般。在密宗中绿色代表息增怀诛四种事业,「玉」又与「钰」同音,因此因缘配合得很好。

「育棠」有培育法苗的含义,从这层含义来看,同上师的本名「钰堂」的意思都很显明,所以将这两方印画成阳文;相对而言,「浴塘」和「遇糖」则如人饮水旁人不易体会,因此采用了阴文。

玉难雕琢,这套如玉的石章也同样难于制作。石面受刀时感觉如履春冰般光滑,加上我的勐烈用刀,石屑如同飞花碎玉似的四处迸溅,有些地方只好点到为止。从太阳西斜时起,按着刚拟好的印谱,到掌灯时分,基本完成了这四方印的刻制。我将印石的迸裂与刀痕相互融合,不尚雕饰之「美」,亦不避粗怪之「丑」;章法上注重灵活、把握整体,每方印仅在右上角镌刻印题使之完整。

七月初十在会供法会前,我将这套新制法印献上。上师手持印谱频频展示给与会的信众。有几位佛友问我应该如何欣赏篆刻。不同的篆刻流派有不同的趣味倾向,也可以把印当作一种构成来看。像其他艺术一样,篆刻也是在阴阳(注一)互动中产生力和美的艺术,欣赏篆刻同样也需要在薰陶中慢慢领会。

治印很考验作者的创造力。治印之难,在于要将无形的艺术精神凝注于有形的方寸之中,务使章法巧拙相宜,篆法修短合度,刀法不蔓不枝。稍有罅漏,明眼人一勘便破,正所谓毫厘有差,天地悬隔。会篆刻的人很多,但别开生面的治印大家很少。那些在印史上留痕的印人,吉光片羽皆被奉为圭璧。

在我刻第一方印时还是个九岁的孩童,那时有缘在治印恩师身边耳濡目染。青年以后依靠苦读印谱向前辈参学,至今仍然既雕既琢,栖心素朴(注二),自甘游食末技而不改其乐。与其说治印是作者治玉雕石,莫若说是学人潜修自砺,呵冻化墨,拨灯启明,一番石火电光,几段雪泥鸿迹;贵在由偏执入于中道,由「无我」出生「我法」(注三),由无求而达于真境。口说何似梦中空花,不如坐下来在祈请中继续钻研前贤的佳作吧!

 

二〇一四年八月二十一日,天时微雨,应林钰堂瑜伽士建议,顽铁敬笔于妙吉祥室。
二〇一四年九月五日,删略枝末,修改定稿。

 

自注:

一、阴阳:这里代指印文、边栏以及由它们所形成之「空」。
二、既雕既琢:「既雕既琢, 复归于朴」,语出《庄子·山木》。
三、我法:即自我法门,有别于其他流派的风格形式。

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