马一浮“六艺论”及其印学思想初探

A Preliminary Study on Ma Yifu's “Six Arts Theory” and His Ideology of Printing Studies

作为现代新儒学的代表人物，马一浮不仅具备深厚的国学修养和扎实的传统学识，而且在印学领域也有着独到的创见。马一浮的“六艺论”与其艺术实践亦存在相互成就的关系，达到了学术与艺术之间的两相印证，使他的艺术作品赋予了新的意义和内涵，更多地指向“内圣”层面。马一浮印学思想的形成，首先与其“六艺论”一脉相承；其次，他对金石碑版深入的研究，以及碑帖融合理念的熏陶，还有浙派名家影响密不可分；最后，通过马一浮留下来现有的印章可以窥探到文字结体纯依篆书，章法既不强予挪让、虚实，刀法更不讲究刀味、斑驳，故有一种纯正、质朴、典雅之风神，使人一望而知为学人之作。本文通过马一浮“六艺论”中蕴含的审美理想为纽带，并结合其印作与古代经典印作进行横向和纵深的对比分析，试言明其印学思想的渊源，以期让人们更全面地了解马一浮“六艺论”及其印学思想的价值所在。

As a representative figure of modern new Confucianism, Ma Yifu not only has deep national learning and solid traditional learning, but also has original ideas in the field of Indian studies.Ma Yifu's “six arts theory” and his art practice also have mutual achievement relationship, reaching the academic and art two-phase confirmation, so that his works give new meaning and connotation, more pointed to the “sacred” level.This paper presents Ma Yifu's “six arts theory” as a link between aesthetic ideas, combined with its printing works, and expounds its printing ideas.