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没有相机《古人如何》为青铜器：留影
杭州6月1日电(林波)在照相技术与机器复制时代来临之前，中国人如何向世界传递青铜器的伟岸身躯与铭文奥秘？答案就藏在拓片上。
“拓本是中国人的智慧发明。”近日，由西泠印社主办的“绝学举孴——金石拓本精品题跋展”在中国印学博物馆举行。其间，西泠印社社员古菲受访时表示，拓本是把碑刻、铜器这些器物上的文字或图案，通过拓印技术复制到纸上的成品。它不仅是文字、书法的复制品，也是保存古代文物信息的重要载体，有些原物已经损坏或消失，留下的拓本就变得非常珍贵。
近日，展览现场一景。 林波摄从平面拓到全形拓，中国传拓技艺经历了一场漫长的进化。
“中国人在隋唐时期就已经有了利用纸墨传拓的平面拓记载。”古菲表示，到清代嘉庆、道光年间，堪称黑科技的“黑神话”——全形拓正式出现。它不仅要拓出器物的铭文与纹饰，更要像如今的3D建模一般，把立体的钟鼎彝器完整“折叠”到宣纸上。
全形拓的起源说法各异，但据容庚《商周彝器通考》记载，这一技法公认始于嘉兴金石学家马起凤。
令人惊叹的是，当时嘉兴地区的“金石僧”释达受，仅仅通过光影与分段拓印，就已经将器物做出了立体的效果。真正将这项技艺推向巅峰的，是晚清金石巨匠陈介祺及民国故宫博物院传拓高手周希丁。
“从金石学家马起凤到张廷济，从释达受到陈介祺，从黄牧甫到周希丁，最后到今天，我们可以看到整个中国传拓技法的发展脉络。”古菲认为，这近百年的演进，本质上是一场中国文人在没有现代科技时，对于“复刻真实”的极限挑战。
但凡谈到金石拓本，绕不过海内三宝。而海内三宝之中，又以铭文最多、书体最醇厚的毛公鼎为焦点。
道光年间出土的毛公鼎，被誉为西周青铜器铭文之冠，近500字的铭文记录了王朝晚期的重要史迹。其被陈介祺秘藏后，在照相术尚不发达的年代，毛公鼎的全形拓本便成为外界一睹真容的孤径。
由于陈介祺本人是金石传拓的“技术控”，他亲自主持监拓的毛公鼎拓本成了后世鉴赏收藏的案头至宝。他为了给后人留下真实的影像，在传拓技艺上精益求精。
“陈介祺‘求真尚精’的传古观念，以及‘为文存真影、为器传神形’的传古实践，极大地丰富了传统金石学的内涵。”古菲说。
展览现场，毛公鼎全形拓铭文清晰、器形斑斓，让人透过那段乌金拓本，得以窥见西周晚期青铜器的庄重气韵与历史厚度。
如果说毛公鼎代表了金石学的陈介祺时代，那么“司母戊鼎”则让这场展览充满了学理思辨的厚度与张力。
古菲透露，在展的“司母戊鼎”全形拓本极为珍贵，即便是西泠印社的行家，也多是第一次得见鼎的全形拓。
1939年出土于河南安阳的“司母戊鼎”，作为中国最大最重的古代青铜器，其命名在八十余年间经历了定名从“司母戊”到“后母戊”的演变。
“在商代晚期的时候，‘司’和‘后’其实是有一些互通的。现在国家博物馆标注是‘后母戊鼎’，但我读书的时候还称之为‘司母戊大方鼎’。”古菲表示，这一字的变迁，折射出古文字学研究的不断深入。
无论是历史学家郭沫若的定名，还是考古学家李学勤基于甲骨文本做出的严谨考证，这场关于一个字的“文化官司”，对于外行来说是新鲜有趣的历史纠葛；对于沉浸金石学的内行来说，却是中国金石学从文人雅玩走向现代考古学科学实证的惊艳缩影。
近日，展出作品《先秦石鼓全铭文拓本(选其二)》。 林波摄“大家在看作品的时候，除了看拓片，还要看题跋的构成。题跋是中国金石拓片一种独特的美学。”现场，古菲指着《先秦石鼓全铭文拓本(选其二)》介绍道，这件作品集合了书法家陆维钊、沙孟海等121人的题跋，堪称“大家集合”。
有意思的是，拓本之上，除了器物的光影，往往还留有一片空白。那片空白上，常画着寓意吉祥的佛手、牡丹等花卉。这便是近代著名的博古图，又称“钟鼎插花”。
融合了金石学、书法美学与文人画吉庆文化的拓本不再是孤零零的考古资料，就像一个穿越者，完美地嫁接了远古的金石之气与当代文人的案头风雅。
众所周知，有“天下第一名社”之称的西泠印社是中国第一个专攻金石篆刻的学术团体，享誉海内外。百余年来，西泠印社始终秉持“保存金石、研究印学，兼及书画”的宗旨。
古菲坦言，当代很多人会觉得金石学是“绝学”，但西泠印社此次办展除了展示精品，更重要的是续接文脉。“解码未止，文脉长存。”(完)
😞Exploring the Delightful World of Tianmei Twisted Noodles Jelly Videos in English
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