方寸之间天地大范文:
盛夏的江南，年年如旧，细雨迷蒙。微风翻开潮湿的书卷，墨香淡淡，恍若隔世的相逢。闲散无事，打理庭院的草木，擦落散在桌上的光阴。在柜中的一角，倏然看见了几枚落了灰的篆章，篆章上的字倒还清晰，朱红的印泥泛着温柔，许是记得在柜中与石印快乐地窃窃私语的场景。
那是一间古朴而有灵性的玉舍，带着温厚的江南底蕴。只是不知道老旧的木楼上，有过几多冷暖交替的从前，粉墙黛瓦下，又有多少人看过几度雁南飞。
屋舍里点着黄的灯，各样的石头在灯光的映衬下，收支了棱角，泛着软和的光泽，仔细辨认，那赤色的是鸡血石，青色的是青田石。我立刻便想到了蓝田日暖玉生烟，会不会有块似玉的石头，名为蓝田石，在篆章人的精心雕刻下成为一方唐朝的回忆呢！
屋舍的主人是一个旧旧的老头。他正凑近灯光，一点一点削去漫长的时光。我见他左手扶着石头的中端，右手持着刻刀。刻刀的刀柄已染上了岁月的痕迹，而刀尖几经打磨，锋利依旧。不大的台面上摆放了大大小小的刀，砂纸，印订和连史纸等工具，都无一例外地陈旧，想必是承载了漫长的历史。
一方石印，千雕万刻，通篆文，习篆韵，于细微之处见精神。老人见我兴致盎然，便收我为徒，教我一些篆刻的手艺。刻刀沉重，端着刻刀，仿佛自己便成了一个书者，与世无争，只想封尘住刀尖下的一隅，封尘一段美丽的尘缘。
老者耐心教我如何磨石面，铲刀与侧刀的差异，如何保护一方篆章真想只做一个书者，从容地与石印为伴，每日在真切的成触下寻觅着假意的凡尘里不曾感到的烟火幸福，于方寸之下领万千气象。
篆刻之美不仅在于它独具匠心的结构，流畅的笔画，朱白的相宜，悠久的文化，更在于方寸之间深藏的缘分。
拿着刻刀，或冲刀，或切刀，石头崩碎的触感沿着刀尖传递到手指，石面由平滑光洁到沟壑纵横，就似乎赋与了石印别样的灵魂每一方印因此变得独一无二。
如痴者自醉，谁解其中味?闲云有野鹤逍遥，世外有高人自在，镂石篆刻如江水波澜，此岸月亮彼岸花，月光如水，水如天长。
一个盛夏的傍晚，天气十分炎热，空气非常清新，晴朗天空上挂着一轮弯弯的明月，天上还布满着闪闪发光的星星，一棵绿油油的大树下坐着一位漂亮的妈妈和可爱的小男孩豆豆在乘凉。
妈妈坐在一把椅子上拿着一个红艳艳的苹果和一把锋利的水果刀正在给豆豆削苹果，豆豆看到妈妈满头是汗，心想妈妈肯定很热了，他便拿起一把大扇子对妈妈说:“妈妈你热了吧！我来给你扇扇风吧！”妈妈说：“宝贝,妈妈不热，还是你自己扇吧！”豆豆说：“还是我给你扇吧！你幸苦了。”妈妈说：“那好吧，你扇扇子我削苹果！”于是，妈妈削着苹果，豆豆扇着扇子。妈妈把苹果削好后一切两半，妈妈把大的一半给豆豆，小的一半留给自己，豆豆说：“妈妈我是小孩，我吃小的吧,把大的一半给你吃。”
他们俩一边吃苹果，一边乘凉，一边观赏着美丽的夜景，度过了一个美好的夜晚。
自古以来，中华民族就有篆刻这门独特的艺术。篆刻最早可以追溯到先秦时期，发展至今，篆刻已经历经了十余个朝代，在这之中又反复经历了数次衰败，发展至今有三千七百多年的历史。
想要真正了解篆刻，我们得先了解篆刻的定义。篆刻的“篆”宇，古代写作“_”，在《说文解字》，是这样定义的：“圭璧起兆，_也。”因此，_指的是玉的意思。只不过后来，竹帛成为了通行的书写工具，篆的形符也从“玉”改从“竹”。至于“刻”字，指的是用刀子挖、镂刻的意思。组合起来，篆刻的意思也就明朗了起来，因此，篆刻指的是在玉石上镂刻的意思。
篆刻是一门与书法密切相关联的传统艺术。要知道，一个优秀印章的篆刻首先离不开的就是经过精心设计的书法印稿，这之后，才需要篆刻者用自己精心的刀法进行生动传神的雕刻。可谓是“方寸之间，气象万千”。在秦汉时期，篆刻的作品都多为帝王使用的“玉玺”或是达官显贵使用的“印”或是“章”，篆刻也一度被认为是身份的凭借和权利的象征。
在漫长的历史中，篆刻曾经历过两个全盛时期。一是秦汉时期，这时候篆刻的主要材料多为一些较名贵的金银玉石等。二是明清时期，这一时期的篆刻艺术具有流派纷呈的特点。并且也正是在这一时期，石材被广泛用来作为篆刻的原料。出现了诸多如丁敬、吴让之这样的著名雕刻**。而到了近现代，更是出现了吴昌硕、齐白石等著名雕刻**。由此看来，中国的篆刻历史实在是精彩纷呈。
When foreigners negotiate, or register in certain areas of China, they may be surprised at Chinese' special fondness and preference for seals. To Chinese, seals are an art of deep cultural roots, which combines the essence of both calligraphy and engraving and inspires generations to study, to appreciate and to collect.
It is believed that seals came out as early as 8,000 years ago after our ancestors could make pottery wares and had private property. They were assumed to make marks on their own possessions to prevent theft. When the first dynasty was established, the king began to use seals to empower and to show lordly credits. Only the king's special seal was then called 'Xi', which represented the highest authority. The first emperor of China, Qin Shi Huang, had his 'Xi' made out of the invaluable and beautiful jade 'Heshi Bi'.
Then followed the local governments who needed seals for similar function. Simultaneously private seals were carved in a variety of auspicious characters and vivid animal patterns. Gradually the sphragistics came into being. Now many collectors' favorites are of that kind.
The heyday of seal history was during the Ming (1368-1644) and Qing (1644-1911) Dynasties when the feudal arts flourished. As wash paintings thrived, artists stamped their seal on the 'xuan,' a special kind of high quality paper used for painted scrolls in order to identify themselves and to add interest. Various sects of carving were erected by noted seal cutting sculptors.
The title, "Father of Seal Engraving" definitely belongs to Wen Peng, the son of Wen Zhenming, one of China's most famous calligraphers and painters. The charm of Wen Peng's engraving lay in the dainty mellowness of the cut and the elegant, flying characters. Although a master of his craft, what makes him the 'Father of Seal Engraving' was his ingenuity in introducing a longer lasting more durable material for seals. One day, the story goes, Wen Peng met an old man selling stones for women's headdress. The man was having a difficult time selling the stones; potential buyers had all proposed unreasonably low prices. When Wen Peng saw the stones, it suddenly occurred to him that they could be used as seals. He bought the stones at a high price, helping the old man out of his predicament. When he returned home, he cut the stones with great strength, producing the most delicate of seals. The first stone seal emerged. Until that time, seals had been made of bronze or pottery.
Another noted seal engraver was He Zhen of the late Ming Dynasty. He used the graver steadily and neatly with strength and vigor, and the curves of each character were quite clear and harmonious. His works stopped the vogue of affectation and influenced the engravers of the Qing Dynasty.
The genre of seal is greatly determined by the strength and speed of wrist and hand. Seals, like a person's character, are distinctive from each other. A sanguine seal engraver makes deft and buoyant strokes while a sober person makes careful and neat ones.
Seal carving also requires choice materials like metal, jade, animal teeth and horns, pottery, bamboo, fruit-pits, and stones. A good material should feel slippery, **ooth, cool at first but warm after a second; when cut, it should have certain flexibility. Qingtian stone, Tianhuang stone, Balin stone and 'chicken's blood stone' (Jixue shi) are all first-class materials among stones used for seal cutting. Tianhuang stone features its translucency; 'chicken's blood stone, the red dapples.