寿山石瑞兽钮印章
中华瑰宝--寿山石（Shoushan Stone），中国传统“四大印章石”之一。分布在福州市北郊晋安区与连江县、罗源县交界处的“金三角”地带。若以矿脉走向，又可分为高山、旗山、月洋三系。因为寿山矿区开采得早，旧说的“田坑、水坑、山坑”，就是指在此矿区的田底、水涧、山洞开采的矿石。经过1500年的采掘，寿山石涌现的品种达百数十种之多。寿山石已成为海峡两岸经贸往来、文化交流重要的桥梁之一。
Shoushan Stone, one of China's traditional "four seal stones". It is located in the "Golden Triangle" zone at the junction of Jinan District and Lianjiang county and Luoyuan County in Beijiao, Fuzhou. If the vein goes, it can be divided into three series: high mountain, Qishan and Yueyang. Because Shoushan mining area was early mining, the old said "Tian hang, water pit, mountain pit" refers to the ore in the mining field, water stream and cave. After mining in 1500, hundreds of dozens of varieties emerged from Shoushan stone. Shoushan stone has become an important bridge for cross-strait economic and trade exchanges and cultural exchanges.
清康熙“清宁之宝”寿山石印章
康熙曾三次东巡，第一次是在他亲政并降服鳌拜两年后的康熙十年（1671 年），他首巡盛京，谒陵祭祖，表示他已承续传统，再握皇权，可以告慰列祖列宗。第二次是在平定“八蕃之乱”后未久的康熙二十一年（1682 年）；第三次是在平定准噶尔之后的康熙三十七年（1697年）。每经历重大长期艰苦奋战， 奠定边疆版图之后，康熙必要重谒盛京。我们今天看到的这方“清宁之宝”，大约就是在三巡之间，康熙帝回京不久命人镌刻制作的。回溯清代宫廷沿革历史，北京紫禁城内唯有坤宁宫曾按照清宁宫改建，以承续满族文化习俗传统。而康熙为弘扬祖宗基业，鞭策自己励精图治、奋发努力。用以自警、自勉而镌制的这方印章，意味深远。
近年在艺术品市场，曾见数方明白无误的清宫御玺，材质有石有玉，殿宝、闲文互见。我以为，材质上的不同，没有高低等级之别，玉材若佳，故其宜矣，而若石质美焕，也是可遇而不可求得者。回顾汪统老先生的收藏经验，所谓“积石成冢”， 不“从众”而独具“远见卓识”。一件收藏，得者在天、地、人和， 终不在一时市值若干。收藏家之物，在于把玩自足，知其流传三味、历史典故，知其所以然，而不在藏品数量之多寡。愿此历经三百余年雨雪冰霜，兼具传奇色彩，深含一代帝王缅祖承续的“清宁之宝”，能够得到很好的延续传承。
Kangxi had visited Kangxi for the first time, for the first time in the ten years (1671) of Kangxi, who was in his own government and after two years of surrender. He first visited the Imperial Palace and the ancestor of the Yusing. He said that he had inherited the tradition, and then held the imperial power to consolate the ancestors. The second time was Kangxi's twenty-one years (1682), which was not long after the "eight rebellion", and the third was Kangxi thirty-seven years (1697) after the Junggar. After a long and arduous struggle and laid the frontier map, Kangxi must pay great attention to Shengjing. The "Qing Ning treasure" that we saw today is about three visits, and Emperor Kangxi returned to Beijing shortly after he was engraved and made. Tracing back to the history of the palace evolution in the Qing Dynasty, only the Kun Ning palace in the Forbidden City of Beijing had been reconstructed according to the Qing Ning palace to inherit the tradition of Manchu culture and customs. In order to carry forward the ancestral cause, Kangxi urged himself to make good efforts and make great efforts. This seal, which is used for self warning and self encouragement, is far-reaching.
In recent years, in the art market, I have seen several parties understand the Qing Imperial Palace seal, the materials are Shi Youyu, Dian Bao and Xian Wen. I think there is no difference between the material and the material. If the jade material is good, it should be suitable, and if the stone is beautiful, it is also possible to encounter and not be able to obtain. Looking back on the collection experience of Mr. Wang Tong Lao, the so-called "accumulation of stone into a grave" is not "follow the crowd" and is unique in "foresight and sagacity". A collector will not be in a market value at all times. The collector's object is to play self satisfied, to know that it spreads three flavors, historical allusions, and knows its reason, but not the number of collections. It is hoped that after more than three hundred years of rain and snow and frost, it is legendary. It contains the treasure of Qing Ning, which was inherited by a generation of emperor Myanmar.
清乾隆 乾隆帝御宝“争珠游龙”钮寿山石玺
清代帝王的玺印，近年以来一直是艺术品市场上的“龙睛” 之物。一方面，因其珍稀鲜有；另一方面，器物虽小但是却具有重要的文化与历史价值。所谓：“画龙点睛”，不在大小，而在出彩也。颇富有意味的是，君王帝胄大都不满足于其最高统治者的角色，同时还要努力成为当代的最大收藏家，甚至诗人、画家、书法家、设计家和艺术鉴定家。
The imperial seal of the Qing Dynasty has been a "dragon eye" in the art market in recent years. On the one hand, because of its rare and rare, on the other hand, although the artifacts are small, they have important cultural and historical values. The so-called "finishing point" is not in the size, but also in the lottery. It is quite meaningful that most of the emperors are not satisfied with the role of their supreme ruler, and also work hard to become the greatest collectors of the present time, even poets, painters, calligraphers, designers and artists.
清 黄寿山石龙钮方章
方章为寿山石质，色为寿山黄。龙纽顶雕刻游龙戏珠，游龙身姿矫健，仪态威猛。印身四面上部均剔锦文为地，其间各有浅浮雕五爪游龙一条，“尚均”款便藏于一面纹饰间。印文琢减地阳文“话语楼”，刀法利落，技巧高超。此章选材精良贵重，纹饰细腻繁复，为不可多得的民国时期印章佳作。
周彬，字尚均。相传为清康熙时期福建漳浦人，曾为康熙宫廷御工，擅长人物雕刻，尤精于印纽制作。常喜于博古图案中或锦边饰纹中隐刻 “尚均”作记，为清初制纽第一高手，现故宫博物院藏有其所雕人物及印章。
Fang Zhang is the stone of Shoushan, and the color is Shoushan yellow. Dragon Nu top carved dragon ball, dragon swimming posture strong, strong manners. The upper part of the body is printed on the top of the brocade, and each of them has a shallow embossed five claw dragon swim. The printed language cuts down the "floor" of Yang Wen, and its skills are superb. The selection of this chapter is excellent and valuable, and its ornamentation is exquisite and complex. It is a rare seal of the Republic of China.
Zhou Bin, the word is still all. According to legend, during the Qing Dynasty, the people of Zhangpu, Fujian, once worked for the imperial palace of Kangxi, who were good at carving characters, especially in the production of Kangxi. Often happy in the design of the brocade or the brocade pattern, the "Shang Jun" is remembered for the first high hand in the early Qing Dynasty, and the the Imperial Palace Museum has its characters and seals.
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