壽山石瑞獸鈕印章
中華瑰寶--壽山石（Shoushan Stone），中國傳統“四大印章石”之一。分佈在福州市北郊晉安區與連江縣、羅源縣交界處的“金三角”地帶。若以礦脈走向，又可分為高山、旗山、月洋三系。因為壽山礦區開採得早，舊說的“田坑、水坑、山坑”，就是指在此礦區的田底、水澗、山洞開採的礦石。經過1500年的採掘，壽山石湧現的品種達百數十種之多。壽山石已成為海峽兩岸經貿往來、文化交流重要的橋樑之一。
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“清寧之寶”壽山石印章
康熙曾三次東巡，第一次是在他親政並降服鰲拜兩年後的康熙十年（1671 年），他首巡盛京，謁陵祭祖，表示他已承續傳統，再握皇權，可以告慰列祖列宗。第二次是在平定“八蕃之亂”後未久的康熙二十一年（1682 年）；第三次是在平定準噶爾之後的康熙三十七年（1697年）。每經歷重大長期艱苦奮戰， 奠定邊疆版圖之後，康熙必要重謁盛京。我們今天看到的這方“清寧之寶”，大約就是在三巡之間，康熙帝回京不久命人鐫刻製作的。回溯清代宮廷沿革歷史，北京紫禁城內唯有坤寧宮曾按照清寧宮改建，以承續滿族文化習俗傳統。而康熙為弘揚祖宗基業，鞭策自己勵精圖治、奮發努力。用以自警、自勉而鐫制的這方印章，意味深遠。
近年在藝術品市場，曾見數方明白無誤的清宮御璽，材質有石有玉，殿寶、閒文互見。我以為，材質上的不同，沒有高低等級之別，玉材若佳，故其宜矣，而若石質美煥，也是可遇而不可求得者。回顧汪統老先生的收藏經驗，所謂“積石成冢”， 不“從眾”而獨具“遠見卓識”。一件收藏，得者在天、地、人和， 終不在一時市值若干。收藏家之物，在於把玩自足，知其流傳三味、歷史典故，知其所以然，而不在藏品數量之多寡。願此歷經三百餘年雨雪冰霜，兼具傳奇色彩，深含一代帝王緬祖承續的“清寧之寶”，能夠得到很好的延續傳承。
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 乾隆帝御寶“爭珠游龍”鈕壽山石璽
清代帝王的璽印，近年以來一直是藝術品市場上的“龍睛” 之物。一方面，因其珍稀鮮有；另一方面，器物雖小但是卻具有重要的文化與歷史價值。所謂：“畫龍點睛”，不在大小，而在出彩也。頗富有意味的是，君王帝胄大都不滿足於其最高統治者的角色，同時還要努力成為當代的最大收藏家，甚至詩人、畫家、書法家、設計家和藝術鑑定家。
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 黃壽山石龍鈕方章
方章為壽山石質，色為壽山黃。龍紐頂雕刻游龍戲珠，游龍身姿矯健，儀態威猛。印身四面上部均剔錦文為地，其間各有淺浮雕五爪游龍一條，“尚均”款便藏於一面紋飾間。印文琢減地陽文“話語樓”，刀法利落，技巧高超。此章選材精良貴重，紋飾細膩繁複，為不可多得的民國時期印章佳作。
周彬，字尚均。相傳為清康熙時期福建漳浦人，曾為康熙宮廷御工，擅長人物雕刻，尤精於印紐製作。常喜於博古圖案中或錦邊飾紋中隱刻 “尚均”作記，為清初制紐第一高手，現故宮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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