| In Qing dynasty, the seal-cutting art developed prosperously into a high degree and made fairly lofty accomplishments of art, such as diverse genres and many eminent scholars.By putting the seal-cutting art into the broader field of social and cultural living development, the outstanding trait of this paper is that the author intends to expound the researches into the reasons why the seal-cutting art received a big prosperity in Qing dynasty, and also to expose the regular patterns of the development and envelopment in terms of the seal-cutting art, as well as to indicate the important accomplishments during this period. Consequently, this research is significant for us to have further understanding and come in from the seal-cutting art in Qing dynasty.The dissertation consists of four sections:The first section, through the discussion over three definitions of the seal-cutting, crystallizes the association between seal-cutting and sigil, which is a confusing issue for a long time, accordingly to provide a further understanding about the information in Yuan dynasty, when the seal-cutting emerged.The second section dwells on the properties and the regular patterns of the development in the field of the seal-cutting art, following the tree periods in Qing dynasty: primary, middle, and later. In the primary age, even though ChengSui and LinHao did some creation along with succession to the traits of seal cutting of Ming dynasty, they didn't completely eradicate their seniors' shortcoming; in the middle period, Gao-Fenghan initially stirred up the original methods and poured into the source of vitality. Combining the varieties of Qin, Han, Yuan and Ming dynasty, Ding-Jingneng created the genre of Zhe with the spirit of "Unique thinking style". Following his seniors, attached to his achievements on seal cutting, Deng-Shi'ru stood out of the sight and prospered the genre of Wan, which hold the main idea, "the sigil characters should base on the way of calligraphy." In the later period, Zhao-Zhiqian set in motion of uniting Zhe genre and Wan genre with the main theory, "acquiring the nutrition from outer field of the seal-cutting art". During this current, there were two preeminent scholars emerged. They are Wu-Changshou and Huang-Mufu. In their works, the former one shaped a driving property and was regarded as the best of the time, while the latter one created a vivid characteristic with the ancient traits and standardized the supreme peak and the prosperous status in the seal-cutting art in Qing dynasty.The third section is to illustrate the outstanding accomplishments in terms of the practicality and art of seal cutting in Qing dynasty. In the facet of practicality, seal cutting was familiar, almost without exception to every fields and facets of social lives. In this point, Xian sigil played a critical and functional role, which is a sort of personal sigil out of the scale of the simple sigil with names, at the same time the usage of sigil gradually came into an expansive scale and indicated that seal cutting turned into an indispensablepart of the social and cultural activities; in the aspect of art, the seal-cutting not merely reached the peak of this field in Qing dynasty, but also pierced into the conception, "studying seal cutting must follow the traits of Qin and Han dynasty". Consequently, seal cutting was in the status of great achievements. As for Yin Pu, which are the books collected sigil pictures, regarded as the crucial carrier of the seal-cutting art, in the scale and the variety of collections, made a striking progress compared with former generations; and as the essential part of the seal-cutting art, Bian Kuan, which is sealed on the side of the stone, also enriched the expressive force for the seal-cutting art with four sorts of beauty accumulated from calligraphy, painting, sculpture and diction. Therefore, the development of Yin Pu and Bian Kuan abounded the connotation of the sigil art and was identified to have the same social status with poetry, calligraphy, and painting...
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