篆刻一藝為我國特有的傳統藝術，其特色則兼具實用性與藝術性。自商周時期以迄現今，印章仍為普遍使用的憑信工具。另一方面，宋元時期因為文人畫的興起，印章亦成為書畫落款不可或缺的附屬品；到了明清之際，名家輩出，於印石方寸之間求表現，篆刻遂成為獨特的一門藝術，得以與書法和繪畫鼎足分立。
對於篆刻藝術的欣賞，歷來的論述大都集中在篆法、章法和刀法上，一般對
篆刻美的欣賞與研究，較少從美學立場去建構其藝術理論與審美特性。本計畫嘗試從美學探究的角度，由不同的兩個主線來探討篆刻美的形式構成，我們從印面效果所探討的是其獨特的空間特徵，主要是以篆書結構作為基點所造成的裝飾性、排疊性強烈而構成的美感效果；和以「方」為外形框架而變化的造型空間。再者，進一步探討其形式構成的過程，篆刻形式構成的過程必須經過書篆與刻製兩個階段，稱之為創作過程的兩度性，這是篆刻藝術異於其他藝術的獨特創作過程，寫與刻的兩個過程可以各自獨立，卻又必須統一融合才能完成篆刻作品。而這個過程的豐富創作語匯和隨機應變的技巧與創作靈感，都使得篆刻藝術有更豐富的獨特表現。
經過這樣的探討，期能在欣賞篆刻藝術或從事篆刻創作時，更能掌握其審美特性，從而能深入欣賞或表現篆刻藝術的美感。 The Seal carving is one of Chinese traditional arts. It’s a style of practicability and artistry. Signet became a tool of voucher from Shang and Zhou Dynasties to the present. On the other hand, Signet cannot be lacking to stamp on the painting. Especially, the seal carving kept abreast with calligraphy and painting in Ming and Ching Dynasties duo to artists’ swarming by exhibiting their skill of seal carving inside.
Speaking of the appreciation of the art of Seal carving, this has always been the case treating all aspects of the methods of seal style（penmanship）, methodical ness and knife. But this essay tries to probe into form’s constructing of the beauty of seal carving by two ways. First I research the characteristics of particular space from the appearance of traces. Further I make a study of the process of form’s constructing to pass through two phases –calligraphy and seal carving. We call this way the characteristic of 2-dimensional. The process of creation of calligraphy and seal carving separate each other, but need to unite together. That's a different appears in the art of seal carving than in others
