鄧石如派的形成與傳承
Emergence of the Deng Shiru School and Its Successors
鄧石如派的形成稍晩於浙派。當浙派前期諸家聲望漸隆之時，受過何震、樑袠、程邃等人影響的鄧石如在印壇別開一派。
鄧石如 (1743~ 1805年) 原名琰，字石如；後改石如為名，字頑伯，號完白山人、古浣子等，安徽懷寧人。鄧氏一生以書、印自奉，性格任俠野逸。鄧氏在多年研求唐李陽冰一路玉箸篆的基礎上，參以隸書筆法，體態修長，間架端莊，氣勢朴茂而雄渾。他力倡印從書出的創作理念，印風隨之而變 。
The Deng Shiru school was formed slightly later than the Zhejiang school. When the reputation of the early masters of the Zhejiang school began to wane, Deng Shiru, who had been influenced by He Zhen, Liang Zhi and Cheng Sui set up his own school.
Deng Shiru（1743-1805）,originally named Yan, with the style name Shiru, later took Shiru as his name and Wanbo as his epithet. He also had the epithets Wanzi Hermit and Guwanzi. He also born in Huaining, Anhui. Calligraphy and seal engraving were his livelihood all his life, and he had a chivalrous and roaming disposition. On the basis of studying inscriptions engraved on the jade chopsticks of Li Yangbing, a calligrapher of the Tang Dynasty, he used the strokes of Li official script. His inscriptions were slender and sober, with a simple and imposing manner.
清，王爾度摹鄧石如像
Portrait of Deng Shiru by Wang Erdu. Qing Dyanasty
“江流有聲，斷岸千尺”及“我書意造本無法”是鄧石如的代表作。鄧氏以書入印的`特點， 在此表現得十分鮮明 。鄧石如以“剛健婀娜”這一辯證統一的審美境界作為自己追求的目標，使他的作品中剛與柔、方與圓等關係得到和諧的交融。
“ The Singing River Flows, the Banks Soar One Thousand Feet”, and “My Calligraphy Follows no Rules” are Deng Shiru’s representative works, very clearly demonstrating his use of literary quotations in his seals. Deng Shiru’s esthetic aim was the dialectical unity of “sturdiness and grace,” resulting in a harmonious relationship and fusion of steeliness and softness, of squareness and roundness.
清，鄧石如刻“我書意造本無法”
“My Calligraphy Follows no Rules”，engraved by Deng Shiru. Qing Dynasty
清，鄧石如刻“亂插繁枝向晴昊”
“Planting Leafy Twigs on Head in a Fine Day”,
engraved by Deng Shiru. Qing Dynasty
鄧石如子鄧傳密，字守之，亦長於篆刻，風格傳其家法。晩清時期，經過再傳弟子吳熙載等人的弘揚，鄧派的藝術風格和技法對印壇的滲透力進一步強化 。
吳熙載(1799~1870年)，原名廷颺，字讓之、攘之，別署讓翁、晩學居士等，江蘇儀徵人 。吳熙載踐行“印從書出”的創作觀念，印文更為舒捲自如，翩然多姿。吳熙載子吳棣初，字雪陶，刻印一仍父風。吳諮、 王爾度也是鄧派的傳人。
The family tradition and style was inherited by his son Deng Chuanmi, who was also skilled in seal engraving. In the late Qing, the artistic style and cutting technique of the Deng Shiru school penetrated deeper into seal engraving circles
