Chinese Name: mbth, Zhong Dingwen: Chinese Bronze Inscription, also known as Bronze Inscription Type: Ancient Chinese characters have been found on Shang and Zhou bronzes: more than 4,000 bronzes with inscriptions have been unearthed. Location: Yin Ruins Dynasty in Anyang, Henan Province: From Shang Dynasty to Western Zhou Dynasty, Western Zhou Dynasty and Eastern Zhou Dynasty, its style, appraisal method and development and evolution were the earliest, and disappeared with the death of Yin. Bronze inscriptions took its place and became the mainstream of calligraphy in Zhou Dynasty, which was sometimes called because it was engraved on Zhong Ding. According to the investigation, bronze wares in Shang Dynasty were engraved with inscriptions similar to pictures. Later, it continued to evolve, and the bronze inscriptions at the end of Shang Dynasty were also consistent with those of Oracle Bone Inscriptions. This bronze inscription reached its peak in the Zhou Dynasty and lasted until the Qin and Han Dynasties. However, there were few artifacts and inscriptions in the Shang Dynasty, and the Qin and Han Dynasties reached the end, which should be regarded as the mainstream of the Zhou Dynasty. Different from Oracle Bone Inscriptions, Jinwen Jinwen has thin strokes, more straight strokes and a turning point. Jinwen Jinwen's strokes are thick, with many curved strokes and bumps. Bronze inscriptions have been unearthed since the Han Dynasty and have been studied by scholars. Bronze inscriptions are the main materials for the study of the Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period, and are also the most precious materials for the study of pre-Qin history. The heyday of bronze inscriptions was the Zhou Dynasty, which moved eastward and was divided into the Western Zhou Dynasty and the Eastern Zhou Dynasty. The Western Zhou Dynasty tended to be complete and vigorous, resulting in the golden age of bronze inscriptions. The Eastern Zhou Dynasty formed regional characteristics because of the separatist regimes of various countries. The Western Zhou Dynasty inherited the calligraphy style of the late Yin Dynasty, and it was not until it became a queen that it produced a unique style, and the calligraphy style was magnificent. After Zhao Mu, he became rigorous and correct. The development of academic culture will be influenced by social and political factors to some extent. In the early Western Zhou Dynasty, from Yin Ke, the king of Wu, to Kang Wang, due to the unification of the world, social stability and the rites and music of the Duke of Zhou, it was a peaceful and prosperous time, and calligraphers were able to show their vigorous and elegant style, and their contents were gradually lengthened. For example, The Great Yu Ding is the most typical representative work of this period. After Zhao Mu, the style of calligraphy changed gradually, and the strokes became unified from coarse to fine. The pen-receiving and pen-starting also changed from Fiona Fang to round pen; The lines are even and square, and the book style is extremely rigorous and correct. The representatives of this period are the elegant ode tripod, the elegant big tripod and the Mao Gong tripod with a little early style. The Eastern Zhou Dynasty moved from Pingtung to Wangdong, and the royal family of the Zhou Dynasty declined, which turned into a situation of disputes among countries. Because the princes cast their own bronzes, calligraphy showed a strong regional color because of its influence. Bronzes in various countries can be roughly divided into five systems: eastern soil, western soil, southern soil, northern soil and middle soil. Because there are few artifacts and inscriptions unearthed in northern soil and middle soil, they are represented by eastern soil, western soil and southern soil. The style of the Dongtu aristocratic family-Jin Wen has Qi, Lu, Zhu, Ju, Zha, Xue and Teng, and Qi is the prosperity. Its * * * similarity is the height of the book, and the strokes are in a straight line, which is different from the bending pen of the Western Zhou Dynasty. Chen Qiren is a masterpiece of oriental soil system. Western soil series-simple and vigorous Western soil series includes Qin, Jin, Yu and Guo, among which Qin is the most prosperous, and its calligraphy style is similar to that of Xiao Zhuan, with simple and vigorous style. Qin merged with the six countries, and calligraphy also merged with the styles of various places, thus producing more perfect calligraphy, which laid a good foundation for Qin's Xiao Zhuan. Southern soil series-feminine * * * Southern soil series includes Chu, Wu, Yue, Xu and other countries, among which Chu is the most prosperous and calligraphy is feminine * * *. It is worth noting that the style of Xu Guozhi's Book Wang Sunyi Zhong is closer to that of Qi Qi, with neat composition and elegant style. It can be seen that books in different countries still influence each other, and the distinction between eastern soil and western soil is not an absolute boundary, and communication cannot follow the boundaries set by later generations. The bronze inscriptions in the Qin dynasty gradually came to an end, and there were not many stone carvings. After Qin Shihuang unified the whole country, testimonies, scales and stones were carved or cast on copper and iron and promulgated in the world. It is a masterpiece of Biography, which is characterized by smooth curves, strong sense of hierarchy, neatness and changeability, and unrestrained momentum. It also provides the most reliable and complete information for future generations to learn Biography. Bronze inscription is a kind of writing carved on a bronze bell or tripod. Bronze inscriptions originated in Shang Dynasty and prevailed in Zhou Dynasty. They were developed on the basis of Oracle Bone Inscriptions. Because it is engraved on the Zhong Ding, it is sometimes called Zhong Dingwen. According to statistics, there are about 3,005 words on inscriptions on bronze, of which 1804 are known, slightly more than Oracle Bone Inscriptions. Bronze inscriptions inherited from Oracle Bone Inscriptions, and began with Xiao Zhuan in Qin Dynasty. Most of the books circulated are engraved on Zhong Ding, so they can preserve the original text better than Oracle Bone Inscriptions, and the style is simple. Bronze inscriptions have contributed to the further development of calligraphy in terms of brushwork, word formation and composition. Research situation: bronze inscriptions of Jin Wenshang, Western Zhou Dynasty, Spring and Autumn Period and Warring States Period. In the Qing Dynasty, Wu Shifen compiled the bronze inscriptions on Shang and Zhou bronzes into a book, collected a lot of data, and made rigorous textual research and explanation, which had great influence, so the word bronze inscriptions was defined. At this time, the so-called inscriptions refer to the whole inscription, not words. 1925, the editor-in-chief of the Shang and Zhou Dynasties, compiled the words of Jinwen in the dictionary according to the order of Shuowen Jiezi, and Jinwen has since become a calligraphy name. Bronze inscriptions appeared in the middle of Shang Dynasty. Although there are not many materials, they are all earlier than Oracle Bone Inscriptions in Yin Ruins. The lower limit of inscriptions on bronze is when Qin destroyed the Six Kingdoms, that is, when Qin unified China characters with Xiao Zhuan. Song people paid great attention to inscriptions when collecting bronzes, such as Lu Dalin; There are also special inscriptions, such as Wang Qiu; When the words in the inscription were compiled into a dictionary, there was Zhong Ding Transshipment written by Chu Wang and Xue Shanggong. In the Qing Dynasty, due to the prosperity of Shuowen and the in-depth study of phonology and exegesis, under the influence of this style of study, the study of inscriptions made rapid progress, and experts such as Wu Da appeared constantly. Zi Shuo, Shuo Wen Gu Shu Bu, Sun Yirang Gu Shu Interpretation, Gu Yu Shu Lun, Ming Yuan, etc. Everyone has original ideas, which have surpassed their predecessors. Bronze inscriptions have a long history and are widely used. If the materials are not sorted out, the research work will have little effect. Scholars have understood this in the past. Wang Guowei's Preface to the Reading of the Stone and Zhou Yun clearly explains the concepts of time and place. Guo Moruo's Preface to the Great Series of Bi-Zhou Jin Ming said: "The time and the country are consistent, … the writing time of the Western Zhou Dynasty can be set or near, with 162 instruments. ..... is based on the country, and it also coincides with the year of the country, and it has won 160 articles from various countries. " This is an epoch-making pioneering work in the study of bronze inscriptions. 1985, the fourth edition of Jin Wen bian uses 3902 inscriptions, including 2420 words (literate) in the text and 3772 words (illiterate) in the appendix 1352. This is the total number of inscriptions that can be seen today. Pre-Qin written materials are not limited to inscriptions on bronze, but inscriptions on bronze are the main ones after all, which reflects the basic situation of the development and changes of China characters during 1000 years before Qin unified the small seal script. The content of inscriptions on bronze is a record of activities or events such as offering sacrifices, giving orders, imperial edicts, campaigns, hunting and covenants. All these reflect the social life at that time. Bronze inscriptions are neat and elegant, simple and heavy. Compared with Oracle Bone Inscriptions, they are more diverse and rich. Bronze inscriptions are basically printed. These characters were discovered in the period of Emperor Wu of the Han Dynasty, when someone sent a tripod excavated in Fenyang to the palace, and Emperor Wu of the Han Dynasty named it Ding Yuan (formerly 1 16). Later, Jin Wen made one discovery after another. Ouyang Xiu and Zhao Mingcheng were scholars in Song Dynasty. They were both good at writing, studying and recording inscriptions on bronze. [1] Its inscriptions on Mao are very representative, with 32 lines and 497 words, which is the earliest inscriptions unearthed. Mao's inscription is rigorous in structure, thin, smooth, even and neat, and it is a fine work in the bronze inscription. In addition, The Great Yu Ding is also a masterpiece in bronze inscriptions. There are broad and narrow identification methods. Bronze inscriptions generally include naming, pattern, inscription, casting, authenticity, age, value, grade and price. In a narrow sense, it mainly refers to the identification of authenticity and the determination of the times. Under normal circumstances, more emphasis is placed on identifying fakes, especially handed down products. The identification of bronze inscriptions has a long history. "everything is done in Han Fei-zi's talking about the forest" said: "Qi cut Lu, seeking the tripod, Lu took it as a fake, and Qi people called it' fake'. Lu people say' true'. " Later, Lu invited Zheng Zichun to comment, and Mr. Lu bluntly said that Ding was a fake. This historical event shows that in the Eastern Zhou Dynasty, fakes were used to pass off as genuine products. According to Records of Sacrifice to the Suburbs in the History of Han Dynasty, a tripod was found there during the reign of Emperor Wu of Han Dynasty. Li evaluated the tripod as "sleeping at the age of ten" and "carved it according to itself." "In the Eastern Han Dynasty, Xu Shen wrote Shuo Wen Jie Zi, and made extensive use of bronzes and inscriptions. From the Song Dynasty to the Yuan, Ming and Qing Dynasties, and even to the Republic of China, bronzes and inscriptions of Shang and Zhou Dynasties have been unearthed continuously, but in this long historical time and space, fakes and inscriptions have also been produced continuously, with the aim of confusing the fake with the real and profiteering. It should be noted that after the Song Dynasty, many works on bronze identification and inscriptions appeared, such as Lu Qing in the Cave written by Zhao Xihu in the Song Dynasty and Gegu Lun written by Cao Zhao in the Ming Dynasty. After the Song Dynasty, some scholars made a systematic study on forging and imitating bronzes and inscriptions. Many bronzes unearthed in Sichuan have the so-called "Bashu map" that has not been interpreted, which is rich in content, including portraits, objects, animals, plants, geometric patterns and so on. It is worth noting that many bronze seals in Bashu have images of bronze bells or bronze statues, such as the seal of "Shifang Wang Yi" unearthed in Shifang, Sichuan, with the design of the bell on it. The respect and respect of Bashu artifacts shows that the respect and respect here have the same nature as the bronze culture of the Central Plains represented by Ding and Gui, which shows that Bashu region attaches importance to it. Shifang is printed with "Ten Kings", which can prove that the owner of the seal is Shifang King and the seal is a symbol of power. In many museums or folk collections of bronzes and inscriptions, especially some bronzes handed down from generation to generation, there are false inscriptions. The situation of fraud is extremely complicated, just to name a few. Some of them are completely forgeries. A museum in Jiangsu Province has a collection of bronze cups. Although it is very similar to similar vessels in Shang and Zhou dynasties in characteristics and style, it is rough. What is more special is that the neck of this kind of cup is particularly high, which is obviously different from the vessels of Shang and Zhou Dynasties. This vessel is a fake from the Song Dynasty. A cultural relic institution in Shandong Province collects a sacrificial object that looks like the Warring States Period, and it looks very beautiful. After careful identification, the statue is weak in temperament, and the biggest flaw is that the green rust and jujube skin red rust on the device are soft and there is no bone rust. This musical instrument is a fake of the Song Dynasty. The appearance of gold and silver decoration on bronzes generally didn't appear until the Eastern Zhou Dynasty. A museum collects the breastplate reed of Shang Dynasty. In order to make the appearance of the reed beautiful and rich, the fake author spared no expense to add the wrong gold ornaments on the periphery of the chest nail and the table blank. This is a fake in the late Qing Dynasty and the Republic of China. Many inscriptions on bronzes or genuine articles are forged, so we should be very careful when examining the inscriptions on bronzes, especially those handed down from ancient times. Some fake inscriptions can be called "ingenuity". A bronze statue of Shang Dynasty in a museum has a false inscription on the inner bottom: "My mouth is my father, and I am my treasure. "If I put my hand directly into the statue and carve fake words, it will be difficult to operate. After observation, the fake author first carved the fake words on a copper sheet with the same diameter as the original image, then cut the bottom of the original image and embedded the engraved fake inscription copper sheet. Because the embedding is not good, you can still see the traces of embedding. A Shang Ding of a cultural protection unit in Shanxi County has a fake inscription on the inner wall of the vessel: the word "second father". The fake inscription is made by cutting a piece from the wall of the original vessel and embedding a piece of fake inscription copper with the same size. These two methods can be called "bottom opening method" and "skylight opening method"