The earliest Oracle Bone Inscriptions disappeared with the death of Yin, and the bronze inscription took its place, becoming the mainstream of calligraphy in the Zhou Dynasty. Because it was carved on Zhong Ding, it was sometimes called Zhong Dingwen. 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 Oracle Bone Inscriptions's. This kind of bronze inscription reached its peak in the Zhou Dynasty and extended to the Qin and Han Dynasties. However, there are few artifacts and inscriptions in Shang dynasty, and Qin and Han dynasties have reached the end, so it should be regarded as the mainstream of Zhou dynasty. According to statistics, there are about 3,5 words on bronze inscriptions, of which 1,84 are known, slightly more than Oracle Bone Inscriptions. The bronze inscription inherited from Oracle Bone Inscriptions and started from Xiao Zhuan in the Qin Dynasty. Most of the circulating books were engraved on Zhong Ding, so it can preserve the original writing more than Oracle Bone Inscriptions, and it has a quaint style. The heyday of Jinwen was Zhou, and Zhou Yiping moved to the east and was divided into Western Zhou and Eastern Zhou. The Western Zhou tended to be complete and vigorous, resulting in the golden age of Jinwen. The Eastern Zhou Dynasty formed its regional characteristics due to the separatist regime of various countries-so introduce them separately. Western Zhou Dynasty: The Western Zhou Dynasty inherited the calligraphy style at the end of Yin Dynasty, and it didn't produce a unique style until it became a king. The calligraphy style was magnificent and magnificent. After Zhao Mu, it becomes rigorous and correct. The development of academic culture will be influenced to some extent by social and political factors. In the early Western Zhou Dynasty, from King Ke Yin of Wu to Kang Wang, due to the unification of the world, social stability, and the Duke of Zhou's ritual and pleasure, it was a peaceful and prosperous time, so calligraphers were able to show their vigorous and elegant style, and their contents were gradually lengthened, such as the Big Yu Ding, which was the most typical masterpiece of this period. After Zhao Mu, the style of the book gradually changed, and the strokes became uniform from thick to thin. The pen-receiving and pen-starting also changed from Fiona Fang to round pen; The lines are even in the form of squares, and the book style is extremely rigorous and correct. The representative of this period are the ode tripod with elegant style, the Dake tripod with elegant style and the Mao Gong tripod with a little early style. Eastern Zhou Dynasty: After Zhou Pingwang moved eastward, Qin moved its capital to Yong, inheriting the hometown and culture of the Western Zhou Dynasty. Because of this, the characters of Qin in the Spring and Autumn Period and the Warring States Period are in the same strain as those of the Western Zhou Dynasty. It is precisely because of this that, when the scripts in the eastern countries have horizontal variation due to regional characteristics and cultural reasons, the culturally backward scripts of Qin State have instead become the orthodoxy of the Chinese characters E5a48de588B6E79FA5E9819333236396464 (even without considering the fact that China was finally unified by Qin, it can be considered that in the history of Chinese character development, the scripts of Qin State represent the mainstream of Chinese character development, while the scripts of six countries represent the tributaries. Therefore, the scripts in the Spring and Autumn Period and the Warring States Period can be divided into two groups: the Qin script and the Six-country script. (The Qin script is from the Spring and Autumn Period to the Warring States Period, and the Six-country script refers to the eastern countries during the Warring States Period.) General philologists are also called "Western script" and "Eastern script". After the Qin dynasty unified the six countries, it began to standardize the writing, that is, the so-called "writing in the same language." The standardized characters in Qin Dynasty are based on Qin characters, and the evolution of Chinese characters after Qin Dynasty is also developed on the basis of Qin Xiaozhuan, which was standardized by Qin Dynasty, and Qin Zhuan's daily writing form, Guli. After the Qin dynasty's "writing with the same language", the six-nation script was eliminated, and the Qin script became the real mainstream. Therefore, the Qin script is an important link in inheriting the ancient prose of the Western Zhou Dynasty, initiating the official script of the Han and Wei Dynasties, and even regular script. Its change can be regarded as a part of the evolution of Chinese characters according to their own internal structural laws. Therefore, as far as philology is concerned, the study of western scripts in Qin Dynasty is more important than those in Six Kingdoms, because they are the direct blood relatives of Chinese characters, while the Six Kingdoms are collateral branches, although they also influence and absorb each other. The bronze inscriptions in the Qin Dynasty gradually came to the end, and there were not many stone inscriptions. After Qin Shihuang unified the whole country, the industry of testimonies, scales and stones was carved or cast on copper and iron to be promulgated all over the world. It is a masterpiece of Xiao Zhuan, which is dominated by curves, with a smooth shelf, neat and varied, and unrestrained momentum. It also provides the most reliable and complete information for future generations to learn Xiao Zhuan. The content of the bronze inscription is a record of activities or events such as sacrificial rites, giving orders, imperial edicts, campaigns, hunting and covenants at that time, which all reflect the social life at that time. The inscriptions on bronze inscriptions are neat and elegant, simple and heavy. Compared with Oracle Bone Inscriptions, they are more varied and richer. Bronze inscriptions basically belong to the brush seal style. These characters were discovered in the time of Emperor Wu of the Han Dynasty, when someone sent a tripod excavated in Fenyang to the palace, so Emperor Wu of the Han Dynasty named it Yuan Ding (the first 116). Later, Jin Wen made discoveries one after another. Ouyang Xiu and Zhao Mingcheng, scholars in the Song Dynasty, were both good at writing and studied and recorded inscriptions on bronze. The inscription on Mao Gong Ding, which was cast in Zhou Xuanwang, is very representative, with 32 lines and 497 words, which is the oldest bronze inscription unearthed. Mao Gong Ding's inscriptions are well-structured, thin, smooth, well-laid, and well-behaved, which is the best among inscriptions on bronze. In addition, the inscriptions of Da Yu Ding and San Shi Pan are also excellent works in bronze inscriptions. /view/474.html? Wtp=tt Introduction to the Book of Bronze Inscriptions: Revision of Bronze Inscriptions Unearthed in Anhui. Author: Cui Hengsheng. Edited by Anhui Provincial Planning Committee for the Arrangement and Publication of Ancient Books. Page number: 448 Publication date: November 1998 1st edition SSNo.: 132141 Collection of Bronze Inscriptions in Qin and Han Dynasties. Author: Sun Weizu, Xu Gufu. Edited by Page number: 793 Publication date: April 1997 1st edition SSNo.: Author: Cai Yunzhang Pages: 33 Publication date: October 1996 1st edition SSNo.: 13256 "Collection of Tang Lan's Jin Literary Works" Author: Palace Museum Editor Pages: 536 Publication date: October 1995 1st edition SSNo.: 1356395 "A Quick Manual on Jinwen" Author: Fan Zhongyue Pages: 273 Publication date. 6 edition and supplement of inscriptions on bones and tortoise shells Author: Chen Hanping Page number: 671 Date of publication: September 1993 1st edition SSNo.: 132855 Study on inscriptions on bones and tortoise shells and ancient history Author: Cai Yunzhang Page number: 373 Date of publication: December 1993 1st edition SSNo.: 131978 Selected Notes on inscriptions on bones and tortoise shells in the Western Zhou Dynasty. 132137 "New Theory of Ancient Society in China-A New Examination of Jinwen" Author: Luo Binji Page: 266 Date of Publication: September 1991 1st Edition SSNo.: 1428895 "Appreciation of Jinwen" Author: Tang Funing Page: 284 Date of Publication: January 1991 1st Edition SSNo.: 13215. In March, 199, the first edition of SS No.132151, Selected Works of the Western Zhou Dynasty, was edited by Wu Zhenfeng. Pages: 56 Publication date: December, 1986, the first edition of SS No.132438, Selected Works of Two Weeks, was edited by Gu Ming and Xu Gufu. Pages: 39 Publication date: December, 1986, the first edition of SS No. Date: February 1984 1st edition SS No.1119861 "Book I-Book XV" Author: Editor-in-Chief Zhou Fagao Lin Jieming Xu Zhiyi Zhang Risheng Page: 845 Publication date: 1975 1st edition SS No.118123 "Index of Attached Books of Jin Wenlin" Author: Editor-in-Chief Zhou Fagao. SSNo.: 118124 "Archaeological Special Issue No.9" Author: Rong Geng Edited Pages: 134 Date of Publication: May 1959 First Edition SSNo.: 132858 "Archaeological Special Issue No.1 Accumulated Micro-Dwelling in the Bronze" Author: Yang Shu Edited Pages: 28 Date of Publication: September 1952 SS