专题:大英博物馆藏中国文物研究

Special Topic: Researches on Chinese Cultural Relics Collected in British Museum

西周成王时期的金文章法虽然因袭商代末年，即从右至左、自上而下的行文纵势，且兼顾文字之间错落的规整，但其中在族氏徽号、字列方向及视读平面形状等方面出现了一些新的变化，布局愈加规整，尤为注重视觉之美。这一时期的金文用字在整体上较此前更为匀称、协调，有利于发挥书写时势能的上下承接，保证通篇文字气息的连贯。商代末年产生的“捺”划，在西周成王时期的有关金文中波磔幅度加大，从而使这一时期的字形略有加宽，气势开张。西周成王时期金文多数为规范书体，少数为急就书体；同时，这一时期的金文结体少数左低右高，成“欹侧之势”；而多数金文则如《禽殴》、《何尊》及《献侯鼎》等篇，书体端正，以正面视人，庄重沉稳，导后世篆法之风。总体而言，在西周成王时期的金文中，存在新派与旧派之别。

During the reign of King Cheng of Western Zhou, the bronze inscriptions should be laid out from right to left and from top to bottom like the longitudinal writing style of late Shang Dynasty. The spaces between the characters and the lines were regular, while the changes of the clan mark, the row direction and the visual plain form made the composition bear more regularity and visual beauty. In this period, the characters of the bronze inscriptions seemed more symmetrical and harmonious on the whole to make sure continuous energy and the coherent vitality in writing. For ＂ha＂ （the right-falling stroke） emerged in the last years of Shang Dynasty became more wavelike at that time, the character was slightly widened in pattern and more vigorous in strokes. During the reign of King Cheng of Western Zhou, the majority of the bronze inscriptions were in forma] style except some in hasty style. Meanwhile, a few characters seemed to lean to one side with the structure of the higher left and lower right, while the chirography of most inscriptions on bronzes such as the Gui of Qin, Zun of He and Ding of Marquis Xian was in regular and elegant style with a balanced front which led to the later seal script. Overall, the bronze inscriptions could be divided into the old and new schools in King Cheng＇s period.