我在编写《中国书法全集·商周金文》卷时,着重考虑了从象形字到大篆的图案化、符号化转变问题,并以“篆引”为核心,全面论述了这一过程的必然性和发展线索,把作品风格的考察纳入到书体演进的轨道中来,从而结束了以往对商周书法史罗列作品臆解现象之无能为力的局面。同时,对那些图画性、装饰性较强的所谓“文字画”、或“图绘文字”、或“族徽文字”的涵义,也做了深入的文化与艺术的综合探讨,论定它们是带有宗教色彩的原始书法美的追求,指出其超出于语义之上的特殊的符号功能,以及对后来美化文字形体的风气形成所具有的深远影响、美化之于发展变化中的字形逐步成为规范正 When I wrote the volume “Jin Wen of Shang and Zhou Dynasties of Chinese Calligraphy”, I focused on the pattern and symbolic transformation from pictograph to seal and focused on the necessity of this process with “Seal” as the core And development of clues to study the style of work into the track of evolution of the book body, which ended in the past on the calligraphy of the Shang and Zhou works of history of the phenomenon can not explain the powerless situation. At the same time, we have also done in-depth cultural and artistic integration of the so-called “picture-drawing” or the “picture-writing” or “emblem-writing” Discussing and arguing that they are the pursuit of beauty of the original calligraphy with religious colors, pointing out its special symbolic function beyond the semantics and the far-reaching influence on the formation of the formality of the later beautified writing forms, and beautification in the development and change The glyphs gradually become normative