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把“用传世和出土文物上的春秋到汉代的古文字与汉印文字对比印证”和“抽样统计”两种方法结合起来,得出(一)王莽改“摹印”为“缪篆”,其取义的依据是“缪篆”具有同一字而存在很多“形不同”的变体这个特点,和(二)缪篆是东周秦汉对篆书隶变省改而来的俗书或其变体两个结论。这两个结论支持“缪篆”就是“摹印”,和“缪篆”与“小篆”各为一体的传统看法,同时对“缪篆”是只用于私印的“美术字”的说法提出驳议。为此,提出了训诂的、政教的和实例量化的证据。同时也用量化的证据,对“缪篆”有“屈曲填满”的形式特点的传统说法提出驳议,认为“屈曲填满”是偶或一用的手段,而不是缪篆的基本特征。
Combining the two methods of “comparing the ancient Chinese characters from the Spring and Autumn Periods to the Han dynasties in ancient times and the Han Dynasty to the Han and Indian characters” and “sampling statistics” from the relics and unearthed cultural relics, we can get: (1) Wang Mangai’s “copy” is “Miao Zhuan” It is based on the fact that “Miao Zhuan” has the same word but a lot of variations of “different shapes”, and (2) Miao Zhuan is a popular book or variant of the Qin and Han dynasties A conclusion. These two conclusions support the traditional view that “Miao Zhuan” means “copy” and “Miao Zhuan” and “Xiaozhuan”. At the same time, it is proposed that “Miao Zhuan” is the “art of characters” which is only used for private printing Refute. To this end, there is evidence of exegetical, secular and instance quantification. At the same time, we also use quantitative evidence to argue that “Miao Zhuan” has the traditional characteristic of “buckling and filling up”. He thinks that “buckling and filling” is a means of even or one use rather than the basic characteristics of Miao Zhuan.