【简介】：

西周晚期楚国器铭，据宋赵明诚《金石录》载：“政和三年，获于鄂州嘉鱼县。”搨本。大篆。图版选自《商周靑铜器铭文选》。

【赏析】：

 

 

 

楚国有着光辉灿烂的文化，但他如何汲取中原文化，直到西周以后才逐渐透出一些消息来。《楚公逆镈》铭文是西周晚期的楚人书法作品，它给人的第一印象就是它那与周人大篆书法风格很不相同的个性，它的字形写法独特，有着初学的生涩幼稚，有着充分显示地区性历史文化特徵的顽强表现，还有着依据自己的理解对所学外来文化所做出的改造。

楚文化在它的所有方面都显示出自我的特徵。

应该说，这件作品的线条形式与周人的大篆毫无二致，可是一旦搭配组合成字形，就发生了质的变化。它已不再遵循和表现周人大篆的书写和构字规则，它的字形的面孔也令人觉得陌生。这样，我们所习惯的审美感觉在这裏发生了倾斜，审美标凖和辞语也变得无用武之地。我们好像随着作品回到那遥远而古老的江汉平原，追寻幻渺的巫史文化所留下的缕缕踪迹，野性的无拘无束、浪漫的无边无际、神奇的诡秘空灵、永恒的血肉礼赞。这裏有《离骚》的魂魄，有《天问》的思索，有《驭龙》遨游太空的希冀，有《夔凤》驱邪胜恶的良善，有问鼎中原的伟力……。《楚公逆镈》铭文以全新的姿态，浓缩着楚文化的精神，闯入书法的艺术世界，带来了生机勃勃的春天气息，带来了无可估测的魅力和影响。

 

 

 

[introduction]: in the late Western Zhou Dynasty, according to the inscription of the state of Chu in the record of gold and stone by Zhao Mingcheng of Song Dynasty, "in the third year of Zhenghe, it was won in Jiayu County, Ezhou." This book. Big seal. The plate is selected from the inscription of Shang and Zhou Dynasty bronze ware. [appreciation]: Chu has a splendid culture, but how he absorbed the culture of the Central Plains did not gradually reveal some news until after the Western Zhou Dynasty. The inscriptions of "Chu Gong Ni Yi" are the calligraphy works of Chu people in the late Western Zhou Dynasty. The first impression it gives people is that it has a very different personality from the calligraphy style of Zhou People's seal script. Its glyph writing method is unique, it is raw and childish, it has a tenacious performance that fully shows the characteristics of regional history and culture, and it also has the transformation of foreign culture according to its own understanding. Chu culture shows its own characteristics in all aspects. It should be said that the line form of this work is the same as the big seal script of Zhou people, but once it is combined into a font, there will be a qualitative change. It no longer follows and expresses the writing and character formation rules of Zhou People's large seal script, and its font face is also strange. In this way, the aesthetic feeling we are used to has tilted here, and the aesthetic standards and words have become useless. We seem to go back to the remote and ancient Jianghan Plain with the works to pursue the traces left by the illusory witch history and culture, wild unrestrained, romantic boundless, magical mysterious ethereal and eternal flesh and blood praise. There are the soul of Li Sao, the thinking of Tian Wen, the hope of flying in space, the goodness of expelling evil and conquering evil in Kui Feng, and the great power of questioning the Central Plains. With a new attitude, the inscriptions of "the Duke of Chu rebelled against him" concentrated the spirit of Chu culture, broke into the art world of calligraphy, brought a vibrant breath of spring, and brought immeasurable charm and influence.