本文以《集篆古文韻海》所錄美術字體為主要研究對象，包含鳥蟲書與後人刻意仿古變造的書體。《集篆古文韻海》中所見此類形體來源多數可考，然囿於當時對於材料甄別辨偽之條件，故其所錄未免駁雜。透過形體之考釋分析與各版本轉寫摹錄情況之觀察，亦可見此類美術字體由於更難掌握確切的形體結構與書寫筆順，故其轉寫訛誤之情況甚為顯著。《集篆古文韻海》一書為提供時人於特殊場合書寫古文書法時的參考工具書，其對古文的界定標準較為寬泛，編中所錄「古文」也不全然都是「真古文」。宋人對這種「古文」之態度，於嚴肅的治學精神外，兼具審美氣息，基於賞玩心態蒐納形體殊異的文字，甚至作意好奇、變造影附，皆顯見有宋一代古器物、金石之學風行的時代表徵。

The art font style collected in Ji Zhuan Gu Wen Yun Hai is the main subject of the study, which includes Bird-Insect Script and the font style that were imitated from ancient scripts. Most of the font style in Ji Zhuan Gu Wen Yun Hai have definite origins, however, the collections in Ji Zhuan Gu Wen Yun Hai are various as it was difficult to verify. By analyzing the characters and observing different versions of transcriptions, it is obvious that most of the transcriptions are not the original font style as it is difficult to tell how the characters are composed. Ji Zhuan Gu Wen Yun Hai was utilized as a reference book when composing calligraphy in special occasions. The book gave a broad standard to Paleography. The so-called “Paleography” collected in Ji Zhuan Gu Wen Yun Hai is not the real Paleography. In Sung Dynasty, Paleography as well as ancient artifacts was very popular. People not only studied Paleography seriously but also regard it as an art. At that time, it became a fashion to collect characters with special font style; some like to alter the composition of the characters.