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针对晚清书法创作的现状,康有为以“碑学”、“帖学”重新阐释书法史的发展历程,使原本一元的书法史承传梳理嬗变为两条并行不悖的脉络。这一叙述理路以“盖书,形学”与“变者,天也”为立论支撑,认为取法“古学”形成了“衰时馆阁书”的“帖学”形态,需要通过“今学”兴起“碑学”的流派。由于将北碑等新的取法纳入到书法史的叙述之中,晚清之后的书法史研究与写作在越加重视这一理路的同时,也伴随着社会“风气”的变化而给予了修正的措施。
In view of the status quo of calligraphy creation in the late Qing Dynasty, Kang Youwei reinterprets the history of calligraphy with “Tablet Learning ” and “Thread Learning ” so that the original one-way calligraphy history can be changed into two parallel lines. This narrative approach is based on the argument that “the book, the form of learning” and “the change” and the “heaven and the sky” Tie Xue “form, need to pass ” this school “rise ” inscription “genre. Due to the incorporation of Bei Bei and other new ways into the narration of calligraphic history, the study and writing of calligraphic history after the late Qing Dynasty paid more attention to this line of reasoning as well as being accompanied by changes in the social ”ethos" Corrective action.