在篆书艺术的传承与发展过程中,秦代李斯规范了小篆的形体,唐代李阳冰复兴小篆,历经宋元明三朝的没落,直至清初,小篆的发展始终难以突破"二李"风格的窠臼.清代涌现出了诸多重碑抑帖的书学理论.这些书学理论既有较高的审美水准和理论深度,又具备相当可观的数量,为篆书在清代的复兴和发展奠定了坚实的理论基础.清代篆书创作从以王澎为代表的学者型书家"承前",到以邓石如为代表的创新型书家"中兴",实现了创作和理论方面的双突破.邓石如更是开辟了一条篆书艺术的创新之路,为后来的吴熙载、杨沂孙、赵之谦、吴昌硕等篆书家指引了方向.由此,清代晚期的篆书发展进入了全面复兴和繁荣的时代.%In the inheritance and evolution of seal scripts, Li Si in the Qin Dynasty prescribed the form and shape of official script and Li Yang-bing in the Tang Dynasty rejuvenated it. After declination in the Song Dynasty, the Yuan Dynasty and the Ming Dynasty, the development of official script could not break away from the pattern set by Li Si and Li Yang-bing. In the Qing Dynasty, calligraphic theories put more stress on tablets while keeping signatures in the shade. These theories were of high aesthetic standard, profound theoretic innovation and considerable quantity, which laid solid foundation for the rejuvenation and development of seal scripts in the Qing Dynasty. Inheritance was conducted by scholar calligraphers represented by Wang Peng, and rejuvenation was mainly conducted by innovative calligraphers represented by Deng Shi-ru, both of whom made breakthrough in creation and theory. Moreover, Deng Shi-ru's innovation inspired suc-cessive calligraphers like Wu Xi-zai, Yang Yi-sun, Zhao Zhi-qian and Wu Chang-shuo. From then on, the development of seal scripts entered an era of rejuvenation and prosperity.
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