清代的书法,自始至终都笼罩在这样的大氛围下,逐渐形成了两大潮流,一是忠实的抱守者,另一是坚决的反叛者。清代书法的开端,是以正宗帖学为主流的,这其中的奥秘妇孺皆知。虽然这时有纯艺术范儿的王铎、傅山、八大山人对书坛的影响,但是那些所谓正统的规范意识仍旧占据着主导地位。马克思就曾说过“统治阶级的思想在每一时代都是占统治地位的思想”(马克思恩格斯《德意志意识形态》)。清代的统治阶级为了政治的统一、社会的稳定、民族的融合,仍旧沿用隋朝以来 The calligraphy of the Qing Dynasty was shrouded in such a great atmosphere from beginning to end that it gradually formed two major trends. One was a loyal defender and the other a resolute rebel. The beginning of the Qing Dynasty calligraphy, is based on the authentic calligraphy as the mainstream, of which the mystery of women and children are well known. Although at this time there was a pure artistic fan of Wang Duo, Fu Shan, Badashanren impact on the altar, but those so-called orthodox normative awareness still occupy a dominant position. Marx once said that “the ideology of the ruling class is dominant in every age” (Marx and Engels, “German Ideology”). For the sake of political unity, social stability and national integration, the ruling class in Qing Dynasty still used the Sui Dynasty