清代乾嘉時期,在經學考證和金石學的推動下,碑學漸成新興風尚,碑帖并存的現象在學人幕府中尤爲明顯。錢泳(1759-1844,圖1)處於盛清階段游幕風氣的高潮中,~1大半生出入幕府,以刻帖揚名,并留下著作和年譜作爲時代見證。他的經歷不僅是乾嘉書家游幕的真實寫照,亦揭示了幕府學術圈濃厚的書法風氣。本文選取錢泳的游幕和刻帖兩方面最具代表性的活動,探討乾嘉幕府的碑帖風尚,并考察此種風尚如何影響了錢泳的書學和書法。 In the Qing Dynasty, during the period of Qianlong and Jiaqing, under the guidance of textual research and Jinshi science, the study of Buddhism became an emerging fashion. The coexistence of rubbings and etiquette was especially evident in the temple mansion. Qian Yong (1759-1844, Fig. 1) was in the climax of the Grand Campaign, and most of his life was born in and out of the Shogunate. His works were celebrated in time and his works and chronology were left as testimonies of the times. His experience is not only a true portrayal of the playwrights of the Qianghua Bookstore, but also reveals the thick calligrapher style of the Shogunate academic circle. This article chooses the most representative activities of Qian Yong’s play screen and engraving, and explores the styles of inscriptions of Qian-Jia temple and examines how this style influenced Qian Yong’s calligraphy and calligraphy.