康有为在《广艺舟双楫》中以系统的碑学逻辑思维建构了一个完整的碑学体系,康有为从自我的碑学立场出发重新梳理了碑、帖学之间的联系与区别。他虽然以“尊碑”为中心,但同时也坚持“二王”的帖学立场。事实上,在激进的碑学思想下,康有为对于宋、元、明的帖学并未像“卑唐”那样予以彻底颠覆。对于“二王”书法的溯源恰是伴随康有为“尊碑”“卑唐”整体观念进行的,是康有为尊碑与“二王”观的一次并轨,是其碑学立场的又一次泛化。 Kang Youwei constructed a complete system of inscriptions in the “double-edged art of double-inscribed art boat” in a systematic way. From the standpoint of self-scaffolding, Kang Youwei sorted out the connection and difference between inscriptions and impressions. Although he regards “respect monument ” as the center, but also insisted “two kings ” the postgraduate position. In fact, under the radical ideological study of Buddhism, Kang Youwei did not completely subvert the teaching of the Song, Yuan and Ming as did the “Humble Tang”. The trace of the calligraphy of “The Two Kings” is exactly accompanied with the overall idea of ​​Kang Youwei, “respect monument” and “humble Tang”, and is the unification of Kang Youwei respecting the monument and the concept of “the two kings”. Another generalization of the school’s position.