“碑学”、“帖学”概念的提出，“碑学”、“帖学”书法史叙述理路的形成，都是特定社会环境中书法创作和学术思想交互作用的结果，渗透了特定历史时期士人对书法史发展和书法创作的认识。由于清代前中叶朝廷对思想和政治秩序的重新整合，“馆阁书”对书法创作产生了重要的影响，清代前中叶的书法创作也呈现出不断强化的正体化倾向，这种倾向在字体层面表现为楷书和篆、隶等正体文字书法的兴盛；在文字构形上，表现为与朝廷规定的标准字书的一致，绝少异体、别体；在书写风格上，表现为点画起、收形态的完整，单字体势的完美和端庄，字与字之间较少意态的呼应，章法排布的大小匀称甚至界格整齐等。在清代中叶汉学思潮笼罩的学术氛围中，阮元等士人对汉魏以来书法史发展脉络的梳理曲折地反映了推崇正体化书写为主要内容的书学思想。尽管与晚清时期的书论有明显的不同，但它在对书法史发展的梳理中首次将北碑纳入书法取法的系统序列，其写作思路和书学观念也对晚清书论的产生具有重要的影响。伴随着晚清尚“形”观念的形成、创作主体对既有范本继续开掘能力的丧失，士人对正体化书写倾向进行了有限反拨。相对保持单个书写单位独立、封闭和完整性却又比较能够表现艺术情趣的书迹逐渐进入士人的审美视野，由于一部分书写不规整、有意趣的北朝碑版大规模地为士人所取法，为书法创作者和研究者所注意。康有为的书论反映了以对正体化创作进行有限反拨为主要内容的书学思想，其中，“古学”所衍生出的“帖学”在晚清表现为“衰时馆阁书”，而“今学”所衍生出的“碑学”则是对“衰时馆阁书”的反拨，因而，大致符合了当时以及后来士人的审美取向，逐渐成为书法史发展的一种叙述理路。进入近代社会之后，由于“馆阁书”书写环境的消失，书家能够更为客观地认识各种书法风格之间的区别，对“碑学”、“帖学”的概念以及“碑学”、“帖学”的叙述理路提出修正。

The proposal of the conceptions of "Beixue" and "Tiexue", and the ways of the forming of these theory are the result of the interaction of calligraphy creations and academic thoughts under specified social environment, which embodies the intellectuals' cognition of the development of the history of calligraphy and the art creations. "The calligraphy of official style" had made a great impact on calligraphy creations due to the policy that making the ideology re-conform with the political orders, which taken by the Qing government of the early and middle periods. Therefore, the calligraphy creations at that time showed a tendency which was continuously strengthened of the standardization. This tendency was reflected in many aspects: the formal style of calligraphy, such as the regular script, seal characters and the official script in the Han Dynasty and so on, became very popular; the characters were shaped conforming to the standard ones that set by the government, and there were few variant forms of characters; in the style of writing, the shapes of the very beginning and the end of a stroke are both intact, each character is perfect and dignified, there are few links between characters, the compositions are well-balanced, and there even are lines or squares to help the works neat. In the academic atmosphere that shrouded in the trend of thoughts of Sinology of the middle period of the Qing Dynasty, the work that sorting out the sequence of the history of calligraphy,which done by the intellectuals, such as Ruan Yuan and so on, tortuously reflected the calligraphy thoughts of which the main content was that the standardization was highly praised. Although it obviously differed from the calligraphy theory of the late Qing Dynasty, the train of thought and the ideology of calligraphy art, in which the inscriptions of the Northern Dynasty was brought into the classics, had an important influence on the calligraphy theory of later on. With the forming of the concept that advocating the "shape" and the main bodies of the creations having lost of the ability to dig the available models, the intellectuals made some limited adjustments to the tendency of the standardization. The type of calligraphy works, in which the single unit of writing can be kept relatively independent, closed and intact but with artic charm, entered the intellectuals' aesthetic field. Some inscriptions of the Northern Dynasty, which are not well-arranged but charming, became the models of calligraphy, arousing calligraphers and researchers' attention. Kang Youwei's calligraphy theory reflects the thoughts of which the mainly content is the limited adjustment to the standardization. In his theory, "Tiexue", which originated from "Guxue", had an appearance as "The calligraphy of official style in the declining times". And "Beixue", which originated from "Jinxue", was just an adjustment to "the calligraphy of official style in the declining times". So, his theory that roughly conformed to the intellectuals' tastes at that time and later on gradually becomes one way of forming theory of the history of calligraphy. In the modern times, with the disappearance of the demanding of "the calligraphy of official style", calligraphers are able to see the differences among the varied styles more objectively, and they also revise the conceptions of "Beixue" and "Tiexue" as well as the ways of their forming.