乾、嘉以降，书法风尚由帖而碑，其背后不仅有“帖学大坏”书法体制自身的问题，也在极大程度上受到社会背景、媒介环境、新材料出土等外部因素的影响。在碑学兴起的大潮中，康有为、沈曾植分别代表了尊碑抑帖和碑帖融合两大阵营，共同构成了清代书学流变的双棱镜。 康有为和沈曾植同处一个时代，书法理论自然有其相通之处，但是对于一些重要的书法议题，例如碑帖观念、执笔观念等却不甚相同。通过对二人书论观点的比较研究，旨在说明康、沈二人理论生成的源流及体系，并对二人的艺术成就作出简要评述。 碑学和帖学并非两派敌对的阵营，清代书法风格的嬗变何尝不是在接受这种间距中的历险，康、沈二人使得这两种可能性大大方方地面对面，从而找寻书法发展的新思路。

In the middle and late Qing dynasty, the style of calligraphy changed from advocating post study to stele study. Behind it, there was not only the "self-reflection" of the calligraphy system of "post failure", but also the influence of external factors such as social background, media environment and the discovery of new materials. In the spring tide of the rise of stele study, Kang Youwei and Shen Zengzhi respectively represented the two camps of respecting stele and restraining post and integrating stele and post, which were a double prism of the evolution of calligraphy in the Qing dynasty. Both Kang Youwei and Shen Zengzhi lived in the same era, and their calligraphy theories were naturally similar. However, for some important calligraphy topics, such as the concept of tablet inscription and the concept of brushwork, they were quite different. Through the comparative study of their works, this paper aims to explain the origin and system of the theory of Kang and Shen, and make a brief comment on their artistic achievements. Stele study and post study were not two opposing camps, and the evolution of calligraphy style in the Qing dynasty was an adventure of accepting this kind of space. Kang and Shen brought these two possibilities face to face,so as to find a new direction for the development of calligraphy.