袁克文作为“民国四公子”之一，不仅因其特殊的身份烜赫一时，他在诗词、对联、文学、戏剧、书画等方面卓越的才华以及其宏富的收藏、精微的考证更是令人津津乐道。 袁克文的书法，篆、隶、楷、行皆能。他的书法艺术成就主要体现在其独到的书学观和隶书、行书的创作。民国时期是碑帖观念相互碰撞并积极探索的时代，袁克文自然也受二者影响。然而他的书学观似碑非碑，似帖非帖，而是二者兼具却更注重探求艺术的本真。他的书学观既包含审美批评又包含创作理念，自成体系。他注重书家精神意趣的表现，也注重艺术的回归本原和创作的自由。他反对流俗，推重古意，却又强调不囿于古法，能够超拔。他的论述往往能得书之意趣，既能言书之真，也能指导于用，如一股清流，发人深思。因此其艺术理念对当今的书法理论和书法创作仍有借鉴意义。 袁克文的隶书成就突出体现在其风格独特的对联作品中，这类作品关注点并非用笔的巧拙，而是巧妙留白和整体和谐，形成了一种端庄典雅而又轻盈活泼的隶书风格。这既是他独特的艺术手法，也是他审美和才情的表达。这类隶书不仅在民国时期，乃至在明清隶书复兴之际，其艺术创造也尤为可贵。他的行书成就突出体现在大字创作中，这类行书不仅浑厚大气，而且富有自然率意、清新灵动的美感。他探索性地融篆隶笔意入行书中，使碑帖有机交融，其行书面貌在传统帖学婉转流丽的基础上具备了碑刻质朴旷达的美感。他通过大胆的并笔，打破了单字空间有限的束缚，为单字内部笔画打开了更多的流动空间，这种手法不仅增强了字的松紧对比，同时也使单字更具层次感和意外趣味性。这种并笔虽也有一定弊端，但对艺术的探索无疑是成功的，因此意义独特。 袁克文的书法在民国时期引起了广泛关注，这固然与其特殊的身份有关，但其书法创作本身也独具特色，因此阐释其理论主张并分析其书法创作仍有重要意义。

As one of the "Four Princes of the Republic of China", Yuan Kewen is not only famous for his special status, but also for his outstanding talent in poetry, antithetical couplets, literature, drama, painting and calligraphy, as well as his rich collection and delicate textual research. Yuan Kewen's calligraphy is good at seal script, official script, regular script and running script.His achievements in calligraphy are mainly embodied in his unique view of calligraphy and the creation of official script and running script.During the Republic of China, the ideas of stele inscriptions collided with each other and explored actively. Yuan Kewen was naturally influenced by both. However, his view of calligraphy is similar to that of a stele rather than a stele or a placard, but both of them have the same value, but they pay more attention to the exploration of the true art. His view of calligraphy contains both aesthetic criticism and creative ideas, and it has its own system. He pays attention to the expression of the spiritual interest of the calligrapher, as well as the return of the original art and the freedom of creation. He opposed vulgarity and valued ancient ideas, but emphasized that he was not confined to the ancient law and could excel. His expositions often get the meaning and interest of books, which can not only express the truth of books, but also guide them to use, such as a clear stream, which makes people think deeply.Therefore, its artistic concept still has reference significance for today's calligraphy theory and creation. Yuan Kewen's achievements in official script is highlighted in his unique style of antithetical works. The focus of such works is not clever and clumsy pen, but clever blank and overall harmony, forming a dignified, elegant and light and lively style of official script. This is not only his unique artistic technique, but also his expression of aesthetics and talent. This kind of official script is not only in the Republic of China period, but also in the Ming and Qing Dynasties when the revival of official script, his artistic creation is particularly valuable. His achievements in running script is highlighted in the creation of big characters, which are not only full of vigor and atmosphere, but also full of natural and frank, fresh and agile aesthetic feeling. His exploratory blending of seal script and official script in his running script made the inscriptions of tablets blend organically. On the basis of the euphemism and elegance of traditional scripts, his writing features possessed the aesthetic feeling of plain and broad-minded inscriptions of tablets. Through bold concurrent writing, he broke the restriction of the limited space of words and opened more flowing space for the inner strokes of words. This technique not only enhanced the tight contrast of words, but also made the words more hierarchical and unexpected interesting. Although there are some drawbacks, this exploration is undoubtedly successful, so its significance is unique. Yuan Kewen's calligraphy attracted wide attention during the period of the Republic of China. Although it was related to his special status, his calligraphy creation itself had its own characteristics. Therefore, it is still of great significance to explain his theory and analyze his calligraphy creation.