姜宸英《湛园题跋》中的书跋是本文主要研究对象。第一部分包括姜宸英生平及家世、董氏书风影响、学书历程，并简略论述《湛园题跋》的几个版本及题跋内容。第二部分是 “《湛园题跋》的书学思想”，也是文章的主要内容。 “选帖与择笔”，姜宸英赞同对古人真迹进行学习，择笔方面，透露出不同书应则不同笔。 “临与摹”，姜宸英临摹刻苦，尤推崇“摹以为学”，对书法学习，尤其是初学者来说指导意义深远。 “推崇魏晋，与古为徒”，姜宸英上追魏晋书法超绝古今者，对唐人书法、米、赵等均有涉猎，也表现出对汉碑和古之印风的偏好。 “天时、地利、人和”，姜宸英在这一部分的书学思想与书法实践印证了孙过庭“五乖五合”的观点。“由心运笔，神明独妙”，姜宸英强调“运笔之妙全在心”，“神明”，或是姜宸英追求的书法极致。

The postscript in Jiang Chenying's "Zhan Yuan Inscriptions" is the main object of this paper. The first part includes Jiang Chenying's life and family, the influence of Dong's calligraphy style, the course of learning calligraphy, and briefly discusses several versions of "Zhan Yuan Inscriptions" and the content of the inscriptions. The second part is "the calligraphy thought of" Zhan Yuan Inscriptions ", which is the main content of the article. Jiang Chenying agrees with the study of the ancients' authentic works, and reveals that different books should be different pens. Jiang Chenying copies hard, especially admires "copying that study", which is of far-reaching significance to calligraphy learning, especially for beginners. "Admire the Wei and Jin Dynasties, and be a disciple of the ancient." Jiang Chenying pursued the calligraphy of the Wei and Jin Dynasties, and dabbled in the calligraphy of the Tang Dynasty, rice, and Zhao. He also showed a preference for the Han Stele and the Seal of the Ancient. Jiang Chenying's calligraphy thought and practice in this part confirms Sun Guoting's view of "five good five close". Jiang Chenying emphasizes that "the wonder of brushwork lies in the heart". "God", or the ultimate of calligraphy pursued by Jiang Chenying.