清末民初之际,素有“同、光朝第一大师”之称的沈曾植在传统文化受到猛烈冲击之时,以文化传承自荷、为守护传统文化苦心孤诣。他所倡导的“碑帖融合”“南北会通”的书学理念为当时沉闷的书坛带来一缕清风,甚至影响了民国时期的书法审美取向。只是他处于历史大潮的风口浪尖,受到过激的批判、攻击,长期湮没无闻。本文试图通过作为清遗民的沈曾植对道统的坚守、在书学思想上的复古倾向以及其选取取法对象的内在根源等方面来反映其书学观的一个侧面。 At the turn of the Qing Dynasty and the beginning of the Republic of China, Shen Zengzhi, once known as “the same master of light and toward the first master of light,” inherited his own culture and took pains to protect traditional culture when he was severely hit by traditional culture. He advocated the concept of “calligraphy integration” “north and south will pass” the concept of calligraphy for the then boring books bring a ray of breeze, and even affected the aesthetic orientation of calligraphy during the Republic of China. It is only that he is at the cusp of historical tide, being subjected to radical criticism and attack and has long been in oblivion. This article attempts to reflect one aspect of his view of book study through Shen Zengzhi’s perseverance of Taoism as a foreigner, his retro tendency in calligraphy and his selection of the inner source of his object.