〈淳化閣帖〉自北宋刊刻以來，即成為書家重要的學書範本，其流傳之廣、影響之大，是中國書法史上的囑目現象。歷代醉心於此叢帖的書家，可謂不知凡幾，而在臨寫的過程中，不單寄寓了尊古的理想，更表現出書家對於晉代傳統的臨仿、演繹與更新。可以說，〈淳化閣帖〉的流行，是崇尚晉代傳統的帖學書法得以發展的關鍵。然而，由於經過不斷翻刻，〈淳化閣帖〉於清代已出現嚴重失真的問題，加上碑學新潮，其地位遂隨著時人的責難而下滑，而帖學書法亦面臨重大的考驗。本文擬就清代書壇中的〈淳化閣帖〉為討論對象，審視其起伏興衰及所涉及的種種問題。文中按清初、清前期及清後期為序，分別討論〈淳化閣帖〉的臨摹如何由盛轉衰，其間亦分析清人的臨古觀、書學觀、書史觀，以便為清代〈淳化閣帖〉以至當時的帖學書法，作出客觀的評價。

The Chunhuage Tie (Model Calligraphy of the Chunhua Archive) has become an important model for calligraphers since its production during the Northern Song. Widespread and far-reaching, its influence has been phenomenal in the history of Chinese calligraphy. Throughout the ages, it has been looked upon as the epitome of revivalist ideals by innumerable calligraphers, who imitate, interpret, and reinterpret the Jin tradition while copying this anthology of calligraphy. In fact, the prevalence of this anthology was a catalyst for the advancement of the Model-Calligraphy School in the Jin tradition. Its influence receded in the Qing Dynasty, however, as repeated re-carvings eroded the credibility of available versions at a time when the Stele School of calligraphy was on the rise. This essay attempts to trace the rise and fall of the Chunhuage Tie from the early Qing through the mid- and late Qing. To put the discussion in its proper context, the Qing views on copying ancient masterpieces, the study of calligraphic works, and calligraphic history are analyzed in relation to the development of the Model-Calligraphy School.