[內容提要]八大山人的書法在其晚年有重要的變化；「個山」時期結字偏長、落筆出鋒、爽利峻峭的書風被古樸圓渾、饒有篆棣意味的書風所取代。以往在解釋八大山人這一藝術上的衰年變法時，學者們多從八大山人的藝術實踐、人生聞歷來尋求原因，未曾涉及這位藝術家所處的時代的學術思想風氣對他的書法可能產生的影響。本文將八大山人的書法置於當時的社會文化環境中加以考察，試圖說明，八大山人的衰年變法在很大程度上受到了當時學術思想趨向的變化、特別是金石學的復興的影響。 本文共分四節：第一節討論明末清初學術思想風氣的轉變，金石學的復興以及具有碑學意識的書法審美觀的形成；第三節從風格分析入手，描述八大山人衰年變法的過程；第三節進一步闡述十七世紀未一個有益於碑學書發展的文化氛圍的形成，以及八大山人通過何種途徑得以暸解當時新的書法審美觀；第四節著重說明，金石學的興起為八大山人提供了一種新的歷史眼光，八大山人藉此重新審視中國書法的歷史遺產(包括晉唐書法)，進而完成衰年變法。 本文更深一層的關懷，在於通過對八大山人衰年變法的分析，對碑學書法在清代興起的原因這一重要的書法史問題作出一些解答。

　　　　　An important stylistic innovation took place in Pa-ta-shan-jen's late calligraphy after the 1680s. The brisk, neat style of his calligraphy before the mid 1680s, with its lanky character structure and sharply-ended brush strokes, was superseded by a plain, and vigorous style that has an archaic flavor strongly reminiscent of ancient seal and clerical calligraphy. Whereas previous scholarly discussions of the innovative character of Pa-ta-shan-jen's late calligraphy focus primarily on his artistic practice, stylistic sources and aspects of his biography, this paper attempts to place Pa-to-shan-jen's late calligraphy into a much boarder socio-cul-tural context in order to demonstrate that his late calligraphy was to a great degree influenced by the new intellectual trends of his time, especially the newly-revived chin-shih-hsueh, the study of ancient bronze and stone objects. This paper is composed of four sections. The first section examines changes in the intellectual climate that accompanied the new political realities of the late Ming (ca,1630-1644) and early Ch'ing; the revival of chin-shih-hsueh; and the formation of a new calligraphic aesthetic that favored ancient epigraphical style. The second section presents a detailed formal analysis of the innovative style of Pa-ta-shan-jen's late calligraphy. The third section discusses the channels through which Pa-ta-shan-jen most likely became aware of and participated in the new intellectual trends. The last section concludes by emphasizing that important role of the revival of chin-shih-hsueh in forming Pa-ta-shan-jen's fresh historical view of calligraphy. From this new perspective he re-examined the historical heritage of Chinese calligraphy and drew inspiration for his late calligraphic innovation. Through a case study of Pa-ta-shan-jen's late calligraphy, this paper attempts to provide a clue to a key issue in the history of late Chinese calligraphy: the emergence of the epigraphical school (or stele school) of calligraphy in the Ch'lng Dynasty.