本文以清代早期北方鉴藏家群体为研究对象，并结合相关史料与古今学者的论述，客观的梳理和分析清代早期北方鉴藏家群体刻帖活动及相关问题。本文的内容可分为三个部分。第一部分首先是对明清私家刻帖兴起的背景进行梳理，并对清代早期刻帖的分布和编辑情况进行了考察，发现刻帖地域有从南向北转移的趋势，尤其是直隶的刻帖数量明显增多。而且相比于明代，刻帖选辑者更加复杂，有官员、藏家、学者、商人、刻工，书家后人弟子等，都参与了刻帖活动。第二部分是对清代早期北方鉴藏家群体刻帖观念重点论述，通过整理和分析清代早期北方鉴藏家的收藏和著述，得出其刊刻法帖主要受到了崇古观念的影响。其次通过探讨王铎法帖的一系列刻帖活动以及考证王铎与清代早期北方鉴藏家群体的交游，分析北方鉴藏家群体刻帖的目的和动机很大程度上是对江南崇董观念的抗衡和对书画鉴藏观念的重构。第三部分，笔者浅谈清代早期北方刻帖传播和意义，主要从书家的书学观念和实践角度考察刻帖的崇古观念，发现南北贰臣书家因在对清问题上的差异，故在崇古观念上产生分歧，北方贰臣书家偏重钟王，而南方则偏重颜氏书风。本文重点为第二部分，也即清代早期北方鉴藏家的刻帖观念研究，笔者主要想通过这篇论文的研究，为今后进一步研究明清刻帖的观念做一些基础研究。

In this paper, the early Qing Dynasty northern collectors group as the research object, combined with relevant historical materials and ancient and modern scholars' discussion, objectively comb and analyze the early Qing Dynasty northern collectors group carving activities and related issues. The content of this article can be divided into three parts. The first part firstly combs the background of the rise of private engravings in the Ming and Qing dynasties, and investigates the distribution and editing of engravings in the early Qing Dynasty. It is found that the area of engravings was shifting from south to north, especially the number of engravings in Zhili increased significantly. In addition, compared with the Ming Dynasty, there were more complicated people, including officials, collectors, scholars, businessmen, engravers, calligraphers' descendants and disciples, who all participated in the activity. The second part focuses on the concept of engravings by the northern collectors in the early Qing Dynasty. Through sorting out and analyzing the collections and writings of the northern collectors in the early Qing Dynasty, it is concluded that their engravings were mainly influenced by the concept of honoring the ancient. Secondly, by discussing a series of activities of Wang Duo's engravings and researching Wang Duo's contacts with the northern collectors in the early Qing Dynasty, the purpose and motivation of the northern collectors' engravings are to a large extent the competition against the idea of advocating Dong Qichang in the south of the river and the reconstruction of the idea of appreciating and collecting paintings and calligraphy. In the third part, the author discusses the spread and significance of the northern engravings in the early Qing Dynasty, mainly from the point of view of the calligrapher's book study concept and practice, and finds that because of the differences in the Qing Dynasty, the North and the South of the North of the engravings of the ancient worship ideas, the differences between the North and the South of the engravings of the ancient worship. This paper focuses on the second part, which is the research on the concept of engraving in the early Qing Dynasty. The author mainly wants to do some basic research for further research on the concept of engraving in the Ming and Qing dynasties through the research of this paper.