民国时期的岭南地区受到西方思想的冲击，“求新”意识逐渐加强，其中邓尔雅作 为“粤派”篆刻代表之一，主要遵从“印从书出、印外求印”的创作思想，并在博综小 学的基础上，以玺印合以鼎彝、碑版、砖瓦、镜币等古物，对金石文字进行重构，即融 合大小二篆，把从属于小篆的缪篆、古物文字、隶楷草及异文别文用于篆刻之中。邓尔 雅从摹古追古的印中求印到合以古籀的印外求印，实则是“布白几何入三味”的具体表 现。本文从邓尔雅的博古渊源入手，在民国时期博古风气的影响下，其创作思想中的博 古观念多有体现，如治印作画、题跋作诗、书信往来等，且通邓尔雅与外甥、女婿间的 互动交流，反映其背后的创作动机，以及博古观念对其篆刻用字、图式上的影响。 本文主要分为四章，第一章主要分析邓尔雅的博古渊源，可分为民国时期的博古风气、邓尔雅家族对金石博古的倡导、邓尔雅的金石研学及交游三个方面。第二章着重于邓尔雅篆刻思想中博古观念的体现，主要可以从邓尔雅对古文字学的研究、邓尔雅的诗词、题跋、信函中入手，探究其中的博古观之存在。第三章主要从图像分析博古观念对邓尔雅篆刻在用字和图式上的影响。这种通过对文字的深究再加以观念的摄入，进而对文字形成重构进行篆刻创作的思想，对当下的篆刻创作亦提供了重要的参考价值。第四章主要从实践方面阐述邓尔雅篆刻思想对笔者进行篆刻创作的启示，在撰写文章的过程中也不断结合博古意识，从而进行一系列的创作探索。

During the period of the Republic of China, Lingnan region was impacted by Western ideas, and the awareness of "seeking new things" was gradually strengthened. Deng Erya, as one of the representatives of the "Cantonese School", mainly followed the creative idea of "printing from books and obtaining seals from outside of seals", and based on the Bozong Primary School, he used ancient works such as Ding Yi, tablets, bricks and mirror coins to recombine the golden stone characters, that is, combining large and small seal types. The Miao seal style, ancient characters, Li Kai Cao and different characters belonging to the small seal style are used in seal cutting. Deng Erya from copying the ancient and tracing the ancient seal to the ancient outside the seal, in fact, is the concrete expression of "cloth white geometry into three tastes". This paper starts with Deng Erya's ancient history, under the influence of the ancient culture in the Republic of China, his creative ideas are mostly reflected, such as printing and painting, inscriptions and postscripts, correspondence, etc., and through the interaction between Deng Erya and his nephew and son-in-law, it reflects the motivation behind his creation, as well as the influence of ancient ideas on his seal cutting characters and schemata. This paper is divided into four chapters. The first chapter mainly analyzes Deng Erya's ancient history, which can be divided into three aspects: the ancient culture of the Republic of China, Deng Erya's family's advocacy of the ancient stone, Deng Erya's stone research and friendship. The second chapter focuses on the embodiment of the ancient ideas in Deng Erya's seal cutting thought, mainly from Deng Erya's study of ancient Chinese characters, Deng Erya's poems, inscriptions and letters, to explore the existence of ancient ideas. The third chapter mainly analyzes the influence of ancient ideas on Deng Erya's characters and schemata. This idea of forming and reconstructing characters to create seal cutting through the in-depth study of characters and then the intake of ideas also provides an important reference value for the current seal cutting creation. The fourth chapter mainly expounds the inspiration of Deng Erya's seal cutting thought to the author's seal cutting creation from the aspect of practice. In the process of writing the article, it also continuously combines the ancient consciousness, so as to carry on a series of creative exploration.