在汉字演变的过程中，战国中期至东汉这一时期汉字的形变尤为剧烈，而这 一时期由篆向隶演变的过程被称之为“隶变”，隶变为汉代的新兴书体提供充分 的孕育养分，进而从隶衍生出草、行、楷的不同字形，所以隶变对于中国文字的 发展意义非常重大。秦印作为隶变时期的产物，是秦国当时的身份凭证，其文字 形体也处在剧烈的变化之中，所以秦印中有几种不同类型的文字风格，如呈现沿 袭西周金文风格;或小篆风格;或类似秦古隶风格。之所以可以清晰地梳理出这 几种类型的秦印文字，得益于近现代以来的考古学、文字学、艺术学的发展，以 及网络信息技术的加持。因此，在这种信息联动的时代，学习秦印不能局限于各 类出版社出版的秦文字编等工具书，还需要了解和深入相关领域的研究成果，这 是由书法篆刻艺术创作依赖于文字的特性属性决定的。 本文立足于秦印创作的角度，主要借鉴文字学界对隶变研究的成果，重新审 视秦印文字中“同字异形”“同构异形”的现象。第一章主要是论述隶变如何影 响汉字的书写方式和促进汉字结构的多方向发展，以及隶变对于书法篆刻艺术的 影响。第二章从隶变的角度出发，分析秦印文字中出现的由繁变简、笔画简省连 写、构件简化等现象以及秦印中章法的变化。对秦印的视觉样式的变化如:由原 来的匀称向不匀称转变、疏密关系的变化、空间的留白等方面进行重新梳理总结。 第三章从艺术创作手法出发，主要探讨隶变对于秦印风格印章创作的启示，大致 从三个方面进行入手，第一是秦印中的西周金文和古隶文字元素分析、第二是秦 印中的界格分类、第三是秦印创作文字选择的启示。这种从隶变的角度去看秦印 中出现的各种现象，使得秦印的学习不再局限于秦印本身，而是通过秦印文字去 了解隶变的原理，然后再利用这种原理重新回归到秦印的创作当中。如此一来， 既避免了就秦印而论秦印，还能把文字学的成果加以利用，同时又拓宽了秦印创 作的文字取法范围，为秦印的创作和秦文字多学习增加更多思路。

In the evolution of Chinese characters, the process of shape change was particularly drastic during the period from the middle of the Warring States period to the Eastern Han Dynasty, and the process of evolution from zhuan to Clerical(li 隶) during this period is called the " Clericalization (libian 隶变)", which provided sufficient breeding nutrients for the emerging calligraphic styles of the Han Dynasty, and then derived from Clerical(li 隶)to the different glyphs of Cursive(cao 草), Semi-Cursive (xingshu 行书) and Standard script (kaishu 楷书), and thus the official change was of great significance in the development of the Chinese script. Therefore, the official change is of great significance to the development of Chinese writing. The Qin seal, as a product of the Clericalization period, was the identity certificate of Qin at that time, and its character form was also in the midst of drastic changes, so there are several different types of character styles in the Qin seal, such as presenting the style of Inscription in Bronze along Western Zhou (1027-771 BC); or the style of the Small Seal Script; or the style of the similar Qin ancient scribe. The reason why these several types of Qin seal scripts can be clearly sorted out is due to the development of archaeology, philology and art since modern times, as well as the addition of network information technology. Therefore, in this era of information linkage, the study of Qin seals cannot be confined to reference books such as the dictionary of Qin characters published by various publishers, but also requires an understanding of and an in-depth understanding of the research results in related fields, which is determined by the characteristic attributes of the art of calligraphy and seal carving, the creation of which relies on the character of the characters. This paper is based on the perspective of the creation of Qin seal, mainly drawing on the results of the research on the official change in the field of textual studies, re-examine the phenomenon of "the same character with different shapes" and "the same structure with different shapes" in the Qin seal text. The first chapter discusses how the scribal changes affected the writing style of Chinese characters and promoted the multi-directional development of Chinese character structure, as well as the impact of scribal changes on the art of calligraphy and seal carving. The second chapter analyzes, from the perspective of the official change, the phenomena of the change from complexity to simplicity, the simplicity of strokes, the simplification of components, and the change of the chapter style in Qin seals. The changes in the visual style of the Qin seals, such as the change from the original proportionality to disproportionality, the change in the relationship between sparseness and density, and the space of white space, etc., are rearranged and summarized. The third chapter from the art of creation, mainly to explore the official change for the Qin seal style seal creation of inspiration, roughly from three aspects, the first is the Qin seal in the Inscription in Bronze of the Western Zhou and ancient official text element analysis, the second is the Qin seal in the boundary grid classification, the third is the Qin seal creation of the choice of text revelation. This way of looking at the various phenomena in the Qin seal from the perspective of the official change makes the study of the Qin seal no longer limited to the Qin seal itself, but rather to understand the principle of official change through the Qin seal characters, and then to utilize this principle to return to the creation of the Qin seal. In this way, it not only avoids discussing the Qin seal in terms of the Qin seal, but also utilizes the results of philology, and at the same time broadens the scope of text taking for the creation of the Qin seal, adding more ideas for the creation of the Qin seal and the study of Qin characters.