书画鉴藏印即书画藏品上以鉴赏、收藏为目的而钤盖的非书画创作者本人的印记。本文首次以清代宫廷和私家书画鉴藏用印为研究主体，对鉴藏印的源起、发展及其流变进行了整体梳理，着重探究了清代内府书画鉴藏活动的开展情况及内府鉴藏印的使用规制、清代代表性鉴藏家的印鉴及使用偏好、清代文人风尚影响下的鉴藏印审美衍变等，并对传世清代鉴藏印记进行了整理，从材质、印面形状、印色、字法、章法、刀法等角度进行了印章形制与艺术风格的本体分析。考虑到鉴藏印兼具功能性和审美性的特点，本文将清代鉴藏印的研究置于清代书画鉴藏史、文人篆刻史以及学术文化史的宏观背景下展开。清初诸帝雅好艺文，内府书画收藏在乾嘉时期达到巅峰，乾隆帝和嘉庆帝开展了三次大型书画藏品的整理鉴定活动，并刻制了大量以身份名号、诗词文句、宫殿室名、赏玩宝藏为印文内容的鉴藏印，形成了清宫鉴藏玺印的定制。清初的私家鉴藏活动也十分繁荣，出现了孙承泽、高士奇、梁清标、安岐等书画鉴藏大家，他们眼力卓绝，钤印留迹者多是传世精品，此时的鉴藏印鉴仍以标记功能为主，艺术风格则主要承袭自明末文人流派印，字体选用上以典雅的小篆为主。乾嘉以后，内府对书画名迹搜罗殆尽，加之朴学大兴，私人鉴藏家将注意力转向了金石碑版、古籍善本，并注意到了金石于证经补史之外的美学价值，实现了在书法、篆刻乃至绘画诸领域的风格探索与实践。及至晚清政局江河日下，皇帝们无暇于游艺，内府书画鉴藏活动就此衰落，而与此相对，道光以后今文经学的崛起，则使得对个人主张的强烈阐发需求也流露在了艺术创作中，如赵之谦、吴昌硕等人在鉴藏印中大量模仿秦诏、摩崖、汉碑额、汉镫、汉砖、古镜、古泉等艺术风格，印外求印，成为文人流派印发展中浓墨重彩的一笔。本文认为，清代文人学术风尚的转变，是造成清代书画鉴藏印的入印文字、艺术风格、审美效果等发展衍变的重要因素，但反映在印文内容及使用规制方面的影响很小，以至今日的鉴藏印印文与钤用方式仍与清朝相去不远。书画鉴藏印作为鉴定藏品流传真伪的重要辅助手段，一方面有着重要的史料价值，如鉴藏家的生平传略及收藏情况校补、藏品真伪流传的认定；另一方面其艺术价值也值得重视，它既是流派印的组成部分，也是反映文人审美取向的重要载体。

The seal of calligraphy and painting collection is the seal of the non-creator of calligraphy and painting on the collection for appreciation and collection. For the first time, this paper takes the imperial court and private calligraphy and painting collection seals in the Qing Dynasty as the main body of the study, combs the origin, development and evolution of the collection seals as a whole, and focuses on the development of the calligraphy and painting collection activities in the Qing Dynasty, the use regulations of the collection seals in the Neifu, the representative collectors' seals and their use preferences in the Qing Dynasty. It also sorts out the imprints handed down from the Qing Dynasty, and makes an ontological analysis of the shape and artistic style of the seals from the perspectives of material, shape, color, calligraphy, composition and carving skills.Considering the functional and aesthetic characteristics of the seal collection, this paper will study the seal collection in the Qing Dynasty under the macro background of the history of calligraphy and painting collection, the history of literati seal carving and the history of academic culture. At the beginning of the Qing Dynasty, the emperors were good at art and literature, and the collection of calligraphy and painting in Neifu reached its peak in the Qianlong and Jiaqing periods. Emperor Qianlong and Emperor Jiaqing carried out three large-scale collation and appraisal activities of calligraphy and painting collections, and engraved a large number of seals with identity names, poems and sentences, palace names and treasures as the contents of the seals, thus forming the customization of the seals in the Qing Palace. At the beginning of the Qing Dynasty, private collection activities were also very prosperous, with the emergence of Sun Chengze, Gao Shiqi, Liang Qingbiao, An Qi and other calligraphy and painting collectors, who had excellent vision, and most of the seals were handed down from generation to generation. At this time, the collection seals were still mainly for mark, and the artistic style was mainly inherited from the literati school seals in the late Ming Dynasty, with elegant small seals as the main font. After the reign of Qianlong and Jiaqing, Neifu collected all the famous works of calligraphy and painting, coupled with the great prosperity of Pu Xue(textology), private collectors turned their attention to stone tablets and ancient books, and noticed the aesthetic value of stone tablets in addition to the proof of classics and supplement of history, thus realizing the style exploration and practice in the fields of calligraphy, seal cutting and even painting. With the decline of the political situation in the late Qing Dynasty, the emperors had no time to play, and the collection of calligraphy and painting in Neifu declined. On the contrary, the rise of Jinwen Jingxue(new text Confucianism) after Daoguang made the strong demand for elucidation of personal opinions revealed in artistic creation. For example, Zhao Zhiqian, Wu Changshuo and others imitated a large number of artistic styles such as Qin Zhao, Cliff, Han Stele, Han Lamp, Han Brick, Ancient Mirror and Ancient Coin in the collection of seals, and sought seals outside the seals, which became a brilliant stroke in the development of literati school seals.This paper holds that the change of the literati's academic fashion in the Qing Dynasty was an important factor in the development and evolution of the characters, artistic style and aesthetic effect of the calligraphy and painting seal in the Qing Dynasty, but it had little influence on the content and use of the seal, so that today's seal and seal use are still not far from that of the Qing Dynasty. As an important auxiliary means to identify the authenticity of the collection, on the one hand, it has important historical value, such as the biography of the collector and the collation of the collection, and the identification of the authenticity of the collection. On the other hand, its artistic value is also worthy of attention, which is not only an integral part of the school seal, but also an important carrier reflecting the aesthetic orientation of literati.