Bronze script is commonly referred to a variety of Chinese scripts engraved on Chinese ritual bronzes from the Shang dynasty to the Zhou dynasty and even later. As one of the earliest scripts in the Chinese family of scripts, the bronze script actually seldom gains its importance for traditional practice of Chinese calligraphy. However, during the Jiaqing-Daoguang period (1796-1850) of the Qing dynasty , it revives with a group of calligraphers boost their interest in and enthusiasm for the calligraphic art of bronze inscriptions. This study therefore aims to examine the emergence and development of bronze script’s revival during this period through a dialogic relationship with social and historical changes in the context of China’s last dynasty of Qing as well as to contribute to the research in the history of Chinese calligraphy in bronze script. I first provide a historical overview of the development of the calligraphic art of bronze script from the Song dynasty to the Jiaqing-Daoguang period in Chapter one. I believe that such a “looking-back” definitely will lay a foundation for our appreciation and understanding of the great achievement of bronze script in the Jiaqing-Daoguang period. I then proceed to identify and analyze the factors that contribute to the revival of bronze script in the Jiaqing-Daoguang period against the backdrop of the changing Chinese social, historical, and cultural values. The three perspectives that I mainly focus on are that period’s academic atmosphere and scholarly tradition, appreciation and appraisal of antiques and ancient vessels, and design fashion of Chinese seal carving and Calligraphy. I, at the same time, dedicate a particular study to Ruan Yuan ([special characters omitted] 1764-1849), a prominent scholar at that time who collated lost antiquarian texts, compiled several new studies on bronze inscriptions, and casted new bronze vessels. I assert that Ruan Yuan plays a significant role for the bronze script’s revival in the Jiaqing-Daoguang period. In my last two chapters, I develop my analysis of the calligraphic art of bronze script in the Jiaqing-Daoguang period from the two dimensions of writing content and writing style to display its specific cultural and aesthetic achievements and values. With a close study of the Chinese characters written in the calligraphic works related in that historical period, I argue that rubbings of Shang and Zhou bronze inscriptions, Xue Shanggong's ([special characters onitted]) Lidai zhongding yiqi kuanzhi fatie ([special characters onitted]), Wang Qiu’s ([special characters onitted]) Xiaotang jigulu ([special characters onitted] ) , and Ruan Yuan’s Jiguzhai zhongding yiqi kuanzhih ([special characters onitted]) obviously the sources for the calligraphers at that period to practice bronze inscriptions. While, there is indeed few calligraphers’ works patterned after some works of their contemporaries. As for the writing style, I try to exemplify its variety with a specific analysis on the calligraphy works’ aesthetic expressions of the brush, calligraphic structure and layout, and the width of calligraphy scrolls. Indeed, with the in-depth study of the theory, history, and connoisseurship of calligraphy, Qing’s calligraphers in the Jiaqing-Daoguang period gain their inspiration in the archaic forms of bronze script and seal script and bring the art of Chinese calligraphy to new height.