With the inkstone in traditional stationery as the research object, the work aims to clarify its development through vertical extension and horizontal comparison, and further explore the interdependence between the practicality and aesthetics of this ink tool. As a practical tool for inking, the inkstone, under the guidance of the grand aesthetic concept, has transformed from a simple pounding grinder to a polished three-leg inkstone with accompanying decorations. From the Wei and Jin Dynasties to the Tang Dynasty, the secularization aesthetic tendency gave birth to the symbolic Piyong inkstone and the universal rectangular-pan inkstone. From the Song Dynasty, the dignified and elegant literati inkstones dominated under the trend of advocating literature, while the pursuit of refinement and craftsmanship in the Ming and Qing Dynasties further made systematic regulations on the selection of inkstone materials and inkstone shapes. This shows that the deep participation of the literati in the production of stationery has made the design of inkstones both functional and spiritual. By tracing the influence of aesthetic fashion on traditional inkstone design concepts, the study aims to promote the evolution of design methods and the inheritance of design ideas in contemporary times.