唐宋砚台主体经历着陶砚到石砚的材质变迁过程，伴随宋代文人蓄砚风气的兴起，砚铭写作数量得以在北宋时期骤然增长，并出现以苏、黄为代表的典型作家群体与书写范式。延续唐代铭文书写的物质美感转向，苏轼着重于砚台审美的艺术性展现，由此完成以诗为铭的破体尝试。相较而言，黄庭坚试图调和砚台物质审美与铭文箴规功能的割裂，借由物质形态的比德书写达成铭文初始功能的革新式复归。南宋砚铭写作的路径选择趋近于黄庭坚范式归因于铭文列入宏词科的官方考试项目，其尊体与合题的应试标准与黄氏砚铭书写桴鼓相应。基于南宋石材的急剧枯窘，砚台被视若文字之祥的符号式表达楔入铭文物质审美与伦理价值的叙述过渡之间，造就砚铭写作的三段式构思形态。

Inkstone in the Tang and Song dynasties underwent a change from being made of pottery to stone. The number of inkstone inscriptions increased dramatically following the trend among writers who collected inkstones in the Northern Song dynasty, and these writers were represented by Su Shi and Huang Tingjiang, with particular writing paradigms. Continuing the concern about the material beauty of inscription writing in the Tang dynasty, Su Shi focused on the artistic display of the beauty of inkstone, thus completing his attempt to write inscriptions in the form of poetry. In contrast, Huang Tingjian endeavored to reconcile the material beauty of the inkstone with the ethical and admonitory function of the inscription and thus achieved such a goal through the virtueanalogy writing. The approach to writing inkstone inscription in the Southern Song dynasty was akin to Huang Tingjiansparadigm, because of the inclusion of inscription into the official examination, the standards of which could be fulfilled by Huangs style. Due to a significant shortage of inkstone materials in the Southern Song dynasty, the symbolic expression of inkstone as a vehicle of auspiciousness was embedded into the description of the material beauty and ethical value of the inscriptions, yielding a threestage conceptualization of the writing of inkstone inscriptions.