任何韻文，皆因其韻之位置及用韻之頻率，而呈現為某種韻式。中國古代碑志銘文例用韻文，其韻式向未受人注意。自漢碑以來，日積月累，碑志銘文之韻式漸演而成一套固定程式，為魏晉南北朝作者所沿襲。至唐人繼之而作碑志銘文，在形式上多有新變，其尤值注意者，則為在韻式上打破漢魏六朝以來之程式，表現出多種獨特的、富於創意的新變。這些新變具有文學史背景和形式之淵源：就句式來看，這些新變韻式多與騷體句式有關；就時代來看，這些新變又多集中在中唐時代。本文通過對這些創新韻式的舉證與分析，指出碑志銘文韻式之研究應屬於詩律學研究課題之列；唐代碑志銘文韻式新變，不僅可以豐富並更新現有對於漢語古典詩律學尤其是韻律學的知識，也對深化碑志銘文和詩律學研究具有積極意義。

The ming銘section in the stele and epitaph texts 碑志文 was generally written in rhymes, in other words, in a poetic form. However, from the Han to the Six dynasties, writers had developed some format of rhyme-scheme which became so popular that almost all scholars have ignored the existence of the innovation by their successors in the Tang dynasty. In this paper the author explores the various new rhyme-schemes invented in the Tang stele and epitaph texts and analyzes the poetic and literary significance.