近几十年来，随着考古工作者的努力，唐代诸陵相继出土大量哀册，其书法引人关注。作为取法素材，当代书家往往仅从艺术角度进行解读，难免不够客观。 哀册作为帝王丧葬仪式中的礼器，极具政治内涵，然而古籍文献对其书法方面鲜有记载。作为礼仪制度的产物，想要了解哀册书法的属性则需要对其进行全方位的剖析。本文以唐代哀册书迹为主线，首先对古籍文献中“策”、“册”混用的问题进行释疑，为接下来依据文献梳理哀册源流，呈现哀册在丧礼中的运行模式做好基础工作。其次对哀册撰文、书册者进行梳理统计，并针对其中所产生的共性问题进行考证，分析翰林书待招这一群体作为哀册书人的客观优势及可能性。最后解释唐代哀册书迹以楷书为主流的原因，结合书册人的创作心态和政治压力揭示哀册书迹其书法的属性。 通过文献研究法、案例分析法、归纳统计法推断出哀册撰文者以当朝宰辅及翰林学士为主要群体，以政治地位为主要选择标准。书册者以善书与否为主要选择标准，其中翰林书待诏因时空等客观优势而成为书册者主要群体。唐代楷书在各领域的广泛应用，加之唐人书仪对书写哀祭类文体有使用楷书的明确要求，致使唐代哀册书迹以楷书为主流。以翰林书待诏为首的书册人群体，迫于对皇帝书法审美的迎合和导致哀册书迹其书法极具“院体”色彩。以上意在为今人了解唐代哀册提供一些多角度的线索，望能补唐代书法史之阙。

In recent decades, with the efforts of archaeologists, a large number of mourning books have been unearthed in the tombs of the Tang Dynasty, and their calligraphy attracts people's attention. As the material for drawing the law, contemporary calligraphers often interpret it only from an artistic perspective, which is inevitably not objective enough. As a ritual instrument in the funeral ceremony of the emperor, the mourning book has very political connotation. However, there are few records of its calligraphy in ancient books and documents. As a product of the etiquette system, if you want to understand the attributes of the mourning book calligraphy, you need to carry out a comprehensive analysis of it. This paper, based on the traces of mourning books in the Tang Dynasty, first explains the confusion of "policy" and "volume" in ancient books and documents, and lays the foundation for sorting out the origin of mourning books and presenting the operation mode of mourning books in the funeral ceremony. Secondly, the author sorts out and counts the writers and booksellers of the mourning book, and makes textual research on the common problems arising from them, and analyzes the objective advantages and possibilities of the group of calligraphy waiting for recruitment as the mourners of the mourning book. Finally, it explains the reason why the calligraphy of Aishu in the Tang Dynasty is dominated by regular script, and reveals the calligraphy attribute of Aishu in combination with the creative mentality and political pressure of the calligraphers. Through the method of literature research, case analysis and inductive statistics, it is concluded that the main group of the writers of the mourning volume is Zaifu and Hanlin scholars of the current dynasty, with political status as the main selection criteria. The booksellers mainly choose whether they are good or not, and the Hanlin Book to be published has become the main group of booksellers due to the objective advantages of time and space. The extensive use of regular script in various fields in the Tang Dynasty, coupled with the clear requirement of the Tang Dynasty calligrapher to use regular script in writing mourning and sacrificial works, led to the mainstream of regular script in the writing of mourning books in the Tang Dynasty. The group of calligraphers headed by the imperial edict waiting for the imperial edict was forced to cater to the aesthetic appreciation of the emperor's calligraphy and led to the lamentation of the calligraphers' calligraphies. The purpose of the above is to provide some multi-angle clues for people to understand the sad book of the Tang Dynasty, hoping to fill the gap in the history of calligraphy in the Tang Dynasty.