本文所研究的房山石经作为佛教刻经史中的高潮与典型代表，其刻经与供养形式深刻地展示着幽州地区的民间社会生活状态；其书法艺术样貌与字体的变迁，也展示着书法审美与书体变迁在民间不为人察觉的流变。处于楷书书体演变过程中的隋代静琬所刻石经作为房山石经的创始之作，不仅是佛教刻经史的典型案例，同样也是隋代书法史中的一个典型案例。在佛教刻经史中它是继北齐响堂山刻经、四山摩崖刻经之后的又一大型刻经代表，其开凿洞窟、刊刻石经的形式更具时代性与精密性，展现着佛教仪轨与佛经神圣性的成熟；相较于隋代墓志与敦煌写经，静琬刻经作为隋唐之交的楷书典型是为书法史所不载，它的书法样貌同样具备连续性、地域性、多类型、多风格，同时其所展现的时代性、地域性特征与书写风格类型暂未被书法学界所广泛关注。所以本文意在对静琬时期刻经需要进行一个坐标式分析：一是将其放入刻经史中，以其他北齐时有名的佛教刻经如响堂山刻经等为坐标，分析静琬刻经在刻经发展史中的意义与特殊性；二是将其放入隋代书法史中，以隋代典型碑刻如龙藏寺碑等为坐标，分析静琬时期刻经书法本体的形式特征。在历史学的发展中，考古与田野调查已经成为学者们研究历史的重要方式，因田野资料的丰富与真实与考古的细致性工作而得以描绘立体且丰富历史图景。本文同样意在将研究建立在雷音洞考古的基础之上，同时对书法本体也进行考古式分析，并将其时代特征定位放到历史发展的角度中来审视，如此房山石经静琬刻经便可以摆脱以往的叙事性与美学式描述，有一个清晰的刻经史与书法史定位。

The precious achievements and heritage created by the Buddhist scripture carving industry that has lasted for thousands of years in Fangshan are also records and reflections of social and cultural changes over the ages.As the climax and typical representative in the history of Buddhist scripture carving, Fangshan Stone Scripture‘s carving and offering forms profoundly demonstrate the living conditions of folk society in Youzhou region; The changes in the appearance and font of its calligraphy art also demonstrate the changes in the aesthetic and stylistic aspects of calligraphy that are not perceived by the people.The stone scriptures carved by JingWan in the Sui Dynasty, which are in the process of evolution of regular script, are the founding works of the Fangshan stone scriptures. They are not only a typical case in the history of Buddhist scriptures, but also a typical case in the history of calligraphy in the Sui Dynasty. In the history of Buddhist scripture carving, it is another representative of large-scale scripture carving after Xiangtang Mountain scripture carving and Sishan Cliff scripture carving in the Northern Qi Dynasty. Its form of digging caves and publishing stone scriptures is more contemporary and precise, demonstrating the maturity of Buddhist rituals and the sanctity of Buddhist scriptures;Compared to the epitaphs of the Sui Dynasty and the Dunhuang scriptures, the JingWan carved scriptures, as a typical regular script at the turn of the Sui and Tang dynasties, are not recorded in the history of calligraphy. Their calligraphic appearance also has continuity, regionalism, multiple types, and multiple styles. At the same time, the epochal, regional characteristics, and writing style types displayed by them have not been widely concerned by the calligraphy academic community.Therefore, the purpose of this article is to conduct a coordinate analysis of JingWan‘s carved scriptures: First, put it into the history of carved scriptures, and analyze the significance and particularity of JingWan‘s carved scriptures in the development history of carved scriptures using other famous Buddhist carved scriptures such as Xiangtang Mountain carved scriptures in the Northern Qi Dynasty as coordinates; The second is to put it into the history of calligraphy in the Sui Dynasty, and analyze the formal characteristics of the calligraphy noumenon of JingWan‘s carved scriptures using typical steles such as the Longzang Temple stele in the Sui Dynasty as coordinates.In the development of history, archaeology and fieldwork have become important ways for scholars to study history. Due to the richness and authenticity of field data and the meticulous work of archaeology, it is possible to depict three-dimensional and rich historical landscapes. This article is also intended to establish the research on the basis of Leiyin Cave archaeology, and also conduct an archaeological analysis of the calligraphy itself, positioning its era characteristics in the perspective of historical development, so that the Fangshan Stone Scripture JingWan Carving can get rid of the previous narrative and aesthetic description, and have a clear positioning of the history of carving and calligraphy.