《峿台铭》位于湖南永州祁阳县浯溪碑林中，是“浯溪三铭”之一，元结撰文，悬针篆刻石。经考辩，《峿台铭》的书者不是袁滋、瞿令问和李庾（季康），《峿台铭》的书者有待进一步考证。以《峿台铭》为代表的悬针篆反映了唐代书家崇尚简旷远、典雅有序、含蓄委婉、平中见奇等审美特征。根据前人论述，悬针篆是指竖向笔画末端形态呈悬针状的小篆。东汉时期的悬针篆，如《尹宙碑碑额》《三体石经》中的小篆等，代表了悬针篆的标准形态，但具有悬针形态特征的篆书渊源久远，可以追溯至殷商时期。自篆书通行于世时即有相类似的写法出现，大致有两类形态：第一类纵向取势，字形修长；第二类横向取势，字形团圆。悬针篆不仅用于书写字书、儒家经典，还用于书写瓦当、碑额、志盖、铜镜、货币等，在书法史上占有重要地位。悬针篆并非仅作为美术化字体而存在，其在特定时期是书法史上的主流篆书字体形态，对推动篆书的发展和传承起到了重要的作用。作为唐代悬针篆代表的《峿台铭》，首先，其审美意蕴与元结山水、游记诗文的审美意蕴相契合，反映了元结崇尚清远和谐的审美趣味。其次，《峿台铭》不仅是对东汉时期悬针篆形态的继承，也是对魏晋士大夫清雅审美趣尚的继承。同时，《峿台铭》也印证了唐代中期崇尚清雅俊逸、孤冷沉郁的审美倾向，在一定程度上反映了楷书审美意蕴对悬针篆书风的影响，崇尚“尽善尽美”。唐代晚期以后，悬针篆一方面继承了前代的悬针形态，如元代和明代的部分书家，另一方面在继承前代书风的基础上增加书写性或装饰性，如宋代花式篆体以及明清“草篆”的出现，悬针篆逐渐走向世俗化。此外，《峿台铭》的书风特征是对“礼”的反映，书刻的《峿台铭》兼具一定的教化意义。

Wu Tai Ming inscription, located in a large collection of ancient tone tables, Qiyang country, Yongzhou city, Hunan Province, is one of the Tree of Inscription of Wuxi. The content of Wu Tai Ming is written by Yuanjie. According to evidence, the calligraphy of Wu Tai Ming is not written by Yuan Zi, Qu Lingwen or Li Yu. However, because of the limited of the martials, the calligraphy of Wu Tai Ming needs further discussion. Xuan Zhen style seal character, represented by Wu Tai Ming inscription, reflects the aesthetic characters of simplicity, order, implicitness, neutralization, flying. According to the theories that proposed before, Xuan Zhen style seal character is defined as one of the styles of “Xiao Zhuan” (a consolidated official character used in Qing dynasty) that the shape of the vertical stroke looks like a needle. The form in the Eastern Han Dynasty represents normality of Xuan Zhen style seal character, such as Tri-script Stone Classics and the title of the Yin Zhou inscription. However, the seal character with the vertical stoke that looks like a needle has a long history, which can be traced back to the period of the Shang Dynasty. Throughout the history of calligraphy, there are two categories of Xuan Zhen style seal character: orientation (circle shape of the word) and portrait (rectangular shape of the word). Xuan Zhen style seal character is not only used for writing and Confucian classics, but also for writing tiles, stele, chronicles, bronze mirrors and currency. It plays an important role in the calligraphy history. As a representative writing of Xuan Zhen style seal character in Tang Dynasty, the aesthetic implication of Wu Tai Ming inscription is consistent with its of the articles and poems written by Yuanjie, which reflecting the aesthetic taste of harmony and distant. Secondly, Wu Tai Ming inscription inherits the form of Xuan Zhen style seal character in the Eastern Han Dynasty. It also inherits the elegant aesthetic interest of the scholar bureaucrats in the Wei and Jin Dynasties. At the same time, it confirms the aesthetic tendency of aspiration of elegance and distant, loneliness and depression in the middle of the Tang Dynasty. To some extent, the style of Wu Tai Ming inscription reflects the influence of the aesthetic implication of regular script, advocating "perfection". After the late Tang Dynasty, Xuan Zhen style seal character in some dynasties inherits the form of the previous style, such the Yuan Dynasty and the Ming Dynasty. However, the writing and decoration of its style strengthens gradually, such as the appearance of the flower style and the "grass seal character" in the Ming and Qing Dynasties. Xuan Zhen style seal character gradually becomes secularization. In addition, Wu Tai Ming inscription is a reflection of "etiquette". It has certain enlightenment significance.