目前學界對於臺灣書法發展之論述多半集中於政治實體改變下的發展，或對於單一書家之作品、書風或其生平資料之考訂；亦取得相當豐富之學術成果，相較之下，對於分析臺灣書家如何去理解、看待書學材料之論述卻沒有那麼豐富！因此本文將結合目前已有之學術成果上，重新檢視、分析《石牌圖》之文化意涵與歷史價值。 《石牌圖》拓本原為名書家曹秋圃 (1895-1993) 之舊藏，根據曹氏家屬口述可知此拓本應為漢學家尾崎秀真 (1874-1949) 所贈，拓本兩側亦其親手題跋之長款，1935年所出版《臺灣古代文化の謎》中亦有原石附圖與文字敘述；可知該物為尾崎秀真重建臺灣上古史的重要證據之一。 從解讀分析該拓之長款跋文內容、曹氏與尾崎氏如何看待、理解書學材料與相關知識中可知二人對於此物有著明顯的認知差異；本文將對此差異之形成、背後所代表的文化意義進行論述，同時結合清末至日治時期臺灣書家作品與相關文獻資料，重新檢視分析臺灣書史、乃至於日治時期文化的發展軌跡。

While current discussion of numerous scholars regarding Taiwan calligraphy has been focusing mostly on the development influenced by political changes, the calligraphy style of works and life history of individual calligraphers, many scholars have manifested considerable academic achievement. However, how Taiwanese calligraphers understand the material of calligraphy has not been considered a critical issue. Thus, this study connects currently available academic achievements together, and re-examines and re-analyzes Stone-Pai’s cultural significance and historical values. Stone-Pai was collected by Calligrapher Tsao Chiu-pu (曹秋圃,1895-1993). According to the families of Tsao, Stone-Pai was a present from Osaki Hiteshin (尾崎秀真,1874-1949) to Tsao Chiu-pu. Stone-Pai was added the long postscript by Osaki Hiteshin himself. His publications《臺灣古代文化の謎》, published in 1935, contained further details. That is a proof that Osaki Hiteshin rebuilt the important ancient history of Taiwan . By understanding the long postscript of Stone-Pai, the calligraphy knowledge of Tsao Chiu-pu and Osaki Hiteshin and different opinions between them, this study focuses on the formation of such difference and the cultural significance and links Taiwan calligrapher works and related academic achievements with a different perspective on Taiwan calligraphy