《东海县郁林观东岩壁纪》摩崖题刻，位于江苏省连云港市花果山景区隋代郁林观遗址“飞泉”东侧的崖壁上。刻石面南，净面高2.1米、宽5米，由右向左竖刻，首行篆书题名，正文连同落款计24行，行17字，字径18厘米，全文共392字。
《东岩壁纪》刻于唐开元七年（719年）。它既是一篇纪实性的优美散文，生动地描述了云台山的自然景观“雾夕与碧海同深，霞朝将赤城争峻”，“悬流喷水，藏宿雨而时来，卧石埋云，触摇风而不散。历时花木，红紫无名”，同时也因官场沉浮，表现出作者出尘遁世，寻求“紫翠之房”、“洗我尘虑”，脱离现实的思想的流露。
从《东岩壁纪》的落款“崔逸文”来分析，应为海州司马崔惟怦之子崔逸著文并书写。《新唐书》中崔惟怦有传，曾任海、沂等州司马，其子曰“镜邈”，而镜邈以下即无记载，疑即为崔逸，字镜邈。清河崔氏是唐代的望族，仅李唐一代崔氏入阁拜相的即有二十三人。
《东岩壁纪》问世以来，得到书坛有识之士的极力推崇，虽僻在海隅，其拓本却流传极广。早在宋代就被渡江南下的著名金石家赵明诚的夫人李清照收入他们合编的《金石录，九百三十五、九百三十六、九百三十七唐郁林观东岩壁纪中，清吴玉扌晋 著录于《金石存》。清叶昌炽在其《语石.卷二》中再予收录并有记：“海州古朐山县地，明以前尚有汉刻东海庙碑。吾乡顾氏艺海楼尚藏孤本，而原石之亡久矣。然郁林观东岩壁纪，天挺伟表，鸾翔鹄跱，汉石门、析里两颂无以尚之。以僻在海东，见之者少。山左赵佑赍两本到京，余得一通，吴蔚若前辈悬之省馆壁间，见者未睹年月，惊为汉隶。”
关于《东岩壁纪》的书法艺术，可能受清叶昌炽《语石》中“汉石门、析里两颂无以尚之”的影响，当代不少学者总是和《石门颂》对比，认为其用笔布白，极富《石门颂》特色，认为诸字和《石门颂》皆神似、形似，而省文管会的刘谨胜先生在其《江苏碑刻》中作了中肯恰当的评价：“从笔法上看，书家有意识地想超越晋魏，直入汉隶之室的追求是很执着的。它不取唐隶通行的那种整肃平正、丰腴雍容之态，而求通过瘦劲挺秀的线条，规整中见飘逸的结字，反映出它自身的艺术个性”。“唐隶”于1982年被列为省级文物保护单位。
在《东岩壁纪》刻石对面平整的“廉石”上有一块宋祖无择三言诗碑和唐东岩壁纪互映生辉，堪称花果山摩崖题刻中的双璧。祖无择三言诗刻位于唐隶石刻的斜对面，刻于“廉石”的北立面上。诗刻高约5米、宽约6米，小篆字体，字径8寸，正文14行，行7字后一行5字，共95字。前三行21字是撰文、书篆、镌刻者的籍贯、姓名、字号，后11行74字是三言诗正文，记述了祖无择、苏唐卿、王君章三人畅游云台山的感受，最后是21字的落款分2行，总计126字。诗刻的时间为北宋庆历甲申年（1044年），距今已有950多年。三言诗刻为祖无择撰文，苏唐卿书篆，王君章镌刻，各取三人文、笔、刀之长，史称三绝名碑。清吴玉扌晋 广收古今墨拓，将三言诗刻编入古今篆刻之次，载于《金石存》。明、清两代皆收入地方志书。建国后，北京中国书法研究社编印的《各种书体源流浅说》里，在介绍宋人小篆时，特别推崇三言诗刻，“宋篆”于2002年与唐隶合并列为省级文物保护单位。
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The inscription of the cliff inscription of "Yulin Guandong Yanbi Period" in Donghai County is located on the cliff east of the Sui Dynasty Yulin Guan Site in Huaguoshan Scenic Area, Lianyungang City, Jiangsu Province. In the south of the stone face, the net face is 2.1 meters high and 5 meters wide. It is vertical from right to left. The first line of seal inscriptions includes 24 lines, 17 lines and 18 centimeters in diameter. The full text is 392 words.
Dongyanbi Period was carved in the seventh year of Kaiyuan in Tang Dynasty (719). It is not only a documentary and beautiful prose, vividly describes the natural landscape of Yuntai Mountain, "fog evening and the blue sea are the same depth, the Xia Dynasty will fight Chicheng steep", "suspension spraying water, hiding and sleeping in rain from time to time, lying in rocks and burying clouds, shaking the wind but not dispersing. Flowers and trees, red and purple, nameless, but also because of official ups and downs, showing the author's escape from the world, seeking "the house of purple emerald", "wash my dust worries", the outpouring of the idea of divorcing from reality.
From the analysis of "Cui Yiwen" in "Dongyanbi Ji", we should write and write for Cui Yiwen, son of Sima Cui Weiyu in Haizhou. Cui Weiyu was once Sima of Hai and Yi prefectures in the New Tang Book. His son called him "Mirror Miao", but there was no record below the Mirror Miao, which was suspected to be Cui Yi and Zijing Miao. Cui clan in Qinghe is a famous clan in Tang Dynasty. There are only twenty-three members of Cui clan in Tang Dynasty.
Since its publication, Dongyanbi Ji has been highly praised by people of insight in the literary world. Although it is remote in the sea, its rubbings have been widely circulated. As early as the Song Dynasty, Li Qingzhao, the wife of Zhao Mingcheng, a famous epigrapher who crossed the Yangtze River south, earned their compilation of Jinshilu, Jiushi Record, Jiushi Record, Jiushi Record, Jiushi Record of Yulin Guandong, Tang Dynasty, and Jinshicun Recorded in Jinshicun, Qing Dynasty. Ye Changchi of the Qing Dynasty was included in his book Yushi Volume II and recorded: "There are still inscriptions of Donghai Temple Steles in Guqushan County of Haizhou before Ming Dynasty." Gu's Yihai Tower in my hometown still has its own roots, but the original stone has been dead for a long time. However, in the Eastern Yanbi Period of Yulin Guan, Tian Tingwei tablet, Luxiang Huo, Han Shimen and Xili Songs could not be found. In the remote area of Haidong, few people see it. Two copies of Zhao You from Shanzuo came to Beijing, leaving only one connection. Wu Weiruo's predecessors were hanging in the walls of the provincial hall, but they did not see the years and months. They were shocked to be Han Li.
As for the art of calligraphy in Dongyanbi Ji, it may be influenced by the "Han Shimen and Jieli Songs" in Ye Changzhi's Yushi in the Qing Dynasty. Many contemporary scholars always compare it with Shimen Song. They think that it is very rich in the characteristics of Shimen Song and that all the characters and Shimen Song are similar in shape, while Liu Jingsheng of the Provincial Cultural Administration Council in his "Jiangsu Stele Carvings" He made a pertinent and appropriate evaluation: "From the point of view of penmanship, the calligraphers intentionally want to surpass the Jin and Wei Dynasties, and go straight into the room of the Han Li Dynasty is very persistent. It does not take the sort of neat, graceful and graceful attitude prevailing in Tang Dynasty and Li Dynasty, but seeks to reflect its own artistic individuality through its thin and elegant lines and elegant words in its regularity. Tangli was listed as a provincial cultural relic protection unit in 1982.
On the flat "Lianshi" opposite the stone carved in "Dongyanbi Period", there is a three-character poetry stele of Song Zu and the Yanbi Period of Eastern Tang Dynasty, which can be called Shuangbi in the inscription of Huaguoshan Cliff. Zu Wucho's three-character poem carving is located on the oblique opposite of Tang Li stone carving and on the north elevation of Lianshi. The poem is carved about 5 meters high and 6 meters wide, with small seal characters, 8 inches in diameter, 14 lines in the main text, and 5 lines after 7 lines, totaling 95 words. The first three lines, 21 words, are the origin, name and name of the author, the seal and the engraver. The last 11 lines, 74 words, are the main body of Sanyan poetry. They describe the feelings of Zu Wuchong, Su Tangqing and Wang Junzhang when they traveled freely in Yuntai Mountain. Finally, there are two lines of 21 words, totaling 126 words. The time of poem carving was in the year of Jiashen (1044) in Qingli of the Northern Song Dynasty, more than 950 years ago. Three-character poems carved for ancestors have no choice to write articles. Su Tangqing's Book seal and Wang Junzhang's carved inscriptions take the advantages of three humanities, pens and knives, which are called three famous monuments in history. In Qing Dynasty, Wu Yuxi and Jin Dynasty, Motuo was widely collected from ancient and modern times. Three-character poems were inscribed into ancient and modern seal carvings, which were recorded in Jinshicun. The Ming and Qing dynasties all received local chronicles. After the founding of the People's Republic of China, when introducing Xiaozhuan of the Song Dynasty, the book "A Brief Talk on the Origin and Development of Various Calligraphy Styles" compiled by Beijing Chinese Calligraphy Research Society praised Sanyan Poetry Carving in particular. Songzhuan was merged with Tangli in 2002 as a provincial cultural relic protection unit.
