史家意識，指的是一種超越個人情感、私誼，以「言天下之公」或「著其繫天下國家之大者」的高度，來審視、評議人物及相關事件的書寫自覺。這一自覺，輔以複雜的政治閱歷，使歐陽修在韓愈之後，得以「以史筆入文集」，建立另一種融合文史的碑誌書寫典型。〈范文正公神道碑〉中所書呂、范事，便是這一典型的重要實例。其中「大節」繼承儒家德行意義，關乎別嫌明微的價值判定；「互見」則是在當代整體文獻或詮釋脈絡之中，決定書寫之內容，二者都與政治壓力下的歷史意識及敘事安排有關，不僅歐陽修用以貫串史學以及數種散文體裁之寫作，「互見」的書寫概念，更對北宋中後期深陷黨爭之中的文人深具啟發作用，影響深遠。

In this article, the phrase ＂historian's consciousness＂ denotes an awareness that impelled authors to overcome personal affections and consider people and events objectively, in terms of their larger socio-political significance. On the basis of this consciousness, as well as his own complicated political experiences, Ouyang Xiu 歐陽修 established a new model for composing funerary inscriptions, which combined both literary and historical expository techniques. This article demonstrates Ouyang's contribution to the funerary inscription genre through an analysis of his ＂Tomb Inscription for Fan Zhongyan 范仲淹＂, focusing on the conflict between Fan Zhongyan and Lü Yijian 呂夷簡narrated in the text. My analysis centers on Ouyang's use of two key terms. The first is ＂dajie＂ 大節, a Confucian ethical concept that became the main criterion used to distinguish good and evil in Ouyang's tomb inscriptions, especially those on individuals involved in factional conflicts. The second term is ＂hujian＂ 互見, which demanded that the author broadly review contemporary, and usually contradictory, data in order to decide the content and interpretive direction of the funerary inscription. Ouyang's take on these two terms inspired literati of the late Northern Song, who were deeply trapped by the factional conflicts of their time, and his views went on to play an influential role in the development of Song prose across several genres and fields.