民國三十八年隨國民政府撤退來臺的知識界的菁英，開啟了一個文化遷移與傳承的新時代。丁念先先生是其中一位學識淵博、精於鑑賞的書學藝術家，他獨創的隸書風神奇絕面目，卓立於當世，獨步光復後的臺灣書壇，極受同時書家敬重，其隸書造詣成就環顧近代海內外，尚無人能夠超越，享有崇高的地位與評價。 本文從丁氏論著文及相關書跡、文稿資料中整理，共收集一二八件書跡，進行排比研究，探討其隸書特質。丁氏之隸書，是知識氣質出眾的「學人之書」，其隸書係從兩漢碑拓入手，縱橫於孔廟三碑，尤以禮器碑、史晨碑最為得力，其中受禮器碑碑陰、碑側影響，發展出字距緊密、行距寬鬆的書藝章法，不論臨寫任何碑拓，皆以自己的隸法「一以貫之」，這在他無意間留下的精采題簽上，尤其明顯。而他在隸書作品上以草書款識的搭配，顯現出一種嚴整與放逸的相生相映之美，更是創作的重要特徵。

The intellectual elite who followed the National Government of the ROC in its withdrawal from China to Taiwan in 1949, started a new era of cultural transfer and tradition. Mr. Ding, a learned calligrapher and brilliant critic, was among them. Among the calligraphy produced in Taiwan since 1945, the year in which Taiwan reverted to Chinese sovereignty following the surrender of Japan at the end of World War Ⅱ, his unique Clerical Style is regarded as outstanding; it has been surpassed by no one. Ding therefore enjoys immense acclaim in the world of calligraphy and is revered by all calligraphy masters. The essay is based on Mr. Ding’s treatises and discusses the writing of his calligraphy, how he collected 128 works of calligraphy to refer to and the particular features of his Clerical Style of calligraphy, a learned and refined “scholar’s calligraphy.” He learned from the Han tablets, and the three tablets in the Confucian temple, particularly focusing on the Lichi Tablet and Shihchen Tablet; he was deeply influenced by the inscription on the base and side of the Lichi Tablet; he was deeply influenced by the inscription on the base and side of the Lichi Tablet and from it developed the calligraphic regularities of closed spaces between words and lines. Whenever he imitated tablets, he adopted his own clerical style, which can be seen most clearly from the great titles to the works that he didn’t take particularly seriously. In addition, his clerical style combining with script style of calligraphy lends his work the rigid and graceful beauty which is one of its hallmarks.