臺灣早期藝壇頗有收藏風氣，書畫家本身亦雅好收藏，文人友朋間常互相交流、借觀共賞書畫，其中丁念先之收藏於臺灣藝壇中可稱是首屈一指，尤其丁念先精於考訂，善於鑑別，因此其字畫收藏的水平極高，對於文化保存也有強烈的使命感，不只是收藏、維護藝術品，更積極分享收藏的成就與心得。為響應「維護古蹟古物運動」，丁念先於1966年9月1日，將長年珍藏之隋唐墓誌銘全形拓片201號捐贈史博館，具體充實了史博館館藏隋唐文物的內容，對於書法史料的研究更積累了不可或缺的資產。 丁念先捐贈此批拓本之品質精良，不亞於兩岸公立機構之收藏，從拓本全幅的殘泐缺損狀況、缺字情況、筆道清晰程度等，與相關版本比對之下，幾乎每件拓本都具有良好品相，足見丁念先在收藏拓本時已經做了品質上的篩選，總體呈現高度的質量，增益了史博館拓片文物的總體價值，並提供研究者極佳的品相條件。本選輯兼具此批文物風格代表性及品相良好之拓本，以窺見隋唐楷書的多姿風采與風格的多樣性，進一步理解隋唐楷書的完整面貌與藝術高度，對於時代價值有更深刻的認識，並藉此回顧丁念先之眼界、慷慨與貢獻，尤其在多數人已經淡忘念聖樓的此時，似乎乍現了文物的幽光，感到歷史重估的意義。

Collecting was a popular practice in early art circle of Taiwan. Painters and calligraphers loved to collect art works; they showed their collection to each other for appreciation and appraisal. Ting Nien-hsien’s collection was regarded as superb in Taiwan’s art circle of that time. As Ting was an excellent researcher and appraiser of art, his collection of Chinese painting and calligraphy is of the highest quality in general. With a strong sense of mission regarding cultural conservation, he not only collected and preserved art works but also actively shared his achievement and research regarding art collection. On 1 September 1966, in response to the “movement to protect ancient relics and artifacts,” Ting donated 201 sets of stone epitaph rubbings from Sui and Tang dynasties to the NMH, substantializing the NMH collection of Sui and Tang artifacts and providing a vital asset for the study of history of calligraphy. Ting Nien-hsien’s collection of rubbings is excellent in quality, almost to the level of public collection across the Taiwan Strait. Judged by the criteria of condition of damage, loss of words, clarity of strokes, Ting’s collection shows great quality in average and indicates Ting careful selection and appraisal in his choice of artifacts. His donation enhanced the value of the NMH collection of stele rubbings and offers great opportunity for the study of calligraphy. This selective catalogue includes representative artifacts of rubbings from Ting’s donation in terms of their calligraphic styles and conservative condition, offering a view for the varied aesthetics and styles of regular script in Tang dynasty. From these rubbings, we can have a comprehensive understandings of Tang regular script and its artistic achievement, of the value of the Tang epoch style, and of Ting Nien-hsien’s vision, generosity, and contribution. When Ting and his collection of the Nien-Shen Studio are more or less forgotten by the general public, this publication seems to highlight the merit of art and the importance of revisiting this history.