本文探討一九四八年渡海來台之文化人陳定山之書法及其文化事功。陳定山渡台前即為杭滬一帶名士，曾參與主導多項開創性文化事業，然渡台後局勢丕變，由絢爛歸於平淡，箇中緣由值得探討。本文以陶壽伯、吳湖帆分別給予陳定山之贊詞「韻逸」、「仙乎」為題，以入世大隱的視角詮釋陳定山在眾多渡臺文人裡所具有的特殊地位。陳定山的書風雖然近似黃道周而為人所稱頌，然其博涉多優實難以簡單概括，故本文試圖從各種文獻及新見圖版作為佐証，爬梳陳定山的學書歷程並旁述其交遊，也補充修正陳巨來筆下之陳定山於上海時之事蹟。

This study explores the calligraphy and the cultural achievements of the cultural figure Ding-Shan Chen who arrived in Taiwan in 1948. Before arriving in Taiwan, Ding-Shan Chen has been a celebrity with a literary reputation in Hangzhou and Shanghai and he has participated and hosted numerous innovative cultural business. However, after the arrival in Taiwan, the situation changed and he became ordinary. It is worthy to explore the causes. From the perspective of hermitage in the ordinary world, this study interprets the special position of Ding-Shan Chen among the literati who arrived in Taiwan. The praises of “graceful” and “godly” from Shou-Po Tao and Hu-Fan Wu for Ding-Shan Chen, respectively, are consistent with the special position of Ding-Shan Chen. The writing style of Ding-Shan Chen was mostly recognized by his similarity to that of Dao-Zhou Huang. However, it cannot demonstrate all his cultivation. Thus, based on various literatures and new publications, this study attempts to generalize the academic process of Ding-Shan Chen and his relationship and supplements and revises the achievements of Ding-Shan Chen in Shanghai written by Ju-Lai Chen.