典藏單位:國立中正紀念堂管理處

館藏編號:PT09300700

曾安田

尺寸:137×68 (畫心)

曾安田（1940-），字稼臣，號適廬、一真，出生於新北市三重區，曾就讀南開商工夜間部，1957年師事曹容研習詩文書法，1962年參加中國書法學會，1971年考取臺灣省地方政府特考，以新莊市公所主任秘書退休。1985年加入換鵝書會，1987年策畫「新莊市書畫展」，2001年成立「新莊書畫會」，2008年因腰脊病變手術，致使手部顫抖無法執筆，後克服生理病痛，努力臨池復健，始恢復揮寫，毅力可佳。
曾安田五體並擅，楷書自顏體入手，經曹容、譚延闓，雜、褚、虞等風格，隸書勤學曹氏家法，參略孔廟、曹全、張遷等，並受曼生、子貞之啟發，稍重波磔，小篆則勻圓雅致。行書最能表現其特色，其寢饋二王，鋒杪使轉靈活，結字合趙孟頫、文徵明特色，一柔一挺，乃成雋逸雅暢的格調，亦可見曹容師門的榘矱。草書以帖學為主，下筆婉轉老練，型態從容優美，具端正厚實的審美觀。自謂「練習書法須用心寫字，…每個字應兼顧形、神、氣、韻，隨時養成起、神、收三過筆的習慣。尤其書格要取法其上，力求廟堂之氣，多在端正厚實、古樸老拙上下工夫。」
本書榜書「鴻福」二字，有顏體厚重之勢，但勾提平正，下筆蒼勁，莊重穩健，在當代書家中，有著少見的懷古之氣。鴻字的水部邊與福字的畐旁有連筆，在平正中見變化，不致呆板，可見布局之用心。(510字)

Tseng An-tien (1940- )–style name Chia-chen, pseudonym Shih-lu and Yi-chen–was born in Sanchung District, New Taipei City. He once studied at the night school at Nan Kai University of Technology. In 1957, he studied poetry and calligraphy under Tsao Jung. In 1962, he participated in the Chinese Calligraphy Society, and in 1971, he passed the Taiwan Province Local Government Examination, retiring as the secretary of the Hsinchuang City Office. In 1985, he became a member of the Huano Calligraphy Society. In 1987, he curated the Hsinchuang City Calligraphy and Painting Exhibition. In 200l, he established the Hsinchuang Calligraphy and Painting Society. In 2008, due to undergoing surgery for lumbar spine lesions, he suffered from hand tremors and was unable to create. After overcoming his physical pain through rehabilitation, he regained his ability to practice calligraphy and resumed his creating.
Tseng An-tien is good at all five calligraphy scripts. He started learning regular script through the works of Yen Zhen-qing, absorbing qualities from Tsao Jung, Tan Yen-kai, etc. along the way. His clerical script referenced Confucius Temples, Tsao Chuan, Chang Chian, etc., and was inspired by Mang-sheng and Tzu-chen, and his seal script is round and elegant. His semi-cursive script showcases his unique calligraphy style the best: a combination of qualities of Chao Meng-fu and Wen Cheng-ming, the characters are flexible, gentle yet sturdy. His cursive script is mainly based on rubbings of stone inscriptions, the characters tactically sophisticated, the form calm and graceful. Tseng commented that “The practice of calligraphy requires much heart and dedication, …The form, spirit, air, and rhythm of every character requires deep consideration, and the habit of starting, projecting spirit, and stopping is an essential habit that should be developed. In particular, the calligraphy style should be based on method and spirit. It’s mostly about creating an upright, steady, ancient and simple style.
The two characters, “Hong Fu”, hold a likeliness to Yen Zhenqing’s heavy brushstrokes. Yet the hooked brushes are flat and calm, vigorous, solemn and steady. Within modern contemporary calligraphers, Tseng’s strokes harbor a rare nostalgia. The continuous strokes on the left side of “Hong” are connected with the right side of “Fu”, in which the changes allow the characters to become more vibrant, showcasing his intentions in the mere layout.