典藏單位:國立中正紀念堂管理處

館藏編號:PT09301400

薛平南

尺寸:135×34 (畫心)

薛平南（1945-），字定之，出生於高雄縣茄萣鄉，1960年入省立臺南高工機工科，1968年入臺灣藝術專科學校美工科夜間部，1969年從李普同習書法，就學期間年年獲得學生美展書法首獎。1972年自藝專畢業，留任助教，1973年師王壯為習篆刻，1974年參與換鵝書會。1980年兼任國立藝專講師，1982年獲中興文藝獎，隔年獲中山文藝獎，1985年兼任國立藝術學院講師，1995年獲國家文藝獎，1999年兼任世新大學教授書印，2000年任標準草書協會理事長。
薛平南書法風格清雅，自謂從平正到變化，先帖派後碑派，以古典精神、中庸之道與自然為圭臬，避免過與不及，所謂不激不厲，風規自遠，不刻意求新求變，風格形成聽其自然，意在出入古人。草書則因受教於李普同，可謂再傳于右任，企圖彰顯其沉雄宏放的特質。治印則先通過漢印，再經古璽、皖浙兩派的洗禮，呈現出秀麗整齊，線條流暢有書寫意的印風，自許可以有「以書入意」的筆墨情趣，潛帶吳讓之、吳昌碩之遺韻，追求刀筆交融的境界。
本作為行草書，帶有濃厚于右任、李普同風格特色，釋文「坡翁奇氣本超倫，揮灑縱橫無絕塵。直到晚年師北海。更於平淡見天真。」結體取自于右任，但更為厚實，帶館閣氣息，用筆厚重，平正規矩。內文採王文治評蘇軾之詩，遠承清代文人風韻，更有連結宋儒大家的企圖。(510字)

Hsueh Ping-nan (1945- ), style name Ting-Chi, was born in Jiading Township, Kaohsiung County. In 1960, he studied mechanical engineering at National Tainan Industrial High School, and he was admitted to the Department of Arts and Crafts Night School at National Taiwan University of Arts (NTUA) in 1968. He started learning from Li Pu-tong in the following year, during which he earned first place in calligraphy in the National Students Art Competition. In 1972, he graduated from NTUA and stayed as an teaching assistant. In 1973, he studied seal carving under Wang Chuang-wei, participating in the Huano Calligraphy Society in the subsequent year. In 1980, he served as a part-time lecturer at NTUA. He was awarded the Chung-Hsiang Literary and Artistic Creation Award in 1982, as well as the Sun Yat Sen Literary and Artistic Creation Award in the next year. In 1985, he served as a part-time lecturer at the Taipei National University of the Arts, and he won the National Literary and Artistic Creation Award in 1995. In 1999, he became a part-time Professor at Shih Hsin University, and in the following year, he started serving as the President of the Standard Cursive Script Association.
Hsueh Ping-nan’s calligraphy style is elegant and refined. He stated himself that his style has evolved through the years, from uptight to verifying, and from the copybook clique to the stele clique. Based on the classical spirit, the doctrine of the mean, and nature, his calligraphy does not intentionally seek for innovation and change; rather, he allows his style and formation to develop naturally, like that of the ancient calligraphers. Hsueh’s cursive script was taught by Li Pu-tong then passed on to Yu Yu-jen, hoping to demonstrate the magnificent and striking quality of his calligraphy. Seal carving, after the baptism of the Han seal, ancient seal, and Anhui and Zhejiang cliques, has become beautiful and neat, with smooth lines and freehand styles. Hsueh hopes to channel his inner spirit into his calligraphy, embodying Wu Jang-chih and Wu Chang-shuo’s legacy, and he pursues the state in which his knife and pen become one.
This work is written in running cursive script, bearing the characteristics of both Yu Yu-jen and Li Pu-tong’s style. The words translate to: “Su Dong-po holds unique talent, leaving everyone gasping in his wake. In his later years in the North, his innocence shines through composed yet simple manner.” The form was based off of Yu Yu-jen, but thicker and sturdier, with an air of the Guange style. The content is Wang Wen-chi’s commentary poem on Su Shih, inheriting the charm of the Qing Dynasty literati, which demonstrates Hsueh’s intention of connecting the scholars of the Song Dynasty.