館藏編號:PT09301800

黃宗義

尺寸:180×31 (畫心)

黃宗義（1951-），字宜堂，號鯤樵，1951年出生於雲林縣，就讀嘉義師專。1968年從陳丁奇學書，1980年與李郁周、謝茂軒、施春茂發起成立中華民國兒童書法教育學會，2008年由教育部頒發師資培育典範獎，2009年規劃臺南大學中文系碩士班書法學程，2011年任臺南市美術館典藏委員。歷任臺南大學語文教育系所主任、成功大學兼任教授、高雄師範大學兼任教授、全國美展評審委員、高雄市立美術館典藏委員、臺灣書法學會顧問。現任臺南大學語文中心主任等，有《歐陽詢書法之研究》等書藝相關著作。
黃宗義初自學顏體，後從陳丁奇學魏碑等各體，後以晚近出土的簡帛文字為師，開展出當代書法的格局，蔡孟宸稱其「大字凌厲蒼茫，小字活潑奔放，實踐他對古典書法的創變。」未免落入熟而俗的窠臼，努力求變，尤其近年他突破古典書法布局，以圖畫為概念，力求出新，布局新穎，且加入顏色、拼貼、疊染等新方式，希望能展現書法的當代意象。
本作品為草書宋蘇軾梅花詩，釋文「春來空谷水潺潺。的皪梅花草棘間。昨夜東風吹石裂。半隨飛雪渡關山。」跟後來帶有濃厚當代風貌的簡帛文字書法相筆，可見是較早期風格之作品。然而本幅草書揮灑奔放、恣意流轉，線條枯漲交錯，使整體布局起伏有生意，活潑靈動、有法度而盡為淋漓，遠追唐人風範。(510字)

Huang Tsung-yi (1951- )–style name Yi-tang, pseudonym Kun-chiao–was born in Yunlin County in 1951 and studied at National Chiayi University Teachers College. In 1968, he started studying calligraphy under Chen Ting-chi, and later, in 1980, he established the Children’s Calligraphy Education Association R.O.C. along with Li Yu-chou, Hsieh Mao-hsuan, and Shih Chun-mao. In 2008, he was awarded the Ministry of Education’s Teacher Training Model Award. In 2009, he organized a calligraphy course for graduate students in the Department of Chinese Language and Literature at the National University of Taiwan. In 2011, he became a member of the Tainan Art Museum Collection Committee. He has previously served as the Dean of the Language and Literature Education Department at National University of Tainan, a Part-time Professor at National Cheng Kung University and National Kaohsiung Normal University, a member of the evaluation committee for the National Arts Exhibition, a member of the Kaohsiung Museum of Fine Arts Collection Committee, and the consultant for the Taiwan Calligraphy Association. Huang currently holds a post as the Director of the Language and Literature Center at the National Tainan University, and he has written books related to calligraphy, such as The Study of Ou Yang Hsun’s Calligraphy.
Huang Tsung-yi first studied the calligraphy style of Yen Zhen-qing, then learned tablet inscription styles of the northern dynasties from Mr. Chen Ding-chi. He later developed a more contemporary calligraphy style based on recently unearthed scripts on bamboo and silk. According to Mr. Tsai Meng-chen, Huang’s “large script is fierce and powerful, small script is vibrant and unrestrained, applying his innovative aspirations to traditional calligraphy styles.” To prevent from sinking into obstinate traditions, he strives for change and newness, and his more recent works have managed to twist traditional calligraphy forms. With images as the main concept, he uses unconventional layout as well as modern methods–such as including colors, collages, and layers–hoping to display the contemporary side of calligraphy in his works.
This piece is Su Shi’s Poem of Plum Blossom, in which the interpretation is: “Spring enters the silent valley, devoid of anything but the murmuring brook. Plum blossoms not yet faded from winter shimmer among the flowers and rocks. Suddenly, East winds tear through the night. Rocks topple over, while petals scatter over Guanshan like flakes of snow.” One of Huang’s earlier works, the brushwork flows naturally and liberally, the lines swerving and staggering, creating an overall vibrant and dynamic form, which is in the likes of the Tang Dynasty style.

典藏單位:國立中正紀念堂管理處