館藏編號:PT09400700

李端溪

尺寸:135×68 (畫心)

李端溪（1917-2013），字忠介，號頑石，出生於新竹，為新竹著名書家李小圃之子。幼承庭訓，自小接觸漢學、書藝，中壯年因經商從事臺日貿易，然而追求書藝之志始終未曾放棄。60歲從商場退休後，因時常往來臺灣與日本，見「全日展」之徵件，乃重拾筆墨，參與其事，初次參加即受矚目，展開臺日間的文化交流工作，當時中華民國和日本斷交，外交情勢低迷，李端溪以此為途，默默從事國民外交；三十餘年以來，自參賽者起，逐步成為評議員、審查員，後來更擔任「全日展」特別審查員，受到日本書法界的推崇，2007年得到「全日本文化功勞章」表彰，是臺灣書法家在日本得此殊榮的第一人，2013年因病去世。
李端溪繼承家學，然在書法表現上，比起傳統臺灣書風習有之館閣風貌，更近日本近代書法常見的風格，可一窺臺人書家除接受中國大陸一帶的書法風氣以外，更因為受到日本統治，在風格上也逐漸靠向日本書道的表現，有著較為多元豐富的面貌。
本幅以行草書寫宋代歐陽修「採桑子」詞牌的其中一闋，釋文「輕舟短棹西湖好。綠水逶迤。芳草長堤。隱隱笙歌處處隨。無風水面琉璃滑。不覺船移。微動漣漪。驚起沙禽掠岸飛。」乃歌詠西湖春日佳景的句子。行草書線條流暢、乾溼相應，行氣流暢而墨酣淋漓，書風圓熟而飛揚自在。(506字)

Li Tuan-hsi (1917-2013), courtesy name Chung-chieh, art name Wan-shi, son of the famous Hsinchu calligrapher Li Hsiao-pu, was born in Hsinchu. Receiving family education since childhood, Li has been burying himself in Chinese Studies and Calligraphy. While Li conducts business between Taiwan and Japan during his middle age, he has never forgotten his pursuit and love for calligraphy. After retiring at the age of 60, Li saw the contest for entries from All Japan Expo during his travel. He resumed his pursuit of calligraphy and participated in the exhibition. His first exhibition makes a large splash and has since started his cultural exchange journey. At that time, the Republic of China (Taiwan) and Japan's diplomatic situation was in the doldrums; Li Tuan-hsi's calligraphy and devotion to art thus became his way to promote national diplomacy. For thirty years, he started as a participant, then the critic, the judge, and even the special reviewer of All Japan Expo. He was awarded All-Japan Order of Culture in 2007, the first Taiwanese calligrapher to receive such honor. In 2013, Li passed away due to illness.
Although fully trained by his family, Li Tuan-hsi exhibits a style closer to modern Japanese calligraphy rather than the traditional Taiwanese calligraphic style. In addition to learning traditional Chinese calligraphy from mainland China, Taiwanese calligraphers have also integrated Japanese calligraphy expression during their rule, resulting in a diverse and rich calligraphy outlook.
The work calligraphed one of the poems from Song Dynasty's Ou Yang-xiu's Picking Mulberries in semi-cursive script. The poem, "viewed from a light boat with short oars, West Lake is fair. Green water winds along the banks overgrown with sweet grass; here and there faintly we hear a flute song.
The water surface is smooth like glass when no wind blows; I feel the boat moves no more. Leaving ripples behind, it goes, the startled waterbirds skim the flat sandy shore," is a song about West Lake's beautiful scenery in spring. The semi-cursive scripts are smooth, with a perfect balance between dry and wet ink. There was no hesitation in Li's writing; the ink serves as an outrage expression of his feelings. Li's calligraphy style is sophisticated and free.

典藏單位:國立中正紀念堂管理處