典藏單位:國立中正紀念堂管理處

館藏編號:PT10007500

戴蘭村

尺寸:181×45(畫心)

戴蘭村（1924－2011），河北省滄縣人，字畹薌，筆名葉泥，齋館名半樓。早年從事文學研究集翻譯工作，約在1973年戴蘭村淡出文學界，專心致力於書法藝術創作。五歲開始在家學習書法，初習楷書，後學秦篆、漢隸各，行書宗法右軍等並鑽研書史，最後選擇專研行書，以集字聖教序致力最深，喜好蘭亭序，其書宗王羲之，遒健秀潤、舒朗雅逸，書寫內容多側重雅逸宋詞，富文人從容自若氣質，並對書作之款識、鈐印尤其講究。
1974年與莊嚴、王壯為、汪中、于還素、羊令野等組成「忘年書展」，其後臺靜農、王北岳等亦相繼參展。另譯有日本《書道全集》、《書道藝術．中國名品集》，影響學術研究深遠，更曾任全國美展、全省美展、全國文藝創作、歷屆國軍文藝金像獎、中央機關公務員書畫攝影展等評審委員、中華民國書法教育協會、中華書道學會、甲子書會顧問，推廣書法。
本作「元僧中峰明本九字梅花詠」，字體連成行氣之美，再由行氣連成篇幅之美，筆墨之推運，一筆一畫的轉折形成流動的氣勢，墨色溫潤有韻味，作者多年功力書寫得心應手，將「書道」精神融合美學與哲學融合，透過心筆合一的精神，千變萬化的行書，寫出嚴謹、溫潤、優雅的風格，渾厚墨色的墨色與筆法靈巧的帶動畫面氣勢，在清秀之中帶有蒼勁之美。(505字)

Tai Lan-Tsun (1924-2011), a native of Cang County, Hebei Province, was also known by his courtesy name Wanxiang and pen name Yeni. He referred to his study as Banlou. In his early years, he engaged in literary research and translation work. Around 1973, Tai withdrew from the literary world to focus on the art of calligraphy. He began learning calligraphy at home at the age of five, initially practicing regular script, later studying Qin seal script, Han clerical script, and running script, particularly following the style of Wang Hsi-Chih. He delved into the history of calligraphy and ultimately chose to specialize in running script, with a deep commitment to compiling the Preface to the Sacred Teaching in the Collected Characters. He admired the Lanting Xu (Preface to the Poems Composed at the Orchid Pavilion), and his calligraphy, influenced by Wang Hsi-Chih, is characterized by strength, elegance, and a graceful leisure. His works often feature refined Song Dynasty poetry, exuding the composed and leisurely temperament of a literati. He paid particular attention to the inscriptions and seals on his works.
In 1974, Tai formed the “Forget Age Calligraphy Exhibition” with Chuang Yen, Wang Chuang-Wei, Wang Chung, Yu Hai-Su, Yang Ling-Yeh, and others. Later participants included Tai Ching-Nung and Wang Pei-Yuh. He also translated Japanese works such as the “Complete Collection of Calligraphy” and “The Art of Calligraphy: Collection of Chinese Masterpieces,” which had a profound impact on academic research. In addition, he served as a judge for national and provincial art exhibitions, literary creation competitions, the Golden Statue Awards for National Armed Forces Literature and Art, and the Government Agencies’ Calligraphy, Painting, and Photography Exhibition. He was also an advisor to the Chinese Calligraphy Education Association, the Chinese Calligraphy Association, and the Jiazi Calligraphy Association, promoting the art of calligraphy.
This work, “Nine-Character Plum Blossom Ode by Yuan Dynasty Monk Zhongfeng Mingben,” showcases the beauty of continuous lines connecting characters, creating a harmonious flow. Each stroke and turn contributes to the dynamic momentum, with the ink color exuding warmth and charm. Tai’s years of practice allowed him to write with ease, integrating the spirit of “shudao” (the way of calligraphy) with aesthetics and philosophy. Through the unity of mind and brush, his versatile running script manifests a meticulous, warm, and elegant style. The robust ink color and skillful brushwork bring a sense of dynamic momentum, blending a delicate and vigorous beauty.