典藏單位:國立中正紀念堂管理處

館藏編號:PT10300500

張光賓

尺寸:135×34

張光賓(1915-2016)，四川省達縣人，卒於臺灣，字序賢，號于寰。1945年重慶國立藝專三年制國畫科畢業。28歲時進入重慶三年制的國立藝專就讀，師事傅抱石、李可染、豐子愷、黃君璧、高鴻縉等名家，涉獵廣闊，擅長隸書、魏碑與行書等字體，1969年入臺灣故宮博物院書畫處工作。1987年11月以研究員身分退休。著有《中華書法史》論述中追溯源流、體例詳明，並精通元代畫史故有《元四大家》、《元代書畫史研究論集》及個人書畫作品及多種。
透過其在故宮時對畫史的深研及親睹名作，融合古今之法於83歲自創「焦墨散點皴」，以點代皴，晚年以草隸筆法建構出如北宋巨幛重巖的聯屏鉅作。91歲「焦墨排點皴」，更出現主觀的抽象性風格，進一步影響山水畫之主體性。其篆隸淳厚渾樸，淵雅婉通，達到「人書俱老」人格與書格共鳴共振。其書法藝術之見解論述廣為流傳，並推廣草書的識讀書寫，研發撰擬〈草書結字口訣〉，使草書易於讓大眾理解，對書法教育頗有助益。
本作為張光賓於民國103年所贈之揮毫作品「堂史室」，書風可見其晚年之風格漸漸趨向壯大且拙趣，以正楷書寫賞識三字，筆意如同經歷生生百態，心中豁達，怡然自得，字體俏皮、活潑可愛，大筆渾厚墨色鮮明，為「堂史室」三字作最好的呈現，永遠流傳於中正紀念堂。(505字)

Chang Guang-Bin (1915-2016), a native of Daxian County, Sichuan Province, passed away in Taiwan, known by the courtesy name Hsu Hsien and the pseudonym Yu Huan. He graduated from the three-year National Painting Department of the National Academy of Fine Arts in Chongqing in 1945. At the age of 28, Chang enrolled in the three-year program of the National Academy of Fine Arts in Chongqing and studied under renowned masters such as Fu Pao-Shih, Li Ke-Ran, Feng Tzu-Kai, Huang Chun-Bi and Kao Hung-Chin. His expertise was broad, and he excelled in various script styles, including clerical script, Wei stele script, and running script. In 1969, he began working at the Painting and Calligraphy Department of the National Palace Museum in Taiwan, and retired as a researcher in November 1987. He is the author of A History of Chinese Calligraphy, which meticulously traces the origins and development of Chinese calligraphy, and is also well versed in the art history of the Yuan Dynasty, with works such as The Four Masters of the Yuan Dynasty, Studies in the History of Yuan Dynasty Painting and Calligraphy, and numerous personal calligraphic and painting works.
Through his in-depth study of art history during his tenure at the National Palace Museum and his firsthand exposure to masterpieces, at the age of 83, he created his own “Scattered Ink Point Stipple” technique, using dots instead of strokes. In his later years, he used a cursive writing technique to create monumental works reminiscent of the hanging scrolls of the Northern Song Dynasty. At the age of 91, his “scattered ink line stipple” technique exhibited a subjective abstract style that further influenced the subjectivity of landscape painting. His seal script is profound and rustic, elegant and fluent, embodying a harmonious resonance between personality and calligraphic style, achieving the ideal of “both the person and the calligraphy are aged”. His insights into calligraphic art are widely disseminated, and he promoted the understanding and writing of cursive script by developing the “Mnemonic for Cursive Script” to make the cursive script more accessible, thus contributing greatly to calligraphy education.
This artwork is a calligraphic work titled “Tang Shi Shi” (History Hall), which was gifted by Chang Guang-bin in the 103rd year of the Republic of China. The style of writing reflects his late-life tendency toward grandeur and rustic charm. The three characters are written in regular script and convey the experience of life’s myriad facets with a broad-minded and contented spirit. The script is playful, lively, and charming, with bold brush strokes and vivid ink colors, presenting the best rendition of the character “Tang Shi Shi,” which will forever be preserved in the Chiang Kai-shek Memorial Hall.