典藏單位:國立中正紀念堂管理處

館藏編號:PT10400201

陳坤一

尺寸:180×45.7

陳坤一(1944- )，新竹縣橫山鄉人。字子乾，自幼喜愛書法，師承王北岳、陳其銓、李猷、吳平諸先生，秉持「志於道，據於德，依於仁，游於藝。」的精神，讓藝術作為精神的寄託。在創作中表現自由自在，自然的風範，遠離競爭的文人通病，遠離公立，回歸最真的創作新制，發人深省。曾獲全國美展第一名。任中山文藝創作獎評審委員、全國美展評審委員、台灣省美展評議委員。行政院文建會參事退休。
陳坤一對於各書體均有涉獵，隸、篆、楷書皆有所長，行草更是他的強項和最愛，字體造形謹斂、渾茂質樸，自然而不造作，除了書法方面的長才，陳坤一的國學造詣亦非等閒，不僅書寫古人詩文中與生活有關者，也會作詩填詞，甚至用不同的素材創作，另外也擅長篆刻銘文，多方取法，具多種面目，刀藝傳達筆意，擁有建築般的空間美概念與書法相應，充滿美感。
本作與下聯「天地無私春又歸」以沉雄寬博的風格，以韻味致勝，兼具沉著的運筆與痛快的節奏，充滿力道與氣度，在簡樸中帶有篆刻與書法合一的意識之美，古拙中具現代意味，圓轉流動，行筆輕重變化豐富，緩慢中又具有疾勁，觀者可以感受到一動一靜之間的氣息，透過毛筆傳達比一，透露出作者的道德學養，與藝術形成融合一體，既耐看，又耐讀，令人賞心悅目。(505字)

Chen Kun-yi (1944–) was born in Hengshan Township, Hsinchu County. His courtesy name is Tzu-chien. From an early age he was devoted to calligraphy, studying under Wang Pei-yueh, Chen Chi-chuan, Li Yu, and Wu Ping, and guided throughout by the spirit of the saying: "Set your will upon the Way, hold to virtue, lean upon benevolence, and roam in the arts." His creative work is characterized by ease and naturalness, far removed from the competitive tendencies of the literati; it is a return to the truest spirit of creation, giving viewers much to reflect upon. He has won first prize at the National Fine Arts Exhibition and has served as a juror for the Chung Shan Literature and Arts Awards, National Fine Arts Exhibition, and Taiwan Provincial Fine Arts Exhibition. He is also a former counselor at the Council for Cultural Affairs, Executive Yuan.

Chen has explored all the major scripts. He excels in clerical, seal, and regular scripts, with semi-cursive and cursive script being his greatest strengths and personal favorites. His letterforms are disciplined and restrained, rich and unsophisticated, natural and unaffected. Beyond his gifts in calligraphy, Chen's mastery of classical Chinese studies is far from ordinary: he writes the poetry and prose of earlier ages while remaining connected to everyday life, composes his own verse, and even creates works in a variety of materials. He is also skilled in seal carving and inscription, drawing on many traditions and presenting many different faces; the artistry of his chisel conveys the spirit of the brush. He brings to calligraphy an architectural sense of spatial beauty, and the results are deeply pleasing.

This work prevails through its tonal flavor, blending a measured, deliberate brushwork with an exhilarating rhythmic momentum; a work full of force and spirit. Within its simplicity lies an aesthetic consciousness that unites seal carving and calligraphy; ancient rawness coexists with a modern sensibility. The strokes flow in rounded turns, varying richly in weight, at once slow and swift. Viewers can sense the breath between movement and stillness. Through the brush, the work reveals the artist's moral cultivation and scholarship, inseparably fused with art—both a pleasure to contemplate and to read.