典藏單位:國立中正紀念堂管理處

館藏編號:PT09300900

蘇天賜

尺寸:136×69 (畫心)

蘇天賜（1942-），出生於雲林縣北港，自小即熱衷於學習書法，1964年入文化大學美術系，於第二、三、四屆華岡美展獲得書法第一名，並創立華岡書法研究會，參加中國書法學會。1967年獲全國青年書法比賽第一名，並獲華岡傑出青年獎章。1972年任職於郵政管理局，1975年任教文化大學，1981年任換鵝書會會長，1983年受聘為中華研究院院士，後自文化大學美術系退休。現為文化大學美術系兼任教授，中國標準草書學會理事長，中國書法學會顧問，並膺各大比賽評審。
就讀大學期間，受李普同與史紫忱鼓勵，專攻書法，又得到當時圖書館館長胡安彝照顧，出借館藏碑帖供其臨摹，孜孜不懈。蘇氏兼擅各體，楷書由晉唐入手，得力於王羲之與初唐大家，筆之有法。行草初從二王懷素，融合明代祝允明、王鐸等具個性的筆法，連綿活絡，而後更為瀟灑雄放，獨特的結體布局，散發個人獨創思維。隸書則遍臨乙瑛、禮器、史晨等碑，後兼攻鄧石如、吳熙載的小篆與石鼓文，八分守拙而不失古意，篆籀嚴謹。於其作品中，可見線條間宛如音樂、舞蹈節奏般的墨趣。
此作品寫唐代杜牧的《齋安郡中偶題》：「兩岸落日溪橋上。半縷輕煙柳影中。多少綠荷相倚恨，一時回首背西風。」為借景閨怨之詩。整幅雄放飄逸，老辣而富有性格，帶有蘇天賜濃厚的個人特色。(510字)

Su Tien-tzu (1942- ), born in Beigang, Yunlin County, has harbored a passion for calligraphy since childhood. In 1964, he was admitted to the Department of Fine Arts in Chinese Culture University; during his years of study, he won first place in calligraphy in the 2nd, 3rd, and 4th Hwagang Art Competition. He also established the Hwagang Calligraphy Research Association, participating also in the Chinese Calligraphy Society. In 1967, he won first place in the National Youth Calligraphy Competition, and he was awarded the Hwagang Outstanding Youth Medal. In 1972, he worked in Postal Administration, and in 1975, he started teaching at Chinese Culture University. In 1981, he became the Director of the Huano Calligraphy Society, and two years later, he became a Fellow of the Academia Sinica. Afterward, he retired from the Department of Fine Arts at Chinese Culture University, and is now a part-time professor in the department. At the same time, he is also the Director of the Chinese Standard Cursive Script Association, the counselor at the Chinese Calligraphy Society, and a member of the review committee for many major calligraphy competitions.
During his time in university, he was encouraged by Li Pu-tong and Shih Tzu-chen to specialize in calligraphy. He also received support and care from the then library director Hu An-yi, who allowed him to borrow rubbings of stone inscriptions to study and copy. Su is proficient at all calligraphy scripts: his regular script referenced that of Jing and Tang Dynasty, such as Wang Hsi-chih and other early Tang calligraphers. His semi-cursive script started in the likes of Huaisu, then developed into a fusion of Chu Yun-ming and Wang Duo’s quirky penmanship. Continuous and vibrant, later becoming more unrestrained and majestic, his works often incorporate unconventional structure and showcase his unique ideas. His clerical script style developed from engravings on Yiying, sacrificial vessels, and Shihchen. Later, Su worked on seal script and drum stone engravings by Deng Shih-ju and Wu His-tsai, creating strict renditions by adhering rigorously to seal script conventions. In his works, the brushwork demonstrate rhythmic qualities similar to that in music and dance.
This work is Du Mu’s “Inspiration in Chaian County”–“Standing on the bank, the setting sun falls on the bridge. Willows on the opposite shore cast light shadows on the ground, lotus leaves dot the water’s surface. They flip and flutter in the western breeze, like the indefinite melancholy buried deep in my heart.” –in which the poem projects a woman’s worries into the natural scenery. The brushwork flows naturally and majestically, showcasing Su Tien-tzu’s unique calligraphy characteristics.