典藏單位:國立中正紀念堂管理處

館藏編號:PT09301100

謝健輝

尺寸:137×70 (畫心)

謝健輝（1944-），字韞石，號乾齋、健盦、伍石盦，生於臺南市。1967年師李超哉先生學書法，1968年師曹容習書法與國學，1971年入選第26屆全省美展，1974年與黃篤生、連勝彥、黃金陵、林千乘、周澄、蘇天賜、施春茂、高晉福、薛平南等成立換鵝書會。1982年拜喻仲林學工筆畫，1983年薦任大日本書藝會鑑查員，1984年任換鵝書會會長，1987年拜鄔企園習國畫，並任中國書法學會理事，1988年兼任清傳商職書法教師。1990年擔任澹廬書會評議委員，並向鄭月波習國畫，1992年發現罹患直腸癌，受連勝彥引薦參加法鼓山禪修，當成修養保健之道。
謝健輝向李超哉習書，後得益於曹容，習得太極圜迴腕法，頗得曹容真傳，五體兼擅，線條渾厚。又練習「𢳇管法」、「側身書」等，並勤練碑帖，力求自出機杼、以熟出新。且為求拓展筆墨意境，習書之後，又向喻仲林、鄔企園、鄭月波、楚山青等國畫名家學畫，風格以渾厚樸拙的金石之趣為尚，構圖傾向簡練寫意，內容多為花鳥走獸一類。
本作為行書，乃錄三弟謝健茂七言絕句，釋文「夢沉春去覺然遲。筆硯相親曾幾時。鳳木花開鶯燕戲。忍將別淚問歸期。」詩中寫與親人遊歷家鄉勝景，景色雖好，卻屆分離，依依不捨的愁思。行書風格穩健渾厚，帶有顏體氣息，但結體較長，兼帶有晚清金石書風，近承澹廬風韻。(509字)

Hsieh Chien-hui (1944- )–style name Yun-shih, pseudonyms Kanchai, Chienan, Wu Shih-an–was born in Tainan City. He started studying calligraphy under Mr. Li Chao-tsai in 1967, and he learned also from Tsao Jung-hsi in the following year. In 1971, his work was selected for the 26th Taiwan Provincial Art Exhibition, and in 1974, he established the Huano Calligraphy Society together with Huang Tu-sheng, Lien Sheng-yen, Huang Chin-ling, Lin Chien-sheng, Chou Cheng, Su Tien-tzu, Shih Chun-mao, Kao Jin-fu, and Hsueh Ping-nan. In 1982, he studied the gongbi style under Yu Chung-lin. In the next year, he was recommended to be an inspector in the Great Japan Calligraphy Association, and he also became the Director of the Huano Calligraphy Society in 1984. In 1987, he paid homage to Wu Chi-yuan to learn traditional Chinese painting, serving as the Director of the Chinese Calligraphy Society in the same year. In 1988, he served as a part-time calligraphy teacher at Chin Chwang Commercial Vocational High School. He became a member of the appraisal committee for the Danlu Calligraphy Society in 1990, learning traditional Chinese painting techniques from Cheng Yueh-po in the process. In 1992, he was found to have rectal cancer. Lian Sheng-yen recommended him to medicate at Fagushan as a way of self-cultivation and health care.
Hsieh Chien-hui first learned calligraphy from Li Chao-chai, then later learned from Tsao Jung the Tai Chi Wrist Method, in which he used quite well. He also practiced the Cuguan and Tseshen methods, as well as refined his stele style skills diligently, striving to learn from the opportunity and bring forth innovative changes. In order to expand his brush and ink skills, after learning calligraphy, he also studied painting under famous traditional Chinese painting artists, such as Yu Chung-lin, Wu Chi-yuan, Cheng Yueh-po, Chu Shan-ching, etc. His style is based on the simplicity of the Jinshih Shupai, in which the composition tends to be concise and freehand, and the content is mostly flowers, plants, and beasts.
Written in semi-cursive script, the work depicts Hsieh’s third brother Hsieh Chien-mao’s seven-character quatrain–“Sunken dreams, abandoned spring, a late realization brings. When have the pen and ink ever been courteous? Poinciana blooms while the sparrows play, yet I hardly constrain my tears when asked about my return.” The poem describes the poet’s travels with his family; although the scenery is beautiful, the poet’s inevitable departure saddens him. The semi-cursive is steady with an air of Yan Zhen-qing’s brushwork, yet the characters are longer in length, adding a Jinshih quality from the late Qing Dynasty, inheriting the charm of Danlu calligraphy.