Author:

Size:Length:187.5 x Width:44.5 (cm)

Size description：135×34 (畫心)

Introduction：Chen Wei-de (1945- )–style name Sih-chi, pseudonym Hsimei Chai Chu–was born in Fuzhou, Fujian Province. In 1960, he learned poetry, writing, and painting from Chien Chi-o. In 1963, he met with Yu Yu-jen to inquire about calligraphy, which led to him becoming a member of the Chinese Calligraphy Society and Standard Cursive Script Association. In 1964, he entered the National Taiwan University of Art, and he won second place in the National College Calligraphy Competition. He was admitted to the Department of Chinese Literature in Fu Jen Catholic University in 1965, and the Graduate Institute of Chinese Literature in 1970. In 1972, he served as a part-time lecturer at the University of Taipei and Fu Jen Catholic University. In 1980, he established the Hsimei Chai Academy, and he was awarded the Sun Yat Sen Literary and Artistic Creation Award in 1984. In the same year, he was admitted to the Ph.D. program of the Institute of Chinese Literature at National Chengchi University. In 1985, he became a member of the editorial committee at the National Institute of Compilation and Translation. In 1988, he became the Executive Officer of the Presidential Office, as well as a member of the review committee for the Taiwan Provincial Art Exhibition. In 1995, he was awarded the National Literary and Artistic Creation Award, and in the following year, he established the Yude Calligraphy Society. In 2001, he obtained the Wu San Lien Award, and in 2004, he founded the Graduate Institute of Chinese Studies at MingDao University, serving as a part-time Director. In 2012, he founded the Ph.D. program at the Graduate Institute of Chinese Studies at MingDao University.
Chen is proficient in all calligraphy scripts: his regular script follows the Tang Dynasty standards, rigorous, thorough, yet elegant, while his cursive and semi-cursive are similar to Wang His-chih and Mi Fu’s aura, fluent and graceful. His seal script is steady and neat, his clerical script solemn and sturdy, with a hint of Tai Ching-nung and Hsieh Chong-an’s penmanship. He once commented on his own calligraphy skills in the book Occasional Notes on Calligraphy: “Jin Dynasty’s vibrance and Tang’s elegance, any rendition is unable to do justice. Half a century of work on form and shadow, yet only my image in the mirror tells the time.”
This is the second poem in Cen Shen’s “Mountain House in the Spring”–“In the dark of Liangyuan the ravens fly free, the houses in the distance remain two or three. No passerby in the courtyard that the trees would know, only the blossoms still bloom in the spring.” Similar to Mi Dian’s works, the brushwork is fluent and resolute, yet each character is distinct and clear, the structure neat and majestic, which is representative of the charm of contemporary calligraphy.

Accession Number:PT09301300

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