Author:

Category：Calligraphy

Size:Length:217.5 x Width:83.5 (cm)

Size description：137×70 (畫心)

Introduction：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.

Accession Number:PT09301100

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