Author:

Size:Length:202 x Width:83 (cm)

Size description：137×68 (畫心)

Introduction：Tseng An-tien (1940- )–style name Chia-chen, pseudonym Shih-lu and Yi-chen–was born in Sanchung District, New Taipei City. He once studied at the night school at Nan Kai University of Technology. In 1957, he studied poetry and calligraphy under Tsao Jung. In 1962, he participated in the Chinese Calligraphy Society, and in 1971, he passed the Taiwan Province Local Government Examination, retiring as the secretary of the Hsinchuang City Office. In 1985, he became a member of the Huano Calligraphy Society. In 1987, he curated the Hsinchuang City Calligraphy and Painting Exhibition. In 200l, he established the Hsinchuang Calligraphy and Painting Society. In 2008, due to undergoing surgery for lumbar spine lesions, he suffered from hand tremors and was unable to create. After overcoming his physical pain through rehabilitation, he regained his ability to practice calligraphy and resumed his creating.
Tseng An-tien is good at all five calligraphy scripts. He started learning regular script through the works of Yen Zhen-qing, absorbing qualities from Tsao Jung, Tan Yen-kai, etc. along the way. His clerical script referenced Confucius Temples, Tsao Chuan, Chang Chian, etc., and was inspired by Mang-sheng and Tzu-chen, and his seal script is round and elegant. His semi-cursive script showcases his unique calligraphy style the best: a combination of qualities of Chao Meng-fu and Wen Cheng-ming, the characters are flexible, gentle yet sturdy. His cursive script is mainly based on rubbings of stone inscriptions, the characters tactically sophisticated, the form calm and graceful. Tseng commented that “The practice of calligraphy requires much heart and dedication, …The form, spirit, air, and rhythm of every character requires deep consideration, and the habit of starting, projecting spirit, and stopping is an essential habit that should be developed. In particular, the calligraphy style should be based on method and spirit. It’s mostly about creating an upright, steady, ancient and simple style.
The two characters, “Hong Fu”, hold a likeliness to Yen Zhenqing’s heavy brushstrokes. Yet the hooked brushes are flat and calm, vigorous, solemn and steady. Within modern contemporary calligraphers, Tseng’s strokes harbor a rare nostalgia. The continuous strokes on the left side of “Hong” are connected with the right side of “Fu”, in which the changes allow the characters to become more vibrant, showcasing his intentions in the mere layout.

Accession Number:PT09300700