Author:

Size:Length:242 x Width:44 (cm)

Introduction：Huang Tsung-yi (1951- )–style name Yi-tang, pseudonym Kun-chiao–was born in Yunlin County in 1951 and studied at National Chiayi University Teachers College. In 1968, he started studying calligraphy under Chen Ting-chi, and later, in 1980, he established the Children’s Calligraphy Education Association R.O.C. along with Li Yu-chou, Hsieh Mao-hsuan, and Shih Chun-mao. In 2008, he was awarded the Ministry of Education’s Teacher Training Model Award. In 2009, he organized a calligraphy course for graduate students in the Department of Chinese Language and Literature at the National University of Taiwan. In 2011, he became a member of the Tainan Art Museum Collection Committee. He has previously served as the Dean of the Language and Literature Education Department at National University of Tainan, a Part-time Professor at National Cheng Kung University and National Kaohsiung Normal University, a member of the evaluation committee for the National Arts Exhibition, a member of the Kaohsiung Museum of Fine Arts Collection Committee, and the consultant for the Taiwan Calligraphy Association. Huang currently holds a post as the Director of the Language and Literature Center at the National Tainan University, and he has written books related to calligraphy, such as The Study of Ou Yang Hsun’s Calligraphy.
Huang Tsung-yi first studied the calligraphy style of Yen Zhen-qing, then learned tablet inscription styles of the northern dynasties from Mr. Chen Ding-chi. He later developed a more contemporary calligraphy style based on recently unearthed scripts on bamboo and silk. According to Mr. Tsai Meng-chen, Huang’s “large script is fierce and powerful, small script is vibrant and unrestrained, applying his innovative aspirations to traditional calligraphy styles.” To prevent from sinking into obstinate traditions, he strives for change and newness, and his more recent works have managed to twist traditional calligraphy forms. With images as the main concept, he uses unconventional layout as well as modern methods–such as including colors, collages, and layers–hoping to display the contemporary side of calligraphy in his works.
This piece is Su Shi’s Poem of Plum Blossom, in which the interpretation is: “Spring enters the silent valley, devoid of anything but the murmuring brook. Plum blossoms not yet faded from winter shimmer among the flowers and rocks. Suddenly, East winds tear through the night. Rocks topple over, while petals scatter over Guanshan like flakes of snow.” One of Huang’s earlier works, the brushwork flows naturally and liberally, the lines swerving and staggering, creating an overall vibrant and dynamic form, which is in the likes of the Tang Dynasty style.

Accession number:PT09301800