Author:

Size:Length:208.5 x Width:47.5 (cm)

Size description：137×34 (畫心)

Introduction：Tu Chung-kao (1948- )–pseudonyms Yennung, Citizen of Chiensung, Suansa Laoren, and Hsuanchuan Laoren–was born in Pitou Township, Changhua County in 1948. In 1964, he was admitted to National Taichung University of Education, where he was enlightened by Lu Fo-ting. He taught at Jiuzhuang Elementary School in Taipei City after his graduation; during his term in office, he studied art calligraphy under Wang Kai-he, Wang Chuang-wei, Fu Chuan-fu, Yao Meng-ku, Wang Bei-yue, Hsieh Tsung-an, and Hsi Nan-hsun. In 1974, he studied at National Taiwan Normal University, won first place for calligraphy in the Taiwan Provincial Art Exhibition, and became Wang Chuang-wei’s disciple. He transferred to Jiangcui Junior High School to teach after his graduation, and he obtained permanent exemption from review for the Provincial Art Exhibition in 1981. In 1982, he became a Chinese teacher at Taipei Municipal Jianguo High School, establishing the Japanese Calligraphy Society in the following year. In 1987, he studied at the University of Tsubaka in Japan. In 1993, he was awarded the Executive Yuan’s National Literary and Artistic Creation Award, and in 2001, he received a Ph.D. from National Taiwan Normal University. He has retired from teaching at MingDao University, and he is currently a member of the appraisal committee at the National Palace Museum.
Tu Chung-kao is proficient in all types of calligraphy scripts. In his early years, his style was similar to Lu Fo-Ting and others, only following Wang Chuang-wei’s stable and straight style in later years. Although similar to Wang Duo’s penmanship, Tu’s style is sharper and powerful, wishing to create a breakthrough under existing calligraphy standards. Using scripts on recently unearthed bamboo slips as a gateway, he focused on the flow and curves of the lines, appealing more to modern artistic approaches. In recent years, more transformations can be seen in his works, showcasing his intention of breaking conventional rules with unorthodox methods.
This work is based on two lines in Southern Song Dynasty poet Lu You’s “Written on A Citizen’s House Intoxicated”–Friendship is seen in one’s desperate need, a set world one intoxicated will see.” It is composed in clerical script, but the brushwork comprises of both traditional and modern elements–thick and unruly, yet unrestrained by conventional rules. This calligraphy system was established only recently, based on many later unearthed bamboo and silk documents.

Accession Number:PT09301500