A Research on the Calligraphy Art of Sie Zong-An

• Main Authors: kuo Jer-Jyh, 郭哲志
• Other Authors: Huang Bong-Fu
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/05294080901564280872

碩士 === 國立屏東教育大學 === 視覺藝術學系碩士班 === 95 === The main point of this research is to analyze and study the calligraphy art of Sie Zong-an in three ways: socio-artistic method, historical method, and style-modal method. The contents of this dissertation starts with the background of Sie’s calligraphic creation. Then it explains the notion of Sie’s calligraphy art and analyzes his works profoundly. Thus, readers can understand the initiation, development and characteristics of Sie’s calligraphy. Last, it talks about the achievement and the influences of Sie’s calligraphy. The purposes of this research are: A. Discussing the background of Sie’s calligraphic creation. B. Explaining the notion of Sie’s calligraphy art. C. Analyzing Sie’s calligraphy by style 、periods and characteristics. D. Concluding Sie’s achievement and his influences upon calligraphy in Taiwan. According to my research, here’s the conclusion below: I. The Confucian background of Sie’s family education had deeply influenced his notion of calligraphy art, which is the fusion of theory and art. His calligraphy was derived from the “Northern Inscription,” so he venerated the inscriptions on stone tablets. He insisted that creation should be based on tradition. Therefore, he worked hard on the heritage and enhancement of “Northern Inscription.” II. The four periods of Sie’s calligraphic style changing are: 1. Widely-learning period (before 1976---before his 70): He learned widely from the inscriptions on stone tablets and many other scripts.His style was to follow the tradition and to write with strength. 2. Integrating and discovering period (1976~1986---between his 70 and 80): He focused his attention on “running-cursive script.” 3. Exclusive creating period (1986~1996---between his 80 and 90): He created “compound clerical script” which is the most representative script of his top calligraphy art. 4. Free “running-regular” period (after 1996---after his 90): His “running-regular script” revealed the tranquil style of his late years. III. From Sie’s management on using hair pens, constructing words, and total-arranging, we can observe his unrestrained strength, grand figure, and powerful style in his works. His “running-cursive script,” compound clerical script,” and the latest”running-regular script” all adapted from ancient scripts but in the meantime created his own exclusively powerful style. He is actually a practical doer of the “Northern Inscription.” IV. Sie began his calligraphy teaching career after his retirement till he passed away in his ninety-first year. He had taught over three thousand students during twenty-five years. He propagated and disseminated calligraphy art by teaching is, organizing”Olive Studio for Calligraphy Study,” and then enlarging the studio into “Chinese Calligraphy Society.” Its influences are so enormous that it can be called the biggest apprentice calligraphy society. With its advocating and contribution, the learning of calligraphy art in Taiwan has achieved abundant accomplishment.