| Summary: | 碩士 === 明道大學 === 國學研究所 === 103 === Chen Yun-Cheng (1906-2009) witnessed the history of Taiwan from Japanese colonial rule to after Taiwan Retrocession, when the Nationalist Government relocated to Taiwan. He was also a prominent Taiwanese calligrapher during that time. Different political systems and cultures expanded his perspective of diverse cultures, and he was more able to accept different cultures, which became manifest in his calligraphy. He was also more able to extract and use elements of different cultures and traditions. He digested and integrated calligraphy styles from different periods and developed a unique individual style; Chen Yun-Cheng is a melting pot of Chinese, Japanese and Taiwanese calligraphy styles, and a witness and practitioner of Taiwan’s calligraphy history.
This paper studies the calligraphy of Chen Yun-Cheng. Using different perspectives, this study attempts to compare and analyze calligraphy developments during the era of Chen Yun-Cheng, the life of Chen Yun-Cheng, his origins and ideologies of calligraphy, development of his calligraphy style, techniques and characteristics, and aesthetics and influence of his calligraphy. This study conducts a comprehensive review in hopes of understanding the uniqueness and innovativeness of Chen Yun-Cheng’s calligraphy, so as to give him a more objective evaluation and position in Taiwan’s calligraphy history.
This paper is divided into seven chapters. Chapter one describes the research motivation and research purpose, outlines the scope of research, reviews relevant literature, and proposes the research methodology and limitations. Chapter two mainly discusses calligraphy developments during the lifetime of Chen Yun-Cheng and gives a brief biography. Chapter three explores the origins and ideologies of calligraphy that formed Chen Yun-Cheng’s unique individual style. Chapter four compares and analyzes different works of calligraphy to generalize the style of each period and find a development pattern. Chapter five describes characteristics of Chen Yun-Cheng’s calligraphy style in hopes of more clearly presenting his unique individual style. Chapter six focuses on the factors causing Chen Yun-Cheng’s aesthetic ideology, and discusses its expression. Chapter seven summarizes the discussions above and affirms Chen Yun-Cheng’s status at the time, as well as his meaning in the history of Taiwan’s calligraphy developments.
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