駐校藝術家自述 | Artist Statement
李蕭錕 | Quenten LEE
For me, to write is to remember the different stages of life.
When I was young, I wanted to become a full-time artist and spend my days painting freely. Because I graduated from the Fine Art Department, specializing in ink painting, I naturally pursued the career of an independent artist after graduation. When I was between the ages of 30 and 40, I reached a peak in my ink painting career.
Later on, because I taught calligraphy in universities, I devoted most of my time to the research of calligraphy. Apart from days when I was painting, I was never seen without a calligraphy worksheet, and I never stopped practicing and admiring the works of others. My objective was to practice different pressures of the brush and arrangements of space through calligraphy writing; this allowed my ink painting to advance. I then started copying Buddhist scriptures extensively because I converted to Buddhism and was exposed to various calligraphy styles, particularly the pictogramic and graphic seal script. I was especially attracted to and curious about the unique contrasting qualities in the seal script. However, different calligraphy schools throughout the dynasties involve different interpretations and techniques when writing the seal script; even the structure and ways that characters connect are different. This puzzled me for some time, and I was reluctant to start my own writing.
To trace its origin, I started reading extensively and delved into Chinese character analysis, investigating the structure, principle, and meaning behind the characters; this set me on the lengthy path of appreciating the beauty in the construction, design, and form of Chinese calligraphy. At the same time, I carried on with copying wild cursive scripts, because the stillness of the seal script and dynamic movement of the wild cursive script complement each other, which makes them the perfect pair for study and practice. In addition, the pictogramic graphic database of the seal script is beneficial to changes and innovation in the spatial structure of the wild cursive script, while the unconstrained nature of the wild cursive script strengthens the fluidity of the brushstrokes of seal scripts. Together, the two reciprocal calligraphy styles helped me overcome my creative block in calligraphy that had troubled me for many years. I started forging a way of writing with freedom in a more proactive and constructive manner and finally established my own creative style and introduced innovation.
Apart from deep-rooting in calligraphy writing and challenging myself with new styles, I also noticed that young students have long been leaning towards the west, due to the impact of western culture and western art; as a result, these students have neglected calligraphy, the ancient art form passed down through thousands of years by our ancestors. Therefore, apart from my creative work and teachings, I often encourage students to learn and reinvestigate traditional culture, especially calligraphy, a dying art form that is lingering on the edge of culture. I anticipate that the students will preserve the legacy and pass on the unique, exquisite, wonderous, and beautiful art of calligraphy.
The Art of Chinese Characters and Chromatology
（駐校藝術家將於4/13-4/24至達賢圖書館駐地創作，並於4/28開放參觀） | ( The artist-in-residence will be stationed at Dah Hsian Seetoo Library between 13th and 24th April. The section will be open to visitors on 28th April. )
Opening Hours for the Art Gallery: Mon. - Fri., 11:00 to 17:00. Closed on National Holidays & Mid-term Week (Other venues have respective regularities)
Venue: Art Gallery of Art & Culture Center , Si Wei Hall, Computer Center Gallery, Main Library, Dah-Hsian Seetoo Library
Program Opening Reception
藝文中心 5F 藝文空間
Art Gallery, 5F of NCCU Art & Culture Center
Opening Talk: Calligraphy and Tea
藝文中心 4F Art Hub
Art Hub, 4F of NCCU Art & Culture Center
主持人 | Host
Director of Nccu Art & Culture Center, HOU Yun-Shu
對談人 | Speakers
Artist-in-residence, Quenten LEE; Principal, LIN Liang-Kan