謝季芸七十書法展 序

國立國父紀念館館長 鄭乃文

　　傳統職業婦女在藝術的創作過程經常是特別艱辛，因為除了必須在職場努力外，還要操持家務；所以，真正能用於創作的時間非常珍貴，做好個人時間管理及分配也變得相當重要。中國書法學會謝理事長季芸女士在書法藝術創作上的成就，正是突破上述限制的最好例證。謝女士出生於台南望族，後因家道中落維持家計，高中畢業後即以優異的成績進入電信局（今中華電信）服務。三十歲那年，其先夫因一場車禍意外致天倫夢碎，陷入困境。謝女士發揮母 光輝，母兼父職，獨立撫育栽培子女，維護一個幸福美滿的家庭。在生活艱困的環境中，仍堅持執著於藝術創作，不間斷地參與各種藝文活 ，充實內涵。今日，謝女士在藝術上能有如此聲望及成就，堅毅卓絕的精神令人十分感佩。

　　一九七九年謝女士正式拜黃金陵先生為師研習書法，深刻的體會書法之堂奧，也「磨」出了定靜、內斂的個性。在「字隨心轉」中，其書法風格也轉趨成熟。就在技法日趨精進後，渴望進一步提昇至心靈層次，她也開始研習古文，品味詩書，相繼師承周植夫、李猷及張壽平等大師學習詩詞。藉由弄墨舞文，開始學畫花鳥，享受與大自然同行的樂趣。有感於終得在藝術領域心無旁騖衝刺，即自號「未遲」以自勉，可見其積極努力的人生態度。

　　綜觀謝女士對藝事追求道途的歷程，可說是一步一腳印，迄今成就斐然，得來絕無半點僥倖，獲頒的獎項及肯定難以勝數。在中國書法學會會員們眾望所歸的推崇下，擔任第十五屆理事長。這是我國書法社團首次由女 擔綱領導，具有歷史 的意義。謝理事長不但一本創會的初衷，戮力以赴的推展藝文活 ，使該會活 異常熱絡，會務昌隆。另謝理事長上任後，意識到書法藝術為中華傳統文化之菁華，除了長期推展書藝活 ，更有必要為書壇之歷史整合盡一份心力，在人力、物力不足的情況下，毅然籌措經費，舉辦了一場「翰墨千秋大展」—一部台灣半世紀的書法史，又於今(2008)年六月帶團遠赴北 京參加「第八屆國際書法交流北京大展」，在書法界引發了極大的迴響，令人刮目相看。

　　本館展覽諮詢委員會肯定謝女士精湛的書法造詣，全數通過支持其個展之申請案，於九十八年元月六日至十五日假「逸仙藝廊」展出精湛作品百餘件。在此，作品集行將付梓之際，特撰文表達個人敬佩之祝賀之意，並推薦於社會大眾，並祈蒞館觀賞，共襄盛舉。

二○○八年十一月

Prologue

　　For traditional working women, the path of artistic creations is particularly arduous, because they not only have to excel in their workplace, they must also take care of the home. Therefore the time they have to devote to their creative work is very limited, and sound management and allocation of their time becomes extremely important. The artistic accomplishment of chairwoman Hsieh of the Taiwan Chinese Calligraphy Society is the best example of overcoming the above mentioned barriers. Ms. Hsieh was born in Tainan to a prominent family. Subsequently, due to the need to support her family, she began working right after high school and was able to find work in the department of telecommunications of the Ministry of Transportation and Communications (or Chung Hwa Telecom of today) with her high marks. At age 30, her husband passed away after an auto accident, leaving her to look after the family on her own. Hsieh shouldered the responsibilities of both parent to her children and provided them a healthy family environment. Amidst her setbacks, Hsieh still persevered with her artistic pursuit, as she continued to participate actively in all sorts of artistic and cultural activities. Today, Ms. Hsieh is accomplished and well known in the artistic world, and her determination for the extraordinary is an inspiration to all.

　　In 1979, Ms. Hsieh officially apprenticed under the guidance of master calligrapher Mr. Huang Jin-ling, where she was able to gain a profound appreciation for the depth of Chinese calligraphy, and the experience also helped to cultivate her character of equanimity and humility. This was reflected in her belief that “calligraphy is a mirror of the heart and mind”, which is evidenced by the increasing maturity exhibited by her calligraphic style.As her technique and mastery of the art progressed steadily, she yearned to further ascend it to a spiritual dimension, thus she began training with ancient literature and partook in books of poems, plus she further apprenticed with calligraphy masters Zou Zhi-fu, Lee You and Zhang Shouping to learn poetry. In the process, she also began her training in the genre of painting flowers and birds, and relished in the appreciation of nature. Inspired by her swift ascendance in the arts, she assumed the nom de plume “Wei Chi (nowise potter)”as a self encouragement, which testifies to her attitude in life of ever forging ahead. Reflecting on her artistic pursuit indicates it was an extraordinary accomplishment that was hard earned, winning her numerous accolades. Under the anticipation of fellow calligraphy society members, she was named to serve as the Society’s 15th president, with a historic significance in that she is the first woman to assume that position. President Hsieh served dutifully and diligently promoted the Society’s activities. After assuming the post, she recognized that calligraphy as the pith of Chinese cultural heritage deserves not only frequent holdings of exhibits in its promotion, but also necessitates more efforts to rectify its role in literary history. Although restrained by limited manpower and resources, she still managed to raise the needed funding to organize the “Exhibition of Contemporary Calligraphy”, an in-depth and comprehensive exhibit, examination and retrospect of works by contemporary Taiwan calligraphy artists of the last half a century. In June of this year (2008), she also led a delegation to Beijing China to take part in “The 8th Annual International Chinese Calligraphy Exchange Expo”, where her efforts drew much acclaim within the calligraphic circles and made quite an impression.

　　The advising commission of this exhibit hall affirms the distinguished achievements of Ms. Hsieh, and unanimously approve and support her application for the exhibit on her personal works, which is scheduled for January 6th through 15th of 2009 in the Yat-sen Gallery with over a hundred pieces of works. As this distinguished collection of work will soon grace the halls, I hereby take the privilege of composing a note of my personal admiration and congratulation, and offer my recommendation of this rare event to the public, which I anticipate to attend in person to enjoy and support the exhibit.

　 Sincerely,

Cheng Nai-wen November, 2008

謝季芸七十書法展 序

中國書法藝術基金會董事長 連勝彥

　　中國書法學會謝理事長季芸女士，與余相識緣來自一燈硯兄，謝書學於小山樓，是一燈硯兄培植書林奇葩，抑亦海東書壇之奇女子，若以現代新名辭言，即今台灣書藝界之「女強人」。中國書法學會，於民國五十一年成立，係集當時大江南北書林之精英，共推時之藝文祭酒，馬壽華先生首任會長（理事長），至歷任理事長全部是男 領導，蓋因女士們參加亦是少數，回溯曩昔會員，望當理 事尚且困難，況乎理事長。近歲因政策開放，人民社團組織不受限制，雖然書會紛紛成立，但是至今中國書法學會，還是台灣書壇共認龍頭，今各書會之領導人，大都還是中國書法學會會員、顧問、或亦是當年老會所栽培書林樑棟。

　　謝女士巾幗不讓鬚眉，脫穎而出，接篆膺任之餘，內則籌策經費，禮延書藝碩學熱心人士相助分理其務，各司要綱；外則連繫愛好中華優良文化、長期推展書法國家，互相交流展覽，誠為國家締結藝術交流，又常聯絡全省各書會，切磋書藝共同宏揚書教，且時時邀集書林宿老，參加國際書法展覽。其最可貴是二００七年，籌備「翰墨千秋大展」及精印巨冊，該書是台灣書法光輝璀璨史，集中國書法學會成立之發起人、台灣區歷屆全國各項書法比賽之首獎者、書會之顧問、今書林時彥傑出者、理 事之參加，尚且是邀請書林宿老徵選通過，為維護水準，做到公平公正，式書壇之雅範，留宏作而光翰墨。謝女士接任至今僕僕風塵，大陸各地、亞洲諸鄰，時而來往，笑長作空中飛人，其精神為宏揚書藝，受國內外欽舉。

　　一燈硯兄受業於澹廬曹夫子，深得家師之規範，實學造詣冠蓋群倫，是吾儕最具實力之翹楚。謝女士學承小山樓拔萃之傳統，書精各體，綜扼家，風追周秦，法衍 唐，鎖鑰金石之古茂；襟綰碑板之精微，蘊古融新，自顯風貌。民國七十一年與其同門書友共同成立「一德書會」，大家定期雅集，促膝論學，又時邀藝文宿老臨席講解，塑進修之新風，謙受益而日深，勤補拙而增進，共同奮勉定二年舉行一次聯展，或單獨舉行個展，人人各具實力，而奮新文采，個個認真而好學，炳煥詞章，此誠其合力向前之成果也。謝女士不僅是書藝超群，桃李滿門，公暇課餘又勤於進修，詩學騷壇宿老周植夫、張壽平二位先生，時而受教於李猷先生指導，長期坐浴沐風，落落詩句清雅，琅琅詞韻華妍。今年六月於福州，七月於北 兩岸交流書展時，出句驚風雨，文華壯詩林，咏罷即當場揮毫，嘉譽滿堂，於國內亦常以詩聯唱酬，又兼繪理，彩筆傳神，蓋得名畫師徐谷庵、戴武光二位老師之誨化，花鳥雅緻，卉木清標，淋漓絹素，光彩丹青。

　　謝氏出身清寒之門，少賴賢母辛苦，勉強供其完成北二女初中部學業，畢業後考入中華電信局，半工半讀，誠「三更燈火五更雞聲」，四十年寒暑，風雨不阻，學勤長樂不疲，由最基層接線生，升至人事主任、管理師，民國七十六年，規劃全國電信人事資訊系統，獲全國績優人事人員獎。其不幸是早年喪偶，母兼父職獨力撫養兒女長大及婚嫁，今三代同堂，本應享天倫含飴之樂，但松柏清貞、崑玉天 ，毅然犧牲悠游歲月，奉獻書藝於全國。夫古今多少奇女子，閫範揚芬，懿德垂世，蓋其有 折不撓，堅毅始終一致之精神，西諺云，成功者的背後必定有位了不起女強人幫助，知其生平者誠敬了不起。昔日辛勤奠立良基，今見能光輝藝苑，余欽贊謝女士，突破坎坷環境，比之古賢淑之女子亳不遜色。頃得國立國父紀念館全部評審委員全部票數通過，自九十八年一月六日至一月十五日，假國父紀念館逸仙藝廊，展出近作書法精品 件，國畫三十餘件。恭候同道前輩雅正，並編印書畫專集以娛同好，余得先拜讀，仰其造詣之精妙，聊述數言，誠不及謝女士德藝之萬分之一也。並祈指正云。　

中華民國九十七年十月作於茂齋

Ms. Hsieh Ji-Yun’s Calligraphy and Painting Exhibition at Age of 70

　　Chinese calligraphy, the pith of the national heritage and embodiment of Chinese people’s millenniums of wisdom and sophistication, is now an art form nonpareil in the world’s artistic legacy. It is encompassing of various disciplines, including etymology, literature, philosophy and archeology. The ancients use the studying and training of calligraphy to achieve personal cultivation and refinement, and ultimately culminating in a complete and holistic education of a person. Calligraphy is also a means for understanding Confucianism and the essence of its teachings, which has all but vanished in contemporary life, and is worthy of a revisited emphasis.

　　The Chinese characters not only convey a profound ethos and dynamic emotions, they also produce highly aesthetic and well ordered literary forms, such as the Shi Jing (Book of Odes), the Chu Ci (Poetry of the South), the Han Fu (Han Dynasty Odes), the Couplets, the Lushi (regulated verse) and the Pian Wen (parallel prose) that are so pertinent to everyday living. The Chinese written word also played the important role of recording and preserving some five thousand years of Chinese history and cultural heritage, which instilled in its etymology the traditional Chinese psyche, formality, customs and conventions that have come to be the traits of the Chinese clan. For this reason, it is only natural that Confucian thoughts inevitably became the essence and foundation for the art form of Chinese calligraphy.

　　While the exploration and advancement of the art of Chinese calligraphy is vastly attributed to its exceptional tradition, the process of learning artistic creativity and the pursuit of self perfection, on the other hand, requires one’s unceasing experimentation, reflection, contemplation and refinement. At the same time, Chinese calligraphy is also a profoundly humanistic endeavor that is like a living thing, whose technique and sensibility in manifestation and creative aspiration will enhance with one’s growth in character and maturity of thought, and eventually rising to a state of heightened personal wisdom and harmony.

　　To date, with the technological and materialistic advancements brought by the change of time, the human race enjoys an unprecedented level of prosperity and living comforts, yet our spiritual life grows ever more vacuous. Ironically, the estimable Chinese traditions are misconstrued and mocked, and bereft of ethics and moral, utilitarian hedonism prevails, compromising social civility and the general public’s judgment of right and wrong as well as the human pursuit of a higher aspiration of life. Amidst the prevalent bankruptcy of self identity, the disciplinary training of Chinese calligraphy is an ideal means for a renaissance of self cultivation.

　　At this moment in history, there is a consensus among all countries across the world that humanitarian ideals is the mainstream value for the 21st century, and the concepts and philosophies represented by Confucian thoughts and educational goals is core to this pursuit of a global culture. If people can value Chinese calligraphy and make it a habit, which would invigorate the Confucian ideals and its humanistic values, the human spirit would inevitably be broadened and elevated, and enabling the sustained development of humanity to greater heights. Ms. Ji-yun Shieh is a rare example of a modern day promoter of this art form.

　　Ms. Ji-yun Shieh, formerly named Shu-zhen, also known as Zi-zhen and Yue-lo, is a second generation disciple in the Chinese Dan-Lu calligraphy socirty. In her early professional life, she worked for department of telecommunications of the Ministry of Transportation and Communications. In her spare time, she trained in Chinese calligraphy under the teachings of renowned master calligraphers Jin-ling Huang and Zhi-fu Zou, where after decades of diligent learning and honing of her skills, her technique has excelled to uncommon levels, winning raving reviews far and wide. After retirement, she further devoted herself to the art and related activities, and also served as President of the Yi-de Calligraphy Society, Secretary General of the Taiwan Chinese Calligraphy Society, and Executive Director of Chinese Dan Lu Calligraphy Society etc., as well as participates in many major exhibits in the country and abroad.

　　Since assuming the chairwoman of the Taiwan Chinese Calligraphy Society in 2006, Ms. Shieh actively promoted the organization, and on several occasions led delegations to China for cultural exchanges. To celebrate the organization’s 45th anniversary, she also planned and organized the “Exhibition of Contemporary Calligraphy” at the National Taiwan Democracy Memorial Hall in Taipei, which was an in-depth and comprehensive exhibit, examination and retrospect of works by contemporary Taiwan calligraphy artists of the last half a century. To accomplish this feat, she brought together over 200 works by top calligraphy artists, including from local and overseas private collections, and by artists young and old as well as across various periods and styles, culmination in a truly priceless presentation. She humbly attributed the success of the exhibit to the experienced guidance of the organization’s Executive Director, which won raving reviews from all circles.

　　By special invitation from the National Sun Yat-sen Memorial Hall, “An Exhibit of Chinese Calligraphy by Shieh Ji-yun” is scheduled to be held at the hall’s Yat-sen Gallery on January 6th through 15th of 2009, where Ms. Shieh will share the results of her decades of learning and perfecting the art, and will also grace the exhibit with her personal attendance. For fans of Ms. Shieh’s works, printed copies of her work have also been made available and will be on hand at the exhibit for purchase.

Preface by Lian Sheng-Yen Oct. 6th, 2008

謝季芸七十書法展 序

粲若

　　中國書法學會謝理事長季芸女士，與余相識緣來自一燈硯兄，謝書學於小山樓，是一燈硯兄培植書林奇葩，抑亦海東書壇之奇女子，若以現代新名辭言，即今台灣書藝界之「女強人」。中國書法學會，於民國五十一年成立，係集當時大江南北書林之精英，共推時之藝文祭酒，馬壽華先生首任會長（理事長），至歷任理事長全部是男 領導，蓋因女士們參加亦是少數，回溯曩昔會員，望當理 事尚且困難，況乎理事長。近歲因政策開放，人民社團組織不受限制，雖然書會紛紛成立，但是至今中國書法學會，還是台灣書壇共認龍頭，今各書會之領導人，大都還是中國書法學會會員、顧問、或亦是當年老會所栽培書林樑棟。

　　謝女士巾幗不讓鬚眉，脫穎而出，接篆膺任之餘，內則籌策經費，禮延書藝碩學熱心人士相助分理其務，各司要綱；外則連繫愛好中華優良文化、長期推展書法國家，互相交流展覽，誠為國家締結藝術交流，又常聯絡全省各書會，切磋書藝共同宏揚書教，且時時邀集書林宿老，參加國際書法展覽。其最可貴是二００七年，籌備「翰墨千秋大展」及精印巨冊，該書是台灣書法光輝璀璨史，集中國書法學會成立之發起人、台灣區歷屆全國各項書法比賽之首獎者、書會之顧問、今書林時彥傑出者、理 事之參加，尚且是邀請書林宿老徵選通過，為維護水準，做到公平公正，式書壇之雅範，留宏作而光翰墨。謝女士接任至今僕僕風塵，大陸各地、亞洲諸鄰，時而來往，笑長作空中飛人，其精神為宏揚書藝，受國內外欽舉。

　　一燈硯兄受業於澹廬曹夫子，深得家師之規範，實學造詣冠蓋群倫，是吾儕最具實力之翹楚。謝女士學承小山樓拔萃之傳統，書精各體，綜扼家，風追周秦，法衍 唐，鎖鑰金石之古茂；襟綰碑板之精微，蘊古融新，自顯風貌。民國七十一年與其同門書友共同成立「一德書會」，大家定期雅集，促膝論學，又時邀藝文宿老臨席講解，塑進修之新風，謙受益而日深，勤補拙而增進，共同奮勉定二年舉行一次聯展，或單獨舉行個展，人人各具實力，而奮新文采，個個認真而好學，炳煥詞章，此誠其合力向前之成果也。謝女士不僅是書藝超群，桃李滿門，公暇課餘又勤於進修，詩學騷壇宿老周植夫、張壽平二位先生，時而受教於李猷先生指導，長期坐浴沐風，落落詩句清雅，琅琅詞韻華妍。今年六月於福州，七月於北 兩岸交流書展時，出句驚風雨，文華壯詩林，咏罷即當場揮毫，嘉譽滿堂，於國內亦常以詩聯唱酬，又兼繪理，彩筆傳神，蓋得名畫師徐谷庵、戴武光二位老師之誨化，花鳥雅緻，卉木清標，淋漓絹素，光彩丹青。

　　謝氏出身清寒之門，少賴賢母辛苦，勉強供其完成北二女初中部學業，畢業後考入中華電信局，半工半讀，誠「三更燈火五更雞聲」，四十年寒暑，風雨不阻，學勤長樂不疲，由最基層接線生，升至人事主任、管理師，民國七十六年，規劃全國電信人事資訊系統，獲全國績優人事人員獎。其不幸是早年喪偶，母兼父職獨力撫養兒女長大及婚嫁，今三代同堂，本應享天倫含飴之樂，但松柏清貞、崑玉天 ，毅然犧牲悠游歲月，奉獻書藝於全國。夫古今多少奇女子，閫範揚芬，懿德垂世，蓋其有 折不撓，堅毅始終一致之精神，西諺云，成功者的背後必定有位了不起女強人幫助，知其生平者誠敬了不起。昔日辛勤奠立良基，今見能光輝藝苑，余欽贊謝女士，突破坎坷環境，比之古賢淑之女子亳不遜色。頃得國立國父紀念館全部評審委員全部票數通過，自九十八年一月六日至一月十五日，假國父紀念館逸仙藝廊，展出近作書法精品 件，國畫三十餘件。恭候同道前輩雅正，並編印書畫專集以娛同好，余得先拜讀，仰其造詣之精妙，聊述數言，誠不及謝女士德藝之萬分之一也。並祈指正云。　

中華民國九十七年十月作於茂齋

Ms. Xie Ji-Yun’s Calligraphy and Painting Exhibition at Age of 70

　　Ms. Xie Ji-yun, who is the chairwoman of Taiwan Chinese Calligraphy Society, and I have been acquainted with her through introduction of my fellowman Mr. Huang Jin-ling. Ms. Xie started her calligraphy journey from Xiao-Shan House, and is one of the best apprentices that Mr. Huang has ever taught, and she is also the “legendary woman” of calligraphy society in Taiwan. In modern term, Ms. Xie is a “tough woman” in the Chinese calligraphy and painting society of Taiwan. Taiwan Chinese Calligraphy Society (TCCS) was established in 1962 by all the elites of Chinese calligraphy society of that time, and the chairman of TCCS has been recognized as the leader of Chinese Arts. Mr. Ma Shou-Hua was the first chairman, and all position holders were male until Ms. Xie, which is because that involvement of female was very limited back then. Even for male members, to become director is hard and chairman is even harder. Though the policy was changed in recent years, various calligraphy organizations were established. However, TCCS is still being respected as leader of the kind. Leaders of most newly-formed calligraphy societies were either former members, or advisors of TCCS, even once the apprentice of TCCS members.

　　Ms. Xie outperformed all of her fellowmen to become the first chairwoman of TCCS. She not only got funding for the organization and invited many talents to work with her together internally, but connected with countries promoting Chinese calligraphy in a long term and participate many international exhibitions externally. More frequently, she coordinated calligraphy societies all over Taiwan, to let everyone can learn from each other. Most importantly, in 2007, she was the chief curator of “Exhibition of Chinese Calligraphy of All Times”, and made the publication of the collection possible. That album described the glorious history of development of Chinese calligraphy in Taiwan. All the participants were selected by calligraphy seniors and all were the elites of that time. Such stringent but fair selection process set a new standard for any similar events in the future. Ms. Xie has been traveling a lot across Asia, ever since in the chairwoman tenure. All the efforts made were to promote Chinese calligraphy culture and got well respected in domestic and abroad.

　　Mr. Huang was apprenticed by Master Cao at Dan-Lu, and became extraordinary among peers. Ms. Xie extended such exceptional tradition of Xiao-Shan House, was familiar with all different forms in Chinese calligraphy. Moreover, Ms. Xie was proficient in various forms of Chinese literature, from Era of Zhou and Qin to Dynasty of Jin and Tang. She was not just learning from the ancient masters but digesting into her own style. In 1982 she founded I-Der Calligraphy Association with fellowmen. Sometimes they got together to learn from each other; and sometimes invited different seniors in art society to share their thoughts and viewpoints. Everyone’s was sharpened in such way, and a co-exhibition will be held every two years. Ms. Xie was not only very good at Chinese calligraphy, she also taught lots of apprentices and learned poetry from master Zhou Zhi-Fu（周植夫）and Zhang Shou-Ping（張壽平）, sometimes from Mr. Li You（李猷）, which exposed her to such elegant art atmosphere for quite a long time. Ms. Xie astonished everyone with great works of calligraphy as well as couplets in June in Fu-Zhou and July in Beijing. Ms. Xie learned her painting skill from Mr. Xu Gu-An（徐谷庵）and Mr. Dai Wu-Guang（戴武光）. Her paintings of birds, flowers are full of elegance and colors, which gives people bright and glorious feeling.

　　Ms. Xie was born in a family of poverty, completed junior high school through the support of her mother. She got into Chunghwa Telecom after graduation. She finally became as a manager from the very bottom operator in 40 years. In 1987, Ms. Xie was honored as National Human Resource Award for planning national telecom human resource information system. Unfortunately Ms. Xie lost her husband early, but she raised her children to get married on her own. Though it should be time for her to enjoy time with grandchildren, she still devoted most of her free time for promoting Chinese calligraphy across the country. For women can mark their names in the history, all had a determined mind, and were welldisciplined and could pass the goods to others. As an old western saying “Behind a great man, there must be a greater woman”, I admired that Ms. Xie could fight her own way, which is as great as those virtuous women in the history. All members of review board of National Dr. Sun Yet-Sen Memorial Hall were unanimous in agreement for her holding exhibition at the Yat-sen Gallery, from Jan. 6 through Jan. 15, 2009. There are hundred works of Chinese calligraphy, and more than 30 works of Chinese paintings in the exhibition. All the aficionados are more than welcome to visit the exhibition. In addition, a special album will be published for the aficionados to enjoy. I went though the draft before it officially in press, and was amazed by the beauty of her works. It is my honor to prepare this preface for Ms. Xie, and all of this was much less than what I could describe about her true artistry. I would sincerely like to learn any of your comments.

Preface by Can-rou October, 2008 at Mao Shack

黃金陵老師賀詞

一笑峰迴 1998『墨海印象』作者自序

　　我為什麼要學書法？為什麼要學畫？為什麼要出書？世界上恐怕沒有一套百科全書能夠給人生中所有的「為什麼？」解惑。然而，人生一旦跨過了事事矛盾的瓶頸歲月，就會豁然開朗，酣暢無礙。

　　今年，我六十歲，走過大半個人生，幸運地得到不少貴人的知遇，提攜，影響了我做人處事的態度，也因此多了一點寬和，一點通達，更多了一點勇往直前的傻勁。

　　我出身於台南大家族，學齡前家境富裕，可惜好景不常，小學時，父親經商失利，中風臥病，全家一貧如洗，母親日夜為人幫傭，洗衣，食指浩繁，九個兄弟姐妹似乎沒有一天真正吃飽過初中考上北二女 （現在中山女高），當老師告訴我全校只有五人考上時，我興奮得又蹦又跳地跑了五公里去看榜單，半途把木屐帶繃斷了，赤著腳丫回到家挨了母親責罵。刻苦的三年初中生涯，一襲薄衣裙，過四季，無錢買書本，全向同學抄課本內容，畢業後被迫放棄繼續升學的夢理，失學的痛苦伴隨了我好幾十年，無論後來如何努力上進，迂迴讀到專科畢業，總有生不逢時之歎。十八歲時，以第一名成績進入台灣電信管理局(中華電信前身)當話務人員，開啟了我長達四十年的公務員的生涯。上天在一處關閉門戶，必然也在另一處開啟了全新的窗扉，十八歲這一役，改變了一生，奠定了未來波折生活中，無後顧之憂的穩定的經濟基石。

　　廿六歲到三十一歲的五年間，連續遽失了三位人倫至親，在錯愕下領受惡耗，年幼子女的撫育重擔賴我挑起，加上求知的慾望促使我半工半讀的日子以及服務單位的升等考試壓力，全都待我戳力以赴，沒有思考空間讓我問老天 「為什麼？」的命運之譜，而堅強度過那段痛苦的歲月，往前衝的傻勁是我的福氣，我全力扮演女兒、母親、部屬、主管的角色，與孩子一起成長的歡愉，生活間無處不在的樂趣，人際間溫暖善意的互動與回應，像山間小溪般流向我周遭的世界。

　　隨著兒女漸長，我開始參加各種社團，老實說，我沒對任何才藝的學習「擇善固執」，直到遇見了善於堅持的書法老師-黃金陵先生。我率直的野性難馴是黃老師教導的難題，黃老師懂得因材施教，常示以書道禪心，用激將法不斷挑起我的好勝心，學習中曾幾度中輟，歷經的煎熬及痛苦，常使我深夜跌坐，無計應對，幾經受到鼓勵，書法的學習成了不歸路，廿年來，沒有再回頭。

　　由於書寫題材的需要，我親近古文，品味詩書，相繼師周植夫，李猷及張壽平老師學詩，由弄墨而舞文，漸而發酵不同興味，四年前開始學畫花鳥，享受與大自然同行的樂趣，二年前退休，全心過山居自由人的生活，有感於終得在藝術領域心無旁騖地衝刺，即自號「未遲」以自勉。

　　出版這本作品集，一方面鼓舞自己六十再出發，也感於奇緣此生，有數不盡的人、事、物，值得感激與謝恩，我的心靈裡滿懷著富足，人生何時百年，誰都無法預料，只要存在一天，我必努力一日，直到闔眼剎那，回顧這輩子，無論多少峰起峰迴，都可以微笑的告訴自己～此生無憾！