出版品
連勝彥序
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