Page 67 - 第20屆大墩美展專輯電子書

Juror’s Statement, Calligraphy Category HSIAO Shih-Chiung

Having served as a juror in the Calligraphy Category at a number of art events this year—National Art Exhibition of the Republic of China, Nan Yin Art Biennale
Exhibition, and Da Dun Fine Arts Exhibition of Taichung City, I've been left with immense admiration for the artists who participated in all these competitions within
a short timeframe. It's especially a great challenge to present artworks in one's own individual and original style. Some artists were not favored at the National Art
Exhibition of R.O.C but received recognition with grand awards at the Da Dun Fine Arts Exhibition of Taichung City, or vice versa. Many factors are involved but
the key lies in the jurors' varying aesthetic preferences. Different combinations of jurors naturally lead to different outcomes. Each vote by every juror counts and the
winners represent the greatest common agreement, which is a normal practice around the world. In fact, the ability levels of the participating artists are quite even,
which is worth calling to everyone's attention. Thus, participants shouldn't take the results too seriously, as the odds of winning or losing are quite even. Therefore, I'd
like to take this opportunity to remind the award-winning artists to be humble and to encourage their less-fortunate counterparts to stop the blame game and continue
creating. Together, let's contribute to the blossoming of calligraphy.
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A total of a 132 artworks were submitted in the Calligraphy Category at the 21 Da Dun Fine Arts of Taichung City, including fi ve submissions from abroad (three
from mainland China and Hong Kong, one from Canada and one from Iran). To encourage more international participants, greater efforts should be made to publicize
this event. During the preliminary selection stage, each submitted piece had to win three votes from the five-juror committee to enter the final selection. Twenty

submitted pieces were chosen, and all later entered the final selection. Among those, winners of the First Prize, Second Prize and Third Prize and three Awards of Merit,
plus 14 short-listed works, were selected.
First Prize was granted to LIU Yan-Chan, who just graduated from the National Taiwan University Graduate Institute of Electronics Engineering. It is indeed
quite amazing that he is able to squeeze time from his busy heavy research work for artistic creation. Although the artist adopted the style of prominent Qing dynasty
calligrapher WU Chang-Shuo, he wasn't confined to established patterns but showed confidence in integrating his own style. His strokes are free, yet controlled, and

wild, yet sophisticated with elegant force. The artwork exudes a profound romantic atmosphere. Luck absolutely has nothing to do with this success. Mr. Liu also
submitted an additional three pieces to compete for the Da Dun Prize and a sense of powerful exuberance prevails in those works. I'd like to take this opportunity to
wish him all the best to claim the Da Dun Prize.
Second Prize went to CHENG Li-Hsun, current director of Changhua County Calligraphy Association. Mr. Cheng holds a doctorate degree and is a gentleman
of both academic and artistic skills training. He swiftly integrates the clerical scripts practiced in different eras and uniquely combines them in his work by alternating
light and heavy strokes, wet and dry brushes, as well as fast and slow movements to deliver a graceful impression.
The youngest participant in this category, LIU Kuang-Yi, won Third Prize. Having just turned 25, Mr. Liu is a graduate of the National Taiwan University
of Arts Institute of Painting and Calligraphy Arts and has triumphed in the Seal-Carving category at the National Art Exhibition of R.O.C. many times. His award-
winning work is a fi ve-word poem couplet in seal script, which was deeply infl uenced by renowned Japanese calligrapher Imai Ryosetsu. However, he has successfully
manipulated the brushes to demonstrate the force and elegance of each stroke. The ingenious arrangement of the strokes—slanted, vertical or horizontal—creates an
impressive atmosphere of vigor.
Three participants were chosen for an Award of Merit and all showcase their own distinctive interpretations of their works. LU Cai-Xia's bronze inscription work

delivers a sense of calm, classicism with a strict, yet lively, sensation. HSU Chih-Fang's running and cursive script work with great openings and finishes to emanate an

air of invincibility. JANG Bey-Yuan's four-word couplet in seal script conveys a great harmony of ink, strokes and movement, and flows with an air of pride. There are
other nice works from the short-listed artists but, due to the space constraints of this article, I won't elaborate further.

The judging committee this year consisted of five jurors with three selected from northern Taiwan and two from central Taiwan. From a regional perspective, the
formation of this committee seems to be imbalanced. Yet, from a creative perspective, the jurors possess both traditional and contemporary concepts of artistic creation.
Thus, the outcome represents a fair distribution of styles and scripts. While the majority of the submitted pieces were in running and cursive script, the jurors all agreed
that most of the artists still needed to improve their structural skills to ensure solid foundations and avoid pretentious impressions. The committee would like to suggest
that the artists invest more time and effort in imitating and studying masterpieces to accumulate creative energy and eventually come up with works that move people.
It's rare to hear honest statements from a juror. Most of the time, it is recommended that one not offend others by using courteous, but unconstructive, words.
Knowing all this, I hope I have still managed to share some of my truthful thoughts for all to consider.

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