Master Zhan Xiurong Chinese Arts & China International Tourism Association held an International forum on March 18, 2021 at the International Hall of Tiancheng Hotel premises in Taipei City. Master Zhan Xiurong, who is currently the chairman of [#詹秀蓉基金] Preparatory Office and the person in charge of [#慈航艺术中心], was a professor of calligraphy of the Chinese Calligraphy Research Association and the first president of the Taiwan branch of the World Calligraphy and Painting Association. Standing Director of the Chinese Calligraphy Association, Standing Director of the Chinese Calligraphy Society of Taiwan, Standing Director of the Chinese Tanning Calligraphy Society, Member of the Art and Literature Exchange of the China Four Seas Association, Convener of the Event Planning Committee of the Chinese Calligraphy Society, Member of the Exhibition Committee of the Chinese Calligraphy Society, Taipei Deputy Secretary-General of the County Hakka Association and Consultant of the Taipei County Shulin Hakka Association. Currently serving as the chairman of #China International Tourism Association, consultant of Taipei Caifeng Cultural Association, director of World Hakka Federation and director of China Taiwan Anti-hypertension Association.
社團法人中華國際觀光協會第八屆第三次會員大會 – 社團法人中華國際觀光協會，110年3月18日星期四下午5點整 ，假台北市忠孝西路一段43號天成飯店二樓國際廳舉行第八屆第三次會員大會，你會紅影視傳播公司,受聘現場雙機同步拍錄並多媒體製作播出. 會議開始前理事長安排協會所有参與者與貴賓人員先取景合照，各自相互交流，互遞名片，非常熱絡， 活動在林振量秘書長宣布會議正式開始後，報告出席人數，理監事出席人數35名，各界長官會員共約120名，達法定人數，大會於5:30正式開始，首先由司儀恭請理事長詹秀蓉上台致詞後，接下來介紹今天的重量級貴賓榮譽理事長吳伯雄向大家致意，接著特別邀請威剛集團董事長陳立白上台致詞，現場捐贈30萬元給觀光協會，接下來邀請霹靂布袋戲集團代表致詞，社團法人中華民國詹姓宗親總會詹慶彬總會長也以貴賓身份列席指導，新竹縣前縣長邱境淳、吳志剛議員也特別上台致詞表示祝賀大會成功，除了逐一介紹所有與會人員、貴賓後，吳伯雄、吳志剛市議員，在上台簡短致詞後，因趕行程先行離開，繼續由主席依序介紹貴賓，並邀請上台致詞。(以上致詞內容將由你會紅影視傳播公司製作HD高畫數多媒體全球放播出)。
社團法人新北市詹姓宗親會重要幹部成員特別組成祝賀團蒞臨現場，為大會爭取亮點，3/20即將舉辦年度宗親會會員大會，詹文義特別邀請在座人員，能夠撥冗蒞臨指導。接下來報告事項::祕書處報告109年度1~12月工作計畫執行成果。請参考大會手冊第6~7頁資料所述。監事會報告，由黃永基監事長報告，請参考會員手冊第14頁，大會在現場同時舉辦了詹秀蓉理事長「感恩慶生書法精品展」，展出其歷年嘔心瀝血，享譽國際的經典之作，包括貝殼、書法扇、掛軸、鑲金小品等，其”書法藝術傑作”令人嘆為觀止。詹秀蓉理事長表示，「中華國際觀光協會，未來將整合台灣的觀光景點，舉辦觀光旅遊專業人員研習營，將結合時下最夯的網路科技，讓全球的觀光旅客們能輕鬆地享受到更親民便捷的資訊服務。」詹秀蓉理事長又說，「協會也將秉著活絡經濟、行銷台灣的特色精神與初衷，勢必為台灣的觀光及經濟再創新機。」我們也將以創新的意志，共同努力，拭目以待，一起為中華國際觀光協會做出實際的貢獻。討論事項 : 案由一:通過109年度財務收支案， 經理事長徵詢大家意見，請参考手冊第8頁。議決:經理事長徵詢在場所有會員有無異議，全體鼓掌表示通過。案由二:審查110年度工作計劃案。提案人:秘書長林振量 說明:本會110年度工作計劃表·詳如(参考手冊P.15~16)、110年度工作計劃表,提请大會審查通遇,並報请主管機關核備。
MASTER ZHAN XIURONG LEGENDARY LIFE
Master Zhan Xiurong was born in Guanxi Town, Hsinchu County, a traditional Hakka village in Taiwan in 1956. Although his family is cold, he likes to write calligraphy since he was a child. He insists on practicing calligraphy every day but enjoys it. He devotes himself to the Buddha, recites scriptures day and night, writes Buddhist scriptures, and writes for ten hours a day, sometimes writing each word. Dozens of times, until satisfied. With superhuman perseverance, she broke through the three unique calligraphy skills: one is the use of diversified materials such as eggs, shells, ceramics, bamboo, toothpicks, rice and pure gold. The second is the art of calligraphy such as actuarial hollow writing of various works and fine writing of Buddha statues. Sanjue uses a brush to write more than 20 characters of ultra-fine calligraphy on a grain of rice, which is even more admired.
Master Zhan Xiurong’s mental journey of accomplishing calligraphy is that her beloved husband unfortunately suffered from cancer. In order to alleviate her husband’s illness, he hoped that his life would be prolonged after only six months, so he listened to the condolences of relatives and friends and carefully copied Buddhist scriptures. From the copying of Buddhist scriptures and calligraphy, I understand the noble truths of the Buddha: “The essence of suffering, the origin of suffering, the end of suffering, and the eight ways of eliminating suffering.” Through the wisdom of Prajna, we reach the other side of Paramita. It really extended his life for six years. Although his beloved husband passed away, he found the meaning of life in Buddhist scriptures. In order to break through the limits of traditional calligraphy materials, the characters were further written on egg shells, shells, toothpicks, ceramics, and bamboo, and the Guanyin image was written in fine characters. After many years of copying Buddhist scriptures, for example, using blue and white or glaze ink to write the Diamond Sutra, Tao Te Ching, Maha Prajna Paramita Sutra and other scriptures on porcelain; most official script works are based on Buddhist classics, and their representative works include about forty meters in length. It is a masterpiece of the Lianhua experience book with a width of about one meter and more than 70,000 words, and a thousand-character text written on 63 toothpicks, complete with pure metal writing of the Diamond Sutra. In 2000, another hollowed out Mahayana Lotus Sutra of 70,000 characters was designed and written, and a total of nine screens were written with the Lotus Guanyin statue and the carp Guanyin statue. Created a world record for the art of calligraphy of Buddhist scriptures .
Director Zhan Xiurong’s works have won awards including: World Art Master Achievement Award, Japan International Art Associate Awards, Cross-Strait Painting and Calligraphy Competition Gold Award, Japan Zengdong Calligraphy Association Governor Award, Japan’s 7th National Painting and Calligraphy Associate Award, Golden Goose Award Painting and Calligraphy Competition Honorary Gold Award , 1996 World Chinese Painting and Calligraphy International Competition, Gold Cup Award, 1998 World Hakka Family Relations Conference, Awarded Outstanding Talent Award, 2002 World Outstanding Figure Award, 2003 Four-dimensional Bade Emperor Shun Award, etc. Xiang’s work shocked people from all walks of life at home and abroad, and his works have been collected by all walks of life. In the past ten years, her works have often held calligraphy exhibitions in Taiwan and the mainland, and have been exhibited more than a hundred times abroad: her works have won numerous awards in Japan, South Korea, the Philippines, Hong Kong, Canada, the United States and other countries. Home, I feel extremely honored.
On Master Zhan Xiurong ‘s Art of Buddhist Calligraphy – Today, people are thinking: why does life come from? What is the value of life? Where is the purpose of life? People are even more worried about the paralysis of social order, the depravity of morality, and the degeneration of human nature. The whole world is full of “killing, stealing, licentious, and delusional”. If human beings cannot find a way to save themselves, there is only one way to destroy. And the legacy of Sakyamuni more than 3,000 years ago has the effect of remedying the disadvantages of today’s world and the people. In October 2001, I met with Master Xingyun in New York and asked him how Buddhism can play a greater role in today’s society and play a universal role in saving the world. Master Xingyun believes that Buddhism, like all other religions, can purify people’s body and mind and save modern civilization. He advocates that Buddhism should be transformed into life and integrated into the times. This is also the true meaning of “Human Buddhism” he advocates. In 1987, Master Xingyun established the Fo Guang Shan Fanbai Praise Group with the mission of promoting Dharma through music, which is to use the power of music and art to promote Dharma. Hsinchu Guanxi Mogu is well-known far and wide, but now there is Zhan Xiurong, a brilliant female calligrapher. Zhan Xiurong has been studying Buddhism devoutly for decades. In order to go deep into the meaning of Buddhism, she chants the sutras every day without embellishment, and copying the sutras is an indispensable practice task. He has cultivated strong concentration, Wisdom and calligraphy skills. Originally because her husband and son had cancer, she listened to the advice of her relatives and friends to copy the scriptures to alleviate the sickness of the relatives, and unknowingly embarked on the road of Buddhist scriptures and calligraphy. She once wrote five Buddhist scriptures “Heart Sutra”, “Great Compassion Mantra” and ” Avalokitesvara Bodhisattva Pumenpin, Pharmacist Sutra, and White Cloth Curse were written on the statue of Avalokitesvara painted by her husband. Her love made her husband live for six more years. Even after the death of her husband, she continued to practice hard work and innovation for more than ten years, and she has achieved the calligraphy achievements she is today. Therefore, she continued the long tradition of Chinese Buddhist calligraphy.
Chairman Zhan Xiurong makes calligraphy and Buddhism inseparable – The art of Chinese calligraphy has a long history, but since Buddhism was introduced to China from India, the art of calligraphy has been greatly promoted and developed due to the copying of Buddhist scriptures. According to research, scripture writing can be traced back to the translation of scriptures at Baima Temple in the Han Dynasty. During the Southern and Northern Dynasties, scripture writing was an important manifestation of the faithfulness and votiveness of believers. The scripture writers included royal aristocrats, monks and commoners, and many of them were masters of calligraphy. At that time, because printing was still in the stage of enlightenment, the spread of Buddhist scriptures among the people mainly relied on the handwritten copying of the scriptures by the deceased officials. The Wei, Jin, Southern and Northern Dynasties were the prosperous period of Chinese Buddhism. Large-scale copying of Buddhist scriptures, inscriptions on statues, and inscriptions on tablets became the primary work of Buddhist monks, and copying scriptures was an important task for their practice. According to the script writing styles unearthed in Dunhuang during the Wei and Jin Dynasties, there are regular script, running script and cursive script. The regular script is characterized by a relatively flat structure, and most of the fonts have not yet lost the meaning of the official script. Therefore, the stupid pen is not obvious and representative. Sexual works include “Buxian Guanyin Sutra” written in the first year of Yongming of the Southern Qi Dynasty, “Huayan Sutra Volume 21” of the Northern Wei Dynasty, “Dabannijing” written by Datong in the 14th year of the Western Wei Dynasty, and the first year of Baoding of the Northern Zhou Dynasty. The Thirty-First Prayer Sutra, and The Prayer Sutra of the Second Year of Zhou Jiande. Most of these scripture scriptures are horizontal strokes, light strokes, right-hand strokes and strokes are heavy. The straight pens and skimming pens in the square are heavy and strong, with light closing styles, simple and clear styles.
This tradition of copying scriptures has continued, making Chinese calligraphy and Buddhism inseparable, and it has also created many Buddhist calligraphers. According to Tao Zongyi’s “Book History Meeting Yao”, 59 people had been compiled into Buddhist calligraphers in the Yuan Dynasty . If the scriptures, steles and other script monks are also included, the number is surprising. Buddhism calligraphers in the history of Chinese calligraphy, plays a decisive role, which Zhi Yong , Wai Yan, Huai Su , Asian habitat, high idle, Guan Xiu, dream turtle, Wen Chu, first-class string Buddhist Monk, who do Chinese calligraphy Has made important contributions, but unfortunately there is not a female calligrapher among these Buddhist calligraphers with written records. However, in the early development of Chinese calligraphy, there were two famous female calligraphers, one is #蔡文姬, the other is #卫夫人, but they are not classified as Buddhist female calligraphers. According to legend, the ancients learned calligraphy and often taught them with secrets. The so-called secrets are also called brushwork. Zhang Yanyuan of the Tang Dynasty said that after Cai Yong received the brushwork from the gods, he taught it to Cui Yuan and his daughter Cai Wenji, and Wenji passed it on to Zhong Yu. Zhong Sha awarded Mrs. Wei, and the book saint Wang Yizhi awarded his son Wang Xianzhi after obtaining the true biography from Mrs. Wei. After that, it was passed down from generation to generation without interruption. It was not until the Tang Dynasty that Li Yangbing was no longer secretive, and changed the single biography to be widely accepted.
Famous writers appeared in various calligraphy styles in the Tang Dynasty. There were Li Yangbing in seal script, Han Zemu in official script, Zhang Xu and Huai Su in cursive script, and the two styles of Kai-Xing script were popular in both the ruling and the opposition. The prosperous calligrapher is Wang Yizhi’s seventh Sun Suichu monk Shi Zhiyong . Zhiyong once invented the “Eight Methods of Eternal Characters”, and his “True Grass Thousand Characters” had a profound influence on later calligraphers . Yu Shinan, a great calligrapher in the early Tang Dynasty, was the nephew of Zen Master Zhiyong , and he was the calligraphy teacher of Tang Taizong. The masterpieces of Buddhist calligraphy in the Tang Dynasty include Xue Ji ’s “Nirvana”, even the great poet Bai Juyi wrote “#門严經”, while another monk Shi Huairen wrote “#三藏圣教” for more than 20 years. Preface, “#三藏经” and “# Prajna Paramita Heart Sutra”. Tang Dynasty Zen of calligraphers have a huge impact, it is Daibiaorenwu Zhang Xu and Huai Su Cursive, both of whom are celebrity for a time calligrapher. Huai Su ‘s cousin Wu Tong wrote cursive and running script “#金刚经”. Zhao Mengzeng, a famous painter and calligrapher in the Yuan Dynasty, wrote “#圆觉经” extensively and widely spread all over the world. Later, he wrote “#金刚经” at the request of monks and friends. Half of the writing fell to the ground and died suddenly. In addition, the Zhongfeng monk who was the same time as Zhao Meng also wrote “#妙法蓬华经作传”, etc., which are rigorous and neat, with both the official script and the Weibei style. As for the famous monks of modern calligraphy , the most representative one is Master Hongyi . According to records, Li Shutong has written more than ten thousand pieces of “Nammo Amitabha” and various Buddhist scriptures since he became a monk. Among the countless calligraphy books, there are two masterpieces that are time-consuming and laborious to write. One is the ruler page of “Huayan Sutra Collection”, which is collected from the “Huayan Sutra” verses into more than 300 copies. Half a year. The other is the “#佛说Amitabha Buddhist Sutra” written on sixteen five-foot-sized pieces of paper. It took more than half a month to write.
Looking at the Buddhist calligraphers and their works of the past generations, most of the famous later generations are represented by running script and cursive script. This is because these two calligraphy styles can best express the personal style of calligraphers, and they have been imitated by subsequent generations of calligraphers. There are not many famous calligraphers handed down in regular script and official script. For this reason, regular script and official script belong to relatively stereotyped calligraphy in terms of brushwork and structure, and it is difficult for calligraphers of the past dynasties to have room for development. Some people even think that ” There is no calligraphy in Li Kai”. They exclude Li script and regular script from the pursuit of calligraphers. This is really biased. Xiangli script was a popular script as early as the Han Dynasty. Since then, its script has been undergoing subtle changes. It was only in the Tang Dynasty that it became stable and fixed. In modern times, most of the official scripts we refer to are Tangli fonts, but if we intend If we study the official scripts written by every calligrapher, especially the words engraved on the inscriptions of each age, we will find that there are many obvious traces of personality, and the outspoken artistic style. Due to the highly developed modern printing technology, especially after the advent of digital photocopying technology, the vast number of Buddhist scriptures have been copied and spread more conveniently and efficiently. By today in the 21st century, hand-copying Buddhist scriptures is extremely rare, so Zhan Xiurong The master is extremely precious contemporary charity calligrapher.
Zhan Xiurong’s Calligraphy Art Achievement and Value – Zhan Xiurong began to learn calligraphy when he was young, and later won the guidance of the famous Taiwanese calligraphy circles #曾玺, #刘炳南, #王毅猛, #张炳煌, #彭鸿, etc., and acquired the essence of calligraphy. Zhan Xiurong’s calligraphy works of Buddhist scriptures are not a copy of a certain handed down Buddhist scripture stone or inscriptions. Instead, they use existing scriptures as the content and express freely in the script that she is familiar with. Carefully observe her calligraphy and find that she has not been subjected to the traditional script. Zhang Fa’s shackles, if there is any restraint, it is that she requires herself to accurately grasp the words of the Buddhist scriptures without any mistakes. When writing, she must be undisturbed, have a high level of composure and excellent wrist strength. The wrist, permeating through the pen, and passing through the words, has such a charm of converging the spirit and hiding the front, allowing the voluminous Buddhist scriptures to flow out of her pen end. As mentioned earlier, since the Eastern Han Dynasty Cai Wenji became the first female calligrapher recorded in China, although the world-famous female calligraphers have been born for generations, it is rare for them to stay true to the history, while Zhan Xiurong can. She is one of them. Her calligraphy characteristics are reflected by copying Buddhist scriptures and other Chinese cultural classics, and especially copying Buddhist scriptures, in this rapidly changing information age, it is really rare. For this reason, contemporary Buddhists use mobile phones, Laptop computers are not uncommon. Many temples also use tapes and CDs for chanting. It can be seen that the pure land, which has always been isolated from the secular society, can hardly be extinct from modern society and technological civilization. Zhan Xiurong chose to copy the Buddhist scriptures by hand, such as the 40-foot-long Mahayana Lotus Sutra with more than 70,000 characters that she spent a year writing behind closed doors, the hand-rolled Mahayana Lotus Sutra and 9 screens, and the Nan Wu Ji Zang Bodhisattva’s Original Wish Sutra. They are all great works, and she writes them in handwriting stroke by stroke, which is really hard to imagine. It takes much perseverance and wrist strength.
Looking at Zhan Xiurong’s calligraphy works, the author believes that his artistic achievements are mainly manifested in the following aspects: One is that she is innovative in calligraphy techniques and shows her unique artistic personality. Her calligraphy is mainly in regular script and official script, as well as seal script and other scripts. Zhan Xiurong’s official script is strong in spirit and strong in bone. It can be seen from the font that he is strong in luck, volleys, and is good at pushing and pressing. She doesn’t pay attention to roundness, and even writes with a line pen. This is unimaginable in the past. Therefore, there are rough and simple marks on the tip of the pen, more squares and corners, and some radical strokes are even boldly simplified. Most of the horizontal strokes are relatively straight, and the geese’s tail gestures are upward and thin. It is quite different from the official script in the traditional sense. It gives people an intuitive impression of the authentic handwritten script at a glance, and there is a sense of vitality and simplicity between the lines. The second is that some of her original and difficult works have amazed domestic and foreign art circles and collectors. Her first hollow fine calligraphy is a unique style. She once directly hollowed out ceramic vases, wrote more than 5,000 words of “Diamond Sutra” with blue and white or glaze red pigments, used fine calligraphy to outline Guanyin statues on huge hand-rolled scriptures, and hollowed out and left white on the screens. “Diamond Sutra”, “Tao De Jing”, “Mahayana Miao Dharma Lotus Sutra” and other sutra names, she has infused these scriptures with a large number of words with a volley, which is very suitable for the aesthetic needs of modern people. The dullness and rigidity of large scriptures make them more suitable for collection and suggestive significance. Each of her works often takes one or two months to complete. The most difficult thing is to figure out the space position of the hollow and white space of the Buddhist scripture name in the sea of words, and it must be symmetrical, and at the same time, it must be fully focused. Just imagine, it is difficult for ordinary calligraphers. Work hard like this. Third, she broke through the limits of traditional Chinese calligraphy materials. She wrote the characters on eggshells, shells, toothpicks, ceramics, bamboo, silk and other materials. She once wrote 20-character quatrains of Tang poetry on a grain of rice, using 63 The toothpick is written as “Thousand Characters”, and the nib is soaked in water with a little ink in lower case, and the toothpick is written with holding your breath. The unique use of wisdom and ingenuity can be seen from this.
Buddhist scriptures and calligraphy become a popular collection – On April 28, 2002, at the Spring Auction of Chinese Paintings and Calligraphy held at Christie’s in Hong Kong, the Song Dynasty calligrapher Zhang Jizhi’s volume 65 of “Dafang Guangfo Huayan Sutra” was sold at a high price of over 8 million Hong Kong dollars. Refresh the auction record of Buddhist scripture calligraphy in recent years. And as early as 8 years ago, at the 1994 China Guardian Autumn Auction of Ancient Books and Art Special, the Dunhuang manuscript of “The Great Prayer Sutra Kassapa Bodhisattva” was sold at RMB 110,000, and the volume of “Handwritten Vajra Prajna Paramita Sutra” by Weng Fanggang was worth RMB 110,000. 230,000 yuan, “Miao Dharma Lotus Sutra Guanyin Bodhisattva Pumenpin” was auctioned for 280,000 yuan. Auctions like this have been carried out from time to time. It can be seen that the calligraphy of Buddhist scriptures has become a popular collection. The reason is that the calligraphy of Buddhist scriptures is different from ordinary calligraphy, because what it writes is the Buddhist scriptures related to the spiritual wisdom and spiritual beliefs of the oriental people, so it has the dual meaning of artistic value and spiritual value. This is because it is an authentic handwriting, and when the scripture writer is copying, he has the energy to penetrate it and accumulate between the lines. Therefore, for collectors, it has an extremely rare and precious intrinsic value. The pace of life of modern people is extremely busy. Few people can study the Buddhist scriptures in meditation every day. Once the calligraphy of the Buddhist scriptures is collected and hung on the wall, it has the effect of chanting and practicing as far as they can see. I am convinced that these Buddhist scriptures and calligraphy works created by Zhan Xiurong after dedication and deliberation must have an amazingly rising collection value, because they are indeed a rare treasure in today’s society. Over the past 10 years, Zhan Xiurong’s calligraphy works have been exhibited more than a hundred times in Japan, Korea, the Philippines, Hong Kong, Canada, the United States and other parts of the world, causing a sensation wherever he went, and winning numerous awards. In recent years, her pure gold calligraphy “Diamond Sutra”, “Heart Sutra” and various calligraphy works have been collected by many political and economic celebrities and collectors. On June 18, 2000, at the “Book to Enlightenment” Zhan Xiurong’s calligraphy art exhibition held at the Fo Guangyuan Art Museum in Taipei, Mr. Chen Shuibian made a special call to congratulate him. Give a high rating.
His works have been selected-International Painting and Calligraphy Expo, China Ethical Painting and Calligraphy Celebrities Exhibition, South Korea Asia Asia Art Hospitality Award, Oriental International Masters Painting and Calligraphy Exhibition, Sihai Tongxin Painting and Calligraphy Exhibition, Huangling Memorial Ceremony and 100 People Painting and Calligraphy Exhibition, Philippine Chinese Ethical Painting and Calligraphy International Exhibitions, National Dr. Sun Yat-sen Memorial Hall Masters’ Calligraphy and Painting Exhibition, Chiang Kai-shek Memorial Hall Chinese Hakka Calligraphy and Painting Exhibition, Chiang Kai-shek Memorial Hall China, Japan, Korea and other painting and calligraphy joint exhibitions, Shandong Contemporary Famous Artists Painting and Calligraphy Joint Exhibition, Korean Art Research Association Art Exhibition, Beijing International Calligraphy Exhibition, World Hakka Calligraphy and Painting Exhibition (Meizhou, Guangdong), East Asian Games Shanghai Painting and Calligraphy (First Session) Exhibition, Beijing Cross-Strait Masters Painting and Calligraphy Exhibition, Tokyo Metropolitan Art Museum International Art Exchange Exhibition, All Japan Calligraphy Exhibition, Sino-Japanese Goodwill Painting and Calligraphy Exhibition, Asia International Art Exhibition Wait. The awards won include:-World Famous Artist Achievement Award, Japan International Art Associate Award, Cross-Strait Painting and Calligraphy Contest Gold Award, Japan’s Zengdong Calligraphy Association Governor Award, Japan’s 7th National Calligraphy Association Associate Award, Golden Goose Award Painting and Calligraphy Contest Honorary Gold Award , Da Nippon Academy of Fine Arts Award of Excellence, 1996 World Chinese Painting and Calligraphy International Competition Gold Cup Award and dozens of other kinds. She was also awarded the “Outstanding Talent Award” by the 14th World Hakka Cultivation Conference. In 2002, she was also awarded the “World Outstanding Personage Award” by the American World Cultural Exchange Association.
Promote Buddhism with gratitude – In 1994, Zhan Xiurong established the Cihang Art Center in Banqiao City, Taipei County. He hopes that while promoting the art of Chinese calligraphy, more people can experience the original meaning of life’s compassion through Buddhist scriptures and calligraphy, so as to reach the state of enlightenment. I can contribute more to the warmth and harmony of the society, carry forward the spirit of compassion and equality between the art of calligraphy and Buddhism, and help more people find a pure land of comfort and joy. He also serves as the honorary chairman of the Taipei Fraternity Charity Association. Zhan Xiurong, who is compassionate and compassionate, often holds charity sales to donate to disadvantaged groups and charities. She has always been grateful to the society and the friends who have cared for her over the years. Such as Taiwanese political leaders #马英九 President, #陈水bian President, #连战VP, #吴伯雄Chairman, #邱剑焕Minister, #Jiang Bingkun Chairman… etc., as well as her uncle and Dacheng Institute of Technology who have been vigorously supporting her calligraphy promotion career Mr. Huang Daoyi, Chairman, Ms. Wu Bizhu, Chairperson of the Taipei City Council, Ms. Zhang Boya, #Interior Minister, Ms. Liu Lihui, Mrs. Huang, Mr. #威刚科技, Mr. Chen Libai, Chairman of #威刚科技, Ms. Mimi Cai, Mrs. International cooking master Zhan Huangjun, son Jiang Youwei, daughter Jiang Meimei and many relatives, friends and volunteers. All this made her extremely grateful, and she also received infinite help and inspiration for this. At this point, the author has also realized that Zhan Xiurong has been painstakingly pursuing the art of Buddhist scriptures and calligraphy for many years, and spreading Buddhist scriptures by copying Buddhist scriptures. Her dedication has enabled her to achieve great achievements. In fact, it is not only herself, but also her relatives and friends who have supported her for a long time. As a result, we have received tremendous blessings, because Zhan Xiurong is a copyist, and we support her, that is, we are promoting the Dharma. We hope that we can develop Bodhicitta together and let the Dharma be carried forward in the world.
論詹秀蓉大師的佛經書法藝術 – 今天，人們都在思索：人生是為何而來？生命的價值是什麼？生活的目的又在哪裡呢？更有人對社會秩序的癱瘓、道德的淪喪，人性的墮落而感到憂心如焚，整個世界充斥¨“殺、盜、淫、妄”，人類如找不到自救之道，則只有毀滅一途。而3000多年前釋迦牟尼的遺產，對今日的世道人心，有補偏救弊，對症下藥之效。2001年10月，在紐約拜會星雲法師，並請教他佛教在當今社會如何發揮更大功能，起到普救世人的作用。星雲大師認為佛教和所有其他宗教一樣，可淨化人的身心，拯救現代文明，他主張佛教要生活化，要融入時代，這也正是他所倡導的“人間佛教”的真義。1987年星雲法師成立以音樂弘法為志業的佛光山梵唄讚頌團，也就是為了借助音樂和藝術的力量來弘法。新竹關西摸骨遠近聞名，而如今卻出了曠世奇才女書法家詹秀蓉。詹秀蓉虔誠學佛數十年，為了深入佛法大義，每日誦經不綴，而抄經更是其不可或缺的修行課業，以十幾小時沉潛在書法中，培養出了堅強的定力、慧心和書法功力。當初原是因為夫婿患癌，聽從親友的勸告以抄經減緩親人的病痛，而不知不覺地走上了佛經書法之路，她曾將五部佛經《心經》、《大悲咒》、《觀音菩薩普門品》、《藥師經》、《白衣神咒》寫在丈夫所繪的觀音菩薩像上，她的愛心讓丈夫多活了六年。及至夫婿去世後，她仍堅持十多年苦練創新，始有今天這樣的書法成就，她也因此而接續了中國佛經書法的悠久傳統。
詹秀蓉理事長讓書道與佛教密不可分 – 中華書法藝術源遠流長，但自佛教從印度傳入中國後，書法藝術因為抄寫佛經的關係而得到長足的推動和發展。經考證，寫經最早可追溯到漢代白馬寺譯經，南北朝時期，寫經是信士虔誠和還願的一種重要表現，寫經人包括皇室貴族、僧侶和平民，其中不乏許多書法高手。當時，因為印刷術尚在啟蒙階段，民間傳播佛經，主要靠經生故吏的親筆抄寫。魏晉南北朝是中國佛教的繁盛時期，大規模的佛經抄寫、造像題記、碑刻銘文，成為佛門僧人的首要工作，其中抄經是其修行的重要功課。魏晉六朝寫經，據敦煌出土的寫經書體，有楷書、行書和草書，其楷書特點是結體較扁，大部份字體尚未脫盡隸書的遺意，因此頓挫筆尚不明顯，具代表性的作品有南齊永明元年的《佛說觀音普賢經》、北魏《華嚴經卷第二十一》、西魏大統十四年寫《大般涅□經》、北周保定元年《大般涅經第三十一》、後周建德二年《大般涅□經》等。這些寫經書體大都數橫劃起筆輕，右按收筆和捺筆重，凡方中的直筆和撇筆起重而方勁，收筆輕，風格高古樸茂，筆法簡單清楚。此種抄經傳統一直延續下來，使中國書法與佛教密不可分，它也因此而造就了許多佛門書法家。據陶宗儀《書史會要》記載，到元代時，輯入佛門書家的就有59人，若把善抄經文、碑石等書僧也計算在內，則數量之多，令人驚訝。佛門書家在中國書法史上，具有舉足輕重的地位，其中智永、懷仁、懷素、亞棲、高閒、貫休、夢龜、文楚、弦一等佛門書僧，曾為中國書法藝術做出過重要貢獻，可惜這些有文字記載的佛門書法家當中沒有一位女書法家。不過，中國書法在早期的發展過程中，卻出過兩位著名的女書法家，一位是 #蔡文姬，另一位是 #衛夫人，只是她們未被歸入佛門女書法家之列。相傳古人學習書法，常以秘訣傳授，所謂秘訣，又稱筆法，唐人張彥遠說，後漢蔡邕從神人那裡得到筆法後，傳授給崔瑗和女兒蔡文姬，文姬傳給鐘徭。鐘徭授予衛夫人，而書聖王義之從衛夫人那裡獲得真傳後又授予其子王獻之，然後，代代相傳，從未有間斷，至唐代李陽冰才不再隱秘，改單傳為廣泛收徒。
詹秀蓉的書法藝術成就及價值 – 詹秀蓉幼時即始習書法，其後曾深得台灣書法界名家 #曾璽、#劉炳南、#王軼猛、#張炳煌、#彭鴻等指點，兼收並蓄，遂得書法真髓。詹秀蓉的佛經書法作品不是臨摹某一件傳世的佛經石刻或碑帖，而是以現存的經書為內容，以她所熟悉的書體去自由表現，仔細觀察其書法，發現她並未受到傳統書體章法的桎梏，如果說有任何牽制的話，那就是她要求自己對佛經字句準確把握，不得有任何錯誤閃失，寫字時必須要心神不亂，有高度鎮靜的功夫和過人的腕力，運氣於腕，貫之於筆，傳之於字，才有如此斂神藏鋒之氣韻，讓浩繁的佛經一字一句地從她的筆端流出。正如文前所述，自東漢蔡文姬成為中國有名姓記載的第一位女書法家以來，聞名於世的女書法家雖然代有人出，但真正名留青史的則實屬罕見，而詹秀蓉則可算是其中的一位，她的書法藝術特色通過抄寫佛經及其他中國文化典籍來體現，而尤其是抄寫佛經，在這瞬息萬變的信息時代，實屬難得，此因，當代佛門中人，使用手機、筆記本電腦的已不罕見，許多寺廟念經亦使用錄音帶和CD，由此可見，一向與世俗社會隔絕的人間淨土，如今也難以自絕於現代社會和科技文明。而詹秀蓉則選擇親筆手抄佛經，像她花了一年時間閉門書寫的七萬多字的40尺長、《大乘妙法蓮華經》手捲及9幅屏風以及《南無地藏菩薩本願經》等，皆為宏篇鉅制，而她一筆一劃地以手書的形式寫出，真是難以想像，需要多大的毅力和腕力。
以感恩之心弘揚佛法 – 現為【#詹秀蓉基金會】籌備處的董事長亦為【#慈航藝術中心】負責人的詹秀蓉大師，曾任中華書學研究聯誼會書法教授、世界書畫家協會台灣分會第一任會長、中華大漢書藝協會常務理事、中國台灣地區書法學會常務理事、中國澹寧書法學會常務理事、中華四海同心會藝文交流委員、中華書法學會活動策劃委員會召集人、中國書法學會展覽委員會委員、台北縣客屬團體聯合會副秘書長、台北縣樹林客屬會顧問等職。目前擔任 #中華國際觀光協會理事長，台北市彩鳳文化協會顧問，世界客屬總會理事及中國台灣地區防高血壓協會理事等職。一九九四年詹秀蓉在台北縣板橋市成立慈航藝術中心，期盼在推廣中華書道藝術的同時，讓更多的人通過佛經書法，體會生命慈悲的本意，從而達到覺悟的境界，也希望自己能為社會的溫馨祥和多盡一份心力，將書法藝術與佛法慈悲平等之精神更發揚光大，幫助更多人找到自在歡喜的淨土。亦擔任社團法人台北博愛公益協會榮譽會長。擁有悲天憫人的慈悲心腸的詹秀蓉，常舉行作品義賣捐助弱勢團體和慈善機構。她對社會以及多年來關愛她的友人一直心存感恩之心。如台灣政壇領袖 #馬英九總統、#陳水扁總統、#連戰副總統、#吳伯雄主席、#邱劍煥部長、#江丙坤董事長…等以及長期以來一直大力支持她的書法弘法事業的舅舅、大成技術學院董事長黃道宜先生，台北市議會議長吳碧珠女士、#內政部長張博雅女士、#霹靂電視台黃董事長夫人劉麗惠女士、#威剛科技董事長陳立白先生、#東森電視台王董事長夫人蔡咪咪女士、二哥國際烹調大師詹煌君、兒子江有為、女兒江美美以及眾多親友和義工們。這一切都令她無比感激，她也因此而得到無窮的助力和靈感。至此，筆者也領悟到，詹秀蓉多年來苦心追求佛經書法藝術，以抄寫佛經而弘揚佛法，她的付出讓她取得巨大成就，其實，又何止她本人，長期以來支持她的親友們，也一樣會因此獲得無比廣大的福報，因為詹秀蓉是抄經人，我們支持她，也就是我們自己在弘揚佛法，願我們共同發菩提心，讓佛法在人間更加發揚光大。
After visit to Taipei, Taiwan
Official Photographs by China International Tourism Association