Professor Zhang Binghuang hosts the full-page “Calligraphy World” column in the JoongAng Daily, with a total of 243 issues. The content includes calligraphy learning, research, promotion and modern calligraphy art, etc. Please refer to the catalog to view directly. Due to the large amount of data in this project, it is scheduled to be published five times a month for reference. All the data are currently being sorted and will be published in a volume after completion.。

Since the Ming Dynasty and Zheng Dynasty, Taiwan has begun to inherit Chinese culture with the immigration of people from the Central Plains. However, in order to survive, the ancestors had no time to pay attention to literature and ink in order to survive in the mountains and forests. Therefore, the style of writing was not prosperous. In the Daoguang period of the Qing Dynasty, after the opening of subjects to obtain scholars, more and more scholars were studying, and practicing calligraphy became a fashion. As a result, the number of people who specialized in calligraphy increased. At that time, the Banqiao Lin family invited Confucian scholars from the mainland, many of whom were erudite and Famous people who specialized in calligraphy and painting, such as Lu Shiyi and others, were greatly shocked by the culture and influence of calligraphy in Taiwan at that time.
Therefore, we understand that the origin of calligraphy in Taiwan began in the Ming Dynasty and Zheng Dynasty, and developed in the Daoguang period of the Qing Dynasty. Shortly afterwards, in the Sino-Japanese War of 1895, the Qing government lost Taiwan and ceded Taiwan to Japan in 1895. In 1945, Taiwan returned to the Republic of China. However, during the 50 years of Japanese occupation, the Japanese attached great importance to calligraphy, and their influence led to the rise of calligraphy study in Taiwan. However, so far, although the inheritance of Taiwanese calligraphy has a history of two to three hundred years, few people have studied it in academic research. Therefore, there is still a lack of a dedicated history of the origin of calligraphy that is enough to gain a foothold in the academic world.
The Calligraphy Research Laboratory has been committed to the study of the history of calligraphy in Taiwan. It will work together with the Chinese, History, Japanese and other departments of the school and scholars from outside the school to conduct research on Taiwanese calligraphy art and make academic publications. In April 2005, he compiled the research results into a special book called “Han Mo Zhu Lin” and held the “Taiwan Calligraphy Inheritance Exhibition” at the Zhongshan National Gallery in Taipei City. The content was exciting and it has become an important material for studying the inheritance of calligraphy.

modern art studies

In order to enhance various academic research on Taiwanese calligraphy, the Calligraphy Research Office held the “Taiwan Calligraphy International Academic Research Conference” in April 2005 during the Taiwan Calligraphy Heritage Exhibition. After the meeting, the “Collection of Taiwan Calligraphy” was published by Liren Bookstore Seminar.
2014年12On December 6 and 7, 2014, the “International Academic Symposium on Chinese Characters” was co-organized with the Cultural Affairs Bureau of the Taipei City Government. Characters have the foundation of Chinese culture, and the art of calligraphy has rich cultural characteristics and local artistic connotations. How to introduce it into life, promote traditional culture to create new opportunities, continue to spread and give full play to its characteristics, is a very important part. This seminar plans to invite well-known Chinese character scholars, calligraphy creators, university calligraphy art-related scholars, architects and interior designers, creative product designers and other related scholars, creators, designers, etc. to present papers and participate in discussions and conduct academic seminars.