自由自在：臺灣當代女性書藝展橫山書法藝術館
時間2025/09/05 - 2025/12/01
地點：桃園橫山書法藝術館
策展人：盧慧紋
展覽介紹「自由自在—臺灣當代女性書藝展」是第一個以臺灣女性書藝家為對象所策畫的大規模主題展。藉由匯聚不同世代、背景與風格的創作者，本展期盼呈現臺灣當代女性書藝家的多元面貌，並揭示她們在書法這門藝術中所走過的道路與訴說的生命經驗。
漢字書法藝術有三千年以上的歷史，不僅承載廣博的思想理論體系與多樣風格，也與文化及社會環境密不可分。傳統書史中鮮少見女性書家的身影，多數僅以書家之妻女或親屬的身分被附帶提及，書風亦多承襲父兄或夫婿風格，反映了傳統漢人社會中女性所處的邊緣位置。自二十世紀初以降，隨著社會開放與女性教育普及，從事書法創作並取得成就的女性人數大幅增加。這引發我們思考：女性如何在傳統書法美學的框架下學習與創作？她們如何被紀錄與評價？更重要的是，她們如何在其中找到，甚至創造出自己的位置？
臺灣百年來在政治、社會與文化方面經歷劇烈變化，女性的處境與自我意識也與時俱遷。本次展覽的作品年代橫跨一世紀，自日本殖民時期的蔡碧吟、張李德和、黃寶珠等開啟，接續1949年後隨國民政府渡海來臺的張默君、譚淑、顧瑞華、酆濟榮等書畫家，一路延伸至當代。現今仍活躍於書壇的女性書藝家橫跨老中青三代，年齡最長者逾八十五歲，最年輕者不足三十。她們當中，有人致力打破性別刻板印象，有人積極回應1980年代解嚴後的新政治與文化氛圍，有人持續深耕書法的傳統形式與精神內涵，亦有人從日常經驗出發，以豐沛能量探索書藝的多元可能。
為擴展視野與提供跨文化參照，本展亦邀集來自中國、日本、韓國、伊朗、英國與法國等地的女性藝術家共同參與。參展藝術家共59位、62組（件）作品，涵蓋平面、複合媒材立體裝置、攝影及錄像等多種形式。今日的女性書藝家，無論身在臺灣或世界各地，早已不再只是傳統的繼承者。她們以書寫回應時代，將身體與經驗融入筆觸，筆下所刻畫的不只是文字，更是自身的位置與未來的方向。她們自由自在，走出一條條嶄新的路徑。
藝術家（依出生年排序）：
蔡碧吟、張默君、張李德和、譚淑、陳書蓁、顧瑞華、篠田桃紅(SHINODA Toko)、張充和、黃寶珠、酆濟榮、陳幸婉、王雅慧、陳嘉子、袁旃、董陽孜、張松蓮、賴麗雲、楊世芝、鄭芳和（惠美）、拾得法師（朱秀櫻）、杜菁蘭(Nicole DUFOUR)、席琳・奈沙特(Shirin NESHAT) 、張金蓮、洪塔美、李秀華、李芳玲、謝鴻均、姜美先(KANG Mi-Sun) 、盧銘琪、安美子(AHN Mija) 、法比恩・維迪爾(Fabienne VERDIER) 、袁慧莉、金惠蓮(Heryun KIM) 、徐惠美、段亭安、傅瑩瑩、連瑞芬、朱書萱、莊千慧、崔斐、彭薇、許靜、Soraya SYED、川尾朋子(KAWAO Tomoko)、吳孟珊、林佳穎、江柏萱、王鈺權、柏巧玲、王意淳、中華漢光書道學會、臺灣女書法家學會
時間2025/09/05 - 2025/12/01
地點：桃園橫山書法藝術館
策展人：盧慧紋
展覽介紹「自由自在—臺灣當代女性書藝展」是第一個以臺灣女性書藝家為對象所策畫的大規模主題展。藉由匯聚不同世代、背景與風格的創作者，本展期盼呈現臺灣當代女性書藝家的多元面貌，並揭示她們在書法這門藝術中所走過的道路與訴說的生命經驗。
漢字書法藝術有三千年以上的歷史，不僅承載廣博的思想理論體系與多樣風格，也與文化及社會環境密不可分。傳統書史中鮮少見女性書家的身影，多數僅以書家之妻女或親屬的身分被附帶提及，書風亦多承襲父兄或夫婿風格，反映了傳統漢人社會中女性所處的邊緣位置。自二十世紀初以降，隨著社會開放與女性教育普及，從事書法創作並取得成就的女性人數大幅增加。這引發我們思考：女性如何在傳統書法美學的框架下學習與創作？她們如何被紀錄與評價？更重要的是，她們如何在其中找到，甚至創造出自己的位置？
臺灣百年來在政治、社會與文化方面經歷劇烈變化，女性的處境與自我意識也與時俱遷。本次展覽的作品年代橫跨一世紀，自日本殖民時期的蔡碧吟、張李德和、黃寶珠等開啟，接續1949年後隨國民政府渡海來臺的張默君、譚淑、顧瑞華、酆濟榮等書畫家，一路延伸至當代。現今仍活躍於書壇的女性書藝家橫跨老中青三代，年齡最長者逾八十五歲，最年輕者不足三十。她們當中，有人致力打破性別刻板印象，有人積極回應1980年代解嚴後的新政治與文化氛圍，有人持續深耕書法的傳統形式與精神內涵，亦有人從日常經驗出發，以豐沛能量探索書藝的多元可能。
為擴展視野與提供跨文化參照，本展亦邀集來自中國、日本、韓國、伊朗、英國與法國等地的女性藝術家共同參與。參展藝術家共59位、62組（件）作品，涵蓋平面、複合媒材立體裝置、攝影及錄像等多種形式。今日的女性書藝家，無論身在臺灣或世界各地，早已不再只是傳統的繼承者。她們以書寫回應時代，將身體與經驗融入筆觸，筆下所刻畫的不只是文字，更是自身的位置與未來的方向。她們自由自在，走出一條條嶄新的路徑。
藝術家（依出生年排序）：
蔡碧吟、張默君、張李德和、譚淑、陳書蓁、顧瑞華、篠田桃紅(SHINODA Toko)、張充和、黃寶珠、酆濟榮、陳幸婉、王雅慧、陳嘉子、袁旃、董陽孜、張松蓮、賴麗雲、楊世芝、鄭芳和（惠美）、拾得法師（朱秀櫻）、杜菁蘭(Nicole DUFOUR)、席琳・奈沙特(Shirin NESHAT) 、張金蓮、洪塔美、李秀華、李芳玲、謝鴻均、姜美先(KANG Mi-Sun) 、盧銘琪、安美子(AHN Mija) 、法比恩・維迪爾(Fabienne VERDIER) 、袁慧莉、金惠蓮(Heryun KIM) 、徐惠美、段亭安、傅瑩瑩、連瑞芬、朱書萱、莊千慧、崔斐、彭薇、許靜、Soraya SYED、川尾朋子(KAWAO Tomoko)、吳孟珊、林佳穎、江柏萱、王鈺權、柏巧玲、王意淳、中華漢光書道學會、臺灣女書法家學會
Walking Their Own Paths: Women Calligraphers in Contemporary Taiwan
Hengshan Calligraphy Art Center
Dates| 2025/09/05 - 2025/12/01
Venue| Hengshan Calligraphy Art Center
Curator : LU Hui-Wen
Overview Walking Their Own Paths: Women Calligraphers in Contemporary Taiwan is the first large-scale exhibition centered on female calligraphers in Taiwan. Featuring artists from different generations, backgrounds, and styles, the exhibition aims to present the rich diversity of women’s creative expressions in contemporary Taiwanese calligraphy. It also highlights the journeys these women have taken and the life experiences expressed through their art.
Chinese calligraphy carries over three thousand years of cultural history. It is not only an art form rooted in philosophical depth and stylistic complexity but also one shaped by evolving social and cultural environments. In traditional calligraphy histories, women have rarely taken center stage. They are often mentioned in passing and sidelined as wives or daughters of male calligraphers, with their styles viewed as extensions of their male relatives. This marginalization reflects the societal position women held in traditional Han culture. Since the early 20th century, with the expansion of education and increasing gender equality, more women have engaged in calligraphy and achieved recognition. Their growing presence raises important questions. How do women learn and create within a tradition shaped by male aesthetics? How are their works recorded and evaluated? And perhaps most importantly, how do they claim a space of their own within this legacy?
Over the past century, Taiwan has experienced major political, social, and cultural transformations. Alongside these paradigm shifts, women's roles and self-perceptions have evolved. This exhibition spans a century of work, beginning with early figures from the Japanese colonial period such as Cai Bi-yin, Chang Li Der-her, and Huang Bao-ju. It continues with calligraphers who arrived with the Nationalist government in 1949—such as Chang Mo-chun, Tan Shu, Gu Ruei-hua, and Feng Ji-rong—and extends to the present day. Participating artists span three generations. The eldest are over 85 years old; the youngest, not yet 30. Some break gender stereotypes. Others respond to the new political and cultural climate following the end of martial law in the 1980s. Some remain devoted to the spiritual and aesthetic values of traditional calligraphy, while others draw inspiration from daily life to explore new possibilities.
In order to provide a broader and more cross-cultural perspective, the exhibition also includes women artists from China, Japan, Korea, Iran, the United Kingdom, and France. 59 artists are featured, with 62 works on display. These span a range of formats, including two-dimensional calligraphy, mixed-media installations, photography, and video.
Today, women calligraphers in Taiwan and around the world are no longer confined to roles of inheritance or repetition. They respond to their times through writing, infusing their work with the presence of their bodies, experiences, and voices. What they inscribe on paper is not only language but also a sense of place, identity, and direction. They move freely, writing new paths as they go.
Artists (in chronological order)
Cai Bi-Yin, Chang Mo-Chun, Chang Li Der-Her, Tan Shu, Chen Shu-Zhen, Gu Ruei-Hua, Shimoda Toko, Ch'ung-Ho Chang Frankel, Huang Bau-Ju, Feng Ji-Rong, Chen Jia-Zr, Yuan Jai, Tong Yang-Tze, Chang Song Lian, Lai Li-Yun, Emily Shih-Chih Yang, Chen Hsing-Wan, Cheng Fang-Ho, Chu Hsiu-Ying, Nicole Dufour, Shirin Neshat, Chang Jin Lieng, Hong Ta-Mei, Lee Shew-Hua, Lee Fang Ling, Juin Shieh, Kang Misun, Lu Ming-Chi, Ahn Mija, Fabienne Verdier, Yuan Hui-Li, Kim Heryun, Hsu Huei Mei, Tuan Ting An, Fu Ying Ying, Lien Jui-Fen, Zhu Tianning, Zhuang Qian-Hui, Cui Fei, Wang Ya-Hui, Peng Wei, Xu Jing, Soraya Syed, Kawao Tomoko, Wu Meng-Shan, Lin Chia Ying, Chiang Po-Hsuan, Wang Yu-Cyuan, Po Chiao-Ling, Wang Yi-Chun
Hengshan Calligraphy Art Center
Dates| 2025/09/05 - 2025/12/01
Venue| Hengshan Calligraphy Art Center
Curator : LU Hui-Wen
Overview Walking Their Own Paths: Women Calligraphers in Contemporary Taiwan is the first large-scale exhibition centered on female calligraphers in Taiwan. Featuring artists from different generations, backgrounds, and styles, the exhibition aims to present the rich diversity of women’s creative expressions in contemporary Taiwanese calligraphy. It also highlights the journeys these women have taken and the life experiences expressed through their art.
Chinese calligraphy carries over three thousand years of cultural history. It is not only an art form rooted in philosophical depth and stylistic complexity but also one shaped by evolving social and cultural environments. In traditional calligraphy histories, women have rarely taken center stage. They are often mentioned in passing and sidelined as wives or daughters of male calligraphers, with their styles viewed as extensions of their male relatives. This marginalization reflects the societal position women held in traditional Han culture. Since the early 20th century, with the expansion of education and increasing gender equality, more women have engaged in calligraphy and achieved recognition. Their growing presence raises important questions. How do women learn and create within a tradition shaped by male aesthetics? How are their works recorded and evaluated? And perhaps most importantly, how do they claim a space of their own within this legacy?
Over the past century, Taiwan has experienced major political, social, and cultural transformations. Alongside these paradigm shifts, women's roles and self-perceptions have evolved. This exhibition spans a century of work, beginning with early figures from the Japanese colonial period such as Cai Bi-yin, Chang Li Der-her, and Huang Bao-ju. It continues with calligraphers who arrived with the Nationalist government in 1949—such as Chang Mo-chun, Tan Shu, Gu Ruei-hua, and Feng Ji-rong—and extends to the present day. Participating artists span three generations. The eldest are over 85 years old; the youngest, not yet 30. Some break gender stereotypes. Others respond to the new political and cultural climate following the end of martial law in the 1980s. Some remain devoted to the spiritual and aesthetic values of traditional calligraphy, while others draw inspiration from daily life to explore new possibilities.
In order to provide a broader and more cross-cultural perspective, the exhibition also includes women artists from China, Japan, Korea, Iran, the United Kingdom, and France. 59 artists are featured, with 62 works on display. These span a range of formats, including two-dimensional calligraphy, mixed-media installations, photography, and video.
Today, women calligraphers in Taiwan and around the world are no longer confined to roles of inheritance or repetition. They respond to their times through writing, infusing their work with the presence of their bodies, experiences, and voices. What they inscribe on paper is not only language but also a sense of place, identity, and direction. They move freely, writing new paths as they go.
Artists (in chronological order)
Cai Bi-Yin, Chang Mo-Chun, Chang Li Der-Her, Tan Shu, Chen Shu-Zhen, Gu Ruei-Hua, Shimoda Toko, Ch'ung-Ho Chang Frankel, Huang Bau-Ju, Feng Ji-Rong, Chen Jia-Zr, Yuan Jai, Tong Yang-Tze, Chang Song Lian, Lai Li-Yun, Emily Shih-Chih Yang, Chen Hsing-Wan, Cheng Fang-Ho, Chu Hsiu-Ying, Nicole Dufour, Shirin Neshat, Chang Jin Lieng, Hong Ta-Mei, Lee Shew-Hua, Lee Fang Ling, Juin Shieh, Kang Misun, Lu Ming-Chi, Ahn Mija, Fabienne Verdier, Yuan Hui-Li, Kim Heryun, Hsu Huei Mei, Tuan Ting An, Fu Ying Ying, Lien Jui-Fen, Zhu Tianning, Zhuang Qian-Hui, Cui Fei, Wang Ya-Hui, Peng Wei, Xu Jing, Soraya Syed, Kawao Tomoko, Wu Meng-Shan, Lin Chia Ying, Chiang Po-Hsuan, Wang Yu-Cyuan, Po Chiao-Ling, Wang Yi-Chun
參展作品：
2025
時間之漬：悲欣 More is Less: Bittersweetness (橫山版) Video, 1408x3840, 13’25”, mp4 |
展場照：橫山書法藝術館LED牆 |
Detail of the Work
|
Press Coverage
