「卓尔不群」

​

「曦軒」為袁中平先生齋號。自開帳授徒以來，袁中平先生每年皆為門生舉辦書法作品展，以展現學習成果，亦藉此勉勵學子在書道之路上持續精進。

2026年曦軒書道門生作品展，主題定為「卓尔不群」。

「爾」通「尔」，取用「尔」緣於本學期所學之爨龍顏碑。

「卓爾不群」語出《漢書》，意指才能、品格或成就超然出眾，不同於尋常。此正是先生對學生的期許，並非刻意求異，更不是以奇巧取勝，而是期許在深厚傳統與長久涵養之中，於點畫、結體、章法與筆墨之間反覆揣摩，在古人法度中尋根，在日日書寫中，融入自身的性情、學養與生命體悟，逐漸形成自己的筆墨風貌。「卓尔不群」所展現的，並非單純的「不同」，而是有所本、有所承、有所悟，最終自成其格。

袁中平先生長年研習書道與琴道，深信書琴之間有著深刻而微妙的相通之處。

「書是無聲樂，琴為有聲書。」

一撇一捺、一收一放，如琴音之起落；一紙一墨、一呼一吸，如樂章之節奏。兩者是心與藝的相合，是時間流轉之中所留下的生命痕跡。

故本次展覽除展出曦軒書道門生作品外，亦與中華古琴學會合作，於展覽開幕當天 (10/03, 週六) 舉辦古琴雅集。藉由琴聲與墨韻的交會，呈現傳統文化藝術中「琴書相通」的深層意境，亦讓觀者在聽琴、觀書之間，感受古典藝術所蘊含的從容、節制與精神之美。

米康華

在台灣生活二十一年的俄羅斯人，深受看似平靜沈穩卻又充滿力度的書道吸引，喜歡身心在筆畫動靜間的內觀，有幸於袁中平老師「曦軒書道班」學習，期待探索更加柔軟又堅定的筆觸與人生。

陳人愷 

字恩和。自號荼靡。齋館號：「荼靡居」。琴與書道師承袁中平先生。「中道門」內一名小學生。

陳韻如 

生於台北，幼時曾習書十載。有幸於二零二三年結束多年香港金融生涯返台之際，於「台北書畫院」偶聆袁中平先生一席書道簡史，甚爲驚歎。隨即入門「曦軒書道班」，重拾毛筆。在先生帶領下真正領略中華書道的博大精深，以及各碑帖的玄妙之處，樂此不疲。

陳麗珠

陳麗珠，出生於台灣彰化，成長於東部海岸，在經過長期行程忙碌的工作生活後，有幸於二零二四年受教於袁老師「㬢軒書道班」，浸淫書道之美學，深感文字書寫可動人心聲。在黑白最原始的線條中去探索真實自我。書道實是令人嚮往的旅程。

廖冬梅

生於成都，少性疏顽，後喜愛琹書，丙午小满后，赴姑苏，有幸跟隨先生學習，始窥琹書浩瀚之境。路漫漫其修远兮， 吾将上下而求索。

楊素芳

癸卯年秋末，喜於袁老師的演講，即開始於「曦軒書道班」學習書法。長期生活工作驛馬星馳之後，在老師的指導下靜心悠遊於碑銘筆墨。

葉雲禎

台灣桃園人，喜歡美好事物。己亥年冬，尋琴至「臺北琴道舘」，習琴於「中道門」門下，壬寅年春，兼習書道於「曦軒」門下至今。丙午春先生賜字「如是」，期許吾行事肯定與堅定，然中士之資，每每差強人意; 願身心清明，能常自省，砥礪身心，勇猛精進，以謝師恩。

楊介宗

號介道人。曾困於塵勞，身心俱疲。二〇二一年初，因緣於「臺北琴道舘」幸遇明師，遂入「中道門」「曦軒書道班」修習。感念先生教導，於運筆俯仰之間，領悟靜心定性之方。提筆之際，喜伴聆琴，於一撇一捺、一音一韻間，調息養心。寄情筆墨，寓志琴懷。賴琴書相伴，身心得以安適，心境亦趨從容。

蘭芷

生於台灣高雄，書道及古琴習自袁中平先生，學習中探討各朝代書家，領略傳統書道文字與筆法演變，筆墨間體悟書道美學！

「卓尔不群」 

Beyond the Ordinary  

2026 Xixuan Students’ Calligraphy Exhibition 

Xixuan (曦軒) is the studio name of Mr. Jung Ping Yuan. Since he began teaching, he has held annual exhibitions of his students’ calligraphy to celebrate their progress and encourage them to continue developing their practice. 

The theme of the 2026 exhibition is “Beyond the Ordinary” (卓尔不群).  The character 尔 appears here as a variant of 爾, following the form found in the Cuan Longyan Stele, which students have been studying this term. 

The phrase 卓爾不群 originates in the Book of Han and describes exceptional talent, character, or accomplishment. It expresses Yuan’s hopes for his students: to grow beyond the ordinary through a deep grounding in tradition and years of patient cultivation. 

This pursuit does not mean seeking difference for its own sake or relying on clever flourishes. It calls for sustained attention to strokes, character structure, composition, and the expressive possibilities of brush and ink. By returning to the principles of the old masters and writing each day, students gradually bring their own temperament, learning, and understanding of life into their work. A personal style emerges—rooted in tradition, shaped by inheritance, and enriched by insight. 

“Beyond the Ordinary” is thus more than a celebration of difference. It speaks to the development of an artistic voice with its own foundations, depth, and character. 

Mr. Jung Ping Yuan has devoted many years to the study of both calligraphy and the guqin, the traditional Chinese seven-stringed zither. He believes these two arts share a profound and subtle affinity. 

“Calligraphy is music without sound; the qin is calligraphy given voice.” 

Each sweeping stroke, each gathering and release of the brush, echoes the rise and fall of qin melodies. Paper and ink, breath and movement, unfold with the rhythm of a musical phrase. Both arts unite the inner life with artistic expression, leaving traces of lived experience as time passes. 

Alongside works by Xixuan’s calligraphy students, the exhibition will feature a guqin gathering on opening day, Saturday, October 3, 2026, in collaboration with the 中華古琴學會 (Chinese Guqin Society). 

Through the meeting of qin music and the rhythms of ink, the gathering will explore the deep affinity between these two traditional arts. Visitors are invited to listen and look, experiencing the composure, restraint, and beauty of spirit embodied in the classical arts.