Lanting Gathering IV — Free Expression Between Heaven and Earth: The Joy of Creation Tai‑Le Cheng and Chairperson Cheng‑Shu Kao Complete an On‑site Co‑creation

Continuing the spirit of last academic year’s “Lanting Gathering,” which brought together distinguished scholars each month to share their rich life experiences and perspectives on university education, the first session of this semester was launched on November 3 with “Lanting Gathering IV — Free Expression Between Heaven and Earth: The Joy of Creation.” Chair Professor Tai‑Le Cheng was invited to give a special lecture, presenting “Wine Cup Tilts, Heaven and Earth Forgotten,” the first time this work had ever been publicly exhibited. The theme echoed Chairperson Cheng‑Shu Kao’s philosophy of finding “joy” within one’s pursuits. Cheng generously shared the essence of his lifelong artistic journey with attending professors and guests. A series of classic works were displayed on site, each accompanied by Cheng’s explanation of the profound meanings behind their creation. Every participant experienced an immersive aesthetic feast and gained deeper insight into the vitality and emotion that Cheng imparts to his artistic creations.

At the beginning of this artistic journey, Cheng affectionately recounted how he first encountered art. He entered the Department of Fine Arts at National Taiwan Normal University with the second-to-last choice on his preference list—a lighthearted anecdote contrasting the fact that most of his classmates had chosen Fine Arts as their top priority. It turned out to be a fortunate “mistake,” as his score happened to be just right for him to step into the world of art. Cheng then showcased his diverse works through different categories, including multimedia, enamel, ink painting, calligraphy, ceramics, and seal carving. His renown as a master calligrapher precedes him: his bold, powerful brushwork—whether expressed with only a few strokes or across large-scale compositions—radiates an extraordinary vigor. He emphasized that calligraphy is both form and meaning, and that continuous experimentation and innovation are essential. He stated, “One challenge an artist cannot avoid—especially for a calligrapher—is striving for innovation in the shaping of characters and spatial composition, allowing the viewer to appreciate not only the beauty of written forms but also the unique painterly quality of calligraphic brushwork.”

Chair Professor Tai‑Le Cheng centered his lecture on the theme “Wine Cup Tilts, Heaven and Earth Forgotten.” The series of classic works exhibited on-site offered every attendee a truly immersive aesthetic experience.

Chairperson Cheng‑Shu Kao also shared his thoughts during the event. Although Feng Chia University does not have an art-related academic department, the cultivation of aesthetic sensitivity and taste transcends disciplinary boundaries. The invitation for Cheng to join Feng Chia resulted from several serendipitous encounters, as well as the efforts of Professor Shih‑Chiung Hsiao, to whom Kao expressed gratitude for fostering this meaningful connection. Kao concluded by inviting Cheng to write the four characters “Feng Chia University” for the future Shuinan campus—works that will accompany the university community just as the inscription created 60 years ago by Master Gao Ren‑Yen continues to do.

A special surprise awaited participants at the end of the event: a co‑creation experience. All attending professors were invited to move to the Chinese Character Culture Center on the first floor of the Main Library. Chairperson Cheng‑Shu Kao was first asked to draw two spontaneous strokes on a blank sheet of xuan paper. From these two simple marks, Cheng immediately conceptualized and completed an on‑site calligraphy work titled “A Mustard Seed Containing a Mountain.” Next, more than ten attending professors were each invited to contribute a stroke—be it a curve, circle, dot, faint mark, or bold line—on a second blank sheet of paper. It was agreed that Cheng would later integrate these individual contributions into a single collective artwork unique to Feng Chia University. His profound artistic mastery left everyone eagerly anticipating the next Lanting Gathering.

Using the two spontaneous strokes drawn by Chairperson Cheng‑Shu Kao as his starting point, Tai‑Le Cheng improvised on the spot, skillfully developing the idea and completing a calligraphy work titled “A Mustard Seed Containing a Mountain.”

Before beginning the collective creation, the attending professors and guest speakers gathered for a group photo. They looked forward with great anticipation to the next Lanting Gathering, hoping to witness Tai‑Le Cheng transform these contributed strokes into a one‑of‑a‑kind collaborative artwork.

Professor Cheng’s accomplishments in calligraphy and art have long earned admiration from across various fields, and the affectionate title “Grandpa Cheng” (Le‑ye) is both well‑deserved and endearing. Born in Taipei in 1957, Cheng holds a master’s degree from the Graduate Institute of Fine Arts at National Taiwan Normal University and a Ph.D. from the School of Plastic Arts at Beijing Central Academy of Fine Arts. He previously served as Chair of the Department of Fine Arts at National Taiwan Normal University and has been a judge for major art exhibitions. He has received numerous honors, including the 22nd Zhongxing Arts and Literature Award in Calligraphy and First Prize in Calligraphy at the National Art Exhibition. His ink paintings and calligraphy works have been collected by major art museums nationwide. His calligraphy thesis, “A Study on the Style of Wild Cursive Script,” received an award from the Taipei Fine Arts Museum. He has also held multiple exhibitions in Yingge, exploring new possibilities by integrating calligraphy and ceramic art. With over 40 years dedicated to art education and creative practice, Cheng possesses both profound theoretical grounding and exceptional technical skill. His ever-evolving style and fearless innovation have opened new horizons for contemporary calligraphy and painting.