曾淼源

他生長在臺灣東勢的書香世家。父親是古文老師，孩提時他便穿梭在堆滿文房四寶與線裝書的房間裡——筆、墨、紙、硯，是與童年同義的物件。

He grew up in Dongshi, Taiwan, in a household steeped in classical letters. His father, a teacher of classical Chinese, kept rooms heavy with thread-bound books — brushes, ink, paper, and inkstones were the furniture of his childhood.

十三歲開始臨池。十六歲那年，他自買紙筆，鄭重向父親提出要正式學習書法。自此，書法便成為他一輩子的功課。

He began calligraphy at age thirteen. At sixteen, he bought his own paper and brushes and formally asked his father to teach him. From that day on, calligraphy became his lifelong discipline.

早年的路並不順遂——他跟隨當地書法家劉財枝臨摩柳公權小楷與黃自元中楷，數年苦練卻不見突破。一度自創流暢的書體，於市集擺攤替人寫春聯。「看起來瀟灑自如、下筆如流，氣勢挺拔，」他後來如此自評那段歲月，「但自覺結構上虛而不實，難登大雅。」

The early years were not kind. He studied small-script Liu Gongquan and middle-script Huang Ziyuan under local calligrapher Liu Caizhi, drilling for years without breakthrough. He briefly invented his own fluent style and wrote spring couplets at street markets. "Free, sweeping, full of momentum," he would later say of that period — "but structurally hollow. Not yet worthy."

轉折在他遇見傅茂金的那一刻發生——「從隸書開始」這句話，「打通了我的任督二脈。」

The turning point came when he met master Fu Maojin. Begin with Clerical Script, Fu told him. The advice, he says, "unblocked the meridians" of his practice.

一九九〇年，他自臺灣移民溫哥華。一九九四年，於卑詩省創立源海畫框廠——以裱褙的手，繼續寫字的事。一九九七年，增設畫廊，「源海」從一張案台，變成一扇能被推開的門。

In 1990 he immigrated to Vancouver. In 1994 he founded Yuean Hai Framing & Art Gallery in British Columbia — using the hand that mounted to keep writing. In 1997 he opened the gallery wing. Yuean Hai grew from a single workbench into a door anyone could walk through.

五年沉澱、四十年功底。二〇一三年，曾淼源同時推出兩本書——一冊講「為何如此寫」（《醉墨賦學書法論》），一冊呈現「他寫得如何」（《曾淼源書畫精選》）。理論與實踐，雙軌並行。

Five years of writing, forty years of practice. In 2013, Tseng released two volumes side by side — one explains why the brush moves as it does (On Drunk Ink), the other shows what the brush has done (Calligraphy of Tseng Miao-Yuean). Theory and proof, in matched binding.