詹秀蓉，1956年出生於新竹縣關西鎮淳樸的傳統客家農村。自幼家境清寒，惟對書法情有獨鍾，每日堅持苦練；婚後養兒育女之餘，仍力學不怠，視書法研究為每日必修之課業，更融入圖畫設計元素及多元化書寫素材，創造出許多令人歎為觀止的作品。

初始之時的詹秀蓉，奮鬥過程困難重重、經濟拮据，社會人士反應不一。丈夫江慶順更於1989年突然罹患鼻咽癌住進醫院，此一重大打擊曾經令詹秀蓉束手無策，惶惶頹喪至極。為減輕丈夫的病痛，詹秀蓉聽從親友的慰勉，全心投入佛經的抄寫。她虔誠信奉佛祖，日夜勤念經文、抄寫佛經，每日十幾個小時不休息。此外，先生在病中無視於自己身上的病痛，不斷地安慰鼓勵詹秀蓉：「生命的真正意義不在它的長度，而是在於它的深度」、「生活的目的不在富有，而在於充實」乃能重獲生機再出發。

為突破傳統書法的窠臼，詹秀蓉發揮想像力和創造力，融入國慶典禮的排字表演概念，及人像素描的設計方式，創造出空前的「鏤空」和「細字」書法作品；同時採用多元化的書寫素材，雞蛋殼、貝殼、牙籤、陶瓷、竹片、石頭等，無一不為詹秀蓉的毛筆所征服，化成一件又一件的大作。曾榮獲「世界傑出風雲人物金像獎」殊榮的詹秀蓉，以書法藝術聞名於世。尤其她的鏤空細字書法、多元材質書法、芒雕細字書法，更被譽為當代「書法三絕」。

逐漸地，詹秀蓉的理想、抱負與成就，獲得各界之認同與嘉勉。她不計寒暑、朝夕勤修，十多年來經常在美國、台灣、大陸舉行書法巡迴展，並出國展出百餘次；作品曾在日本、韓國、菲律賓、香港、加拿大、美國等獲獎無數，被譽為「曠世奇才女書法家」。並多次協助書藝界結合各國藝術組織，舉辦文化交流展覽，積極參加兩岸文化交流活動。

在兩岸共同譜寫新歷史的今天，詹秀蓉的故事和書法作品同樣被寫進了歷史。2008年，台灣書法家詹秀蓉耗時七天七夜，以純金書法完成「和平協商，共創雙贏」之鏤空作品，作為海基會董事長江丙坤贈與海協會會長首訪台灣的見面禮；2013年，詹秀蓉完成「功在兩岸」純金鏤空作品，感謝卸任的海協會陳雲林會長，對兩岸和平發展的貢獻。這兩幅作品是極具歷史意義的作品，詹秀蓉用書法藝術，見證了兩岸伸出友誼之手。

即使在藝術界已經有相當大的成就和地位，詹秀蓉依然抱持著「我的成就來自大家的成全，只要有能力我就一定要回饋給社會大眾」的心情，期盼在推廣中華書道藝術的同時，能夠早日成立「詹秀蓉藝術館」，讓更多人透過佛經書法，體會生命慈悲的本意，從而達到覺悟的境界。不斷弘揚中華文化的詹秀蓉，衷心希望自己能為社會的溫馨祥和多盡一份心力，除了將書法藝術和佛法慈悲平等之精神發揚光大，同時也幫助更多人找到歡喜自在的淨土。

Ms. Jan was born in 1956 in a rustic, traditional Hakka farming village in Guanxi Town, Hsinchu County to a poor family. At an early age, she found her passion in calligraphy. She practiced diligently every day; even after she became married and gave birth to her children, she still strived to refine her calligraphy skills. She sees studying calligraphy on a daily basis as an essential part of her life. Later on, she would use calligraphy as a component of drawing-design and onto a variety of media to create astonishing works of art.

At the beginner of her career, Ms. Jan encountered daunting challenges and financial difficulties in her struggle to become a calligrapher, as her works received mixed reactions from the public. Unfortunately, Ms. Jan’s husband, Mr. Jiang Qing-shun, was hospitalized in 1989 for nasopharyngeal carcinoma, a devastating tragedy that left her hopeless and distraught. In hope of alleviating her husband’s pains, she heeded the advice of her friends and relatives by committing to the transcription of Buddhist scriptures. By devoting herself to Buddhism, she recited and transcribed Buddhist scriptures for many hours each day without rest. Despite his physical ailment, her husband support and encouragement to Ms. Jan never wavered. He told her, “The true meaning of life is not about its length but rather its depth. The purpose of life is not to become wealthy but to live life to the fullest.” With his words serving as motivation, she gained the strength to again pursue calligraphy.

In an effort to break away from the conventions of traditional calligraphy, Ms. Jan unleashed her imagination and creativity by infusing the concept of portrait sketch design inspired by the National Day parade to create unprecedented fretwork and fine print calligraphy works. At the same time, Ms. Jan applied calligraphy to unconventional and diverse media such as egg shell, seashell, toothpicks, pottery, bamboo, and stone, among others, to create numerous masterpieces. A former recipient of “World’s Outstanding Person of the Year Award”, the honor was bestowed on Ms. Jan for her world-renowned excellence in the art of Chinese calligraphy. Ms. Jan’s epic calligraphy works are so famous that three of them in particular were named the “Three Superb Masterpieces of Calligraphy”.

Gradually, Ms. Jan’s aspiration, ideals and accomplishments are being recognized and praised by the public. For over a decade, she frequently held exhibition tours in USA, Taiwan and China, and her works have been exhibited over 100 times elsewhere overseas. Ms. Jan has received countless awards in Japan, Korea, Philippines, Hong Kong, Canada, and the US. She is hailed as the “Woman Calligraphy Extraordinaire”. Furthermore, she has bridged collaborations between the calligraphy circles and arts organizations from various countries and organized cultural exchange exhibitions on numerous occasions, and actively partakes in cross-strait cultural exchange events.

Her story and her calligraphy have been written into history as the cross-strait interactions between Taiwan and Mainland China have become more and more frequent and evident, and today’s historical condition is fabricated mutually by both Taiwan and Mainland China. In 2008, Taiwanese calligrapher Ms. Jan Hsiu-jung spent seven days around the clock to complete the fretwork calligraphy in pure gold lettering entitled “A Peaceful Negotiation Creates a Win for All”. Ms. Jan gifted the creation to Mr. Chiang Pin-kung, the chairman of Straits Exchange Foundation (SEF) to be used as a welcoming gift to Mr. Chen Yun-Lin, the chairman of Association for Relations Across the Taiwan Straits (ARATS) during his maiden visit to Taiwan. In 2013, Ms. Jan created another pure gold fretwork entitled “Cross-strait Achievements” for SEF as a parting gift to Mr. Chen Yun-Lin, as his term in ARATS was coming to an end, to express gratitude for all of Mr. Chen’s contributions in promoting peaceful cross-strait relations. The two artworks are historically significant, as Ms. Jan, through the art of calligraphy, witnessed first-hand the building of the cross-strait friendship.

Despite achieving prominence and status in the arts world, Ms. Jan, in her own words, still believes that “My accomplishments are attributed to everyone’s support, and I will contribute back to the society as long as I am able to do so.” While promoting the art of Chinese calligraphy, she hopes someday she can establish the “Jan Hsiu-Jung Arts Museum”, a museum dedicated to the Buddhist teaching of compassion and attaining enlightenment through Buddhist scripture calligraphy. A tireless advocate of Chinese culture, Ms. Jan hopes that her contributions will foster peace and harmony in the society and at the same time, help others to discover personal happiness and freedom.