Pan Tianshou

Pan Tianshou

Pan Tianshou (March 14, 1897 - September 5, 1971), whose name is Dayi, signed his own name as a Shou and Shou. Modern painter and educator. He is from Ninghai, Zhejiang Province.

In 1915, he was admitted to the first normal school of Zhejiang Province and taught by Jing Hengyi, Li Shutong and others. After learning from Wu Changshuo, he took the post of FA Shitao and the Eighth National Congress of the Communist Party of China. He once served as vice chairman of China Artists Association and President of Zhejiang Academy of fine arts. Deputy to the first, second and third National People's Congress, member of the China Federation of literary and art circles, and honorary academician of the Soviet Academy of Arts and Sciences in 1958. His works include the history of Chinese painting, listening to the essays of Tiange painting, etc. Pan Tianshou died on September 5, 1971.

Life of the characters

Early painting

In 1897, he was born in Guanzhuang village, Ninghai County, Zhejiang Province.

In 1903, his mother died. In the summer of this year, I went to a village private school to study. Besides daily classes, he likes to write and is keen to copy the illustrations of novels such as Romance of the Three Kingdoms and outlaws of the marsh.

From 1915 to 1920, he studied in the first normal school of Zhejiang Province.

In the spring of 1920, he took part in the progressive learning tide of Zhejiang first normal university. Xia, graduated, went back to Ninghai to teach in high school. After work, I studied painting, calligraphy, poetry and seal cutting. For Zhao Pingfu (Rou Shi), he wrote Shulin Hanya and Wanshan Shuzhong.

In the spring of 1923, he taught in Shanghai women's Institute of technology of the Republic of China. Xia is also a teacher of traditional Chinese painting practice and theory in the Department of traditional Chinese painting of Shanghai Art College. I met Wu Changshuo, Wang Yiting, Huang Binhong, Wu Fuzhi and Zhu Qizhan, and the direction of painting was close to Wu Changshuo, which developed from unrestrained to profound. "Autumn wet dew" and so on. Change "Tianshou" to "Tianshou".

Compiling the history of painting

In 1924, he was a professor of Chinese painting.

In July 1926, he edited the history of Chinese painting. Published by the commercial press.

In the early spring of 1928, he was invited to be the director Professor of Chinese painting at Hangzhou National Academy of art and the instructor of the calligraphy and Painting Research Association. Since then, he has been living in Hangzhou. At the same time, he is also a teacher of Shanghai Art College and Xinhua art college.

In 1932, he published two episodes of Bai she painting collection and participated in the exhibition of recent works by professors of Xinhua art college.

In 1933, his works took part in the exhibition of modern Chinese painting hosted by Xu Beihong in Paris, France. From October 17 to 22, the second exhibition of Bai she was held in the auditorium of Central University. Revise the history of Chinese painting and compile the first draft of the history of Chinese calligraphy.

In 1936, the revised history of Chinese painting was reprinted and included in the University series. In August, the fourth exhibition of "Bai she" was held in Suzhou park library. He wrote "sleepwalking in Huangshan".

On April 1, 1937, Pan Tianshou's works "ink cat" and "running script vertical axis" were exhibited in the "Second National Art Exhibition" held by Nanjing Art Gallery. "The painting of Night Mooring on a river island" was exhibited in the sixth exhibition of Chinese Painting Association.

In 1943, he wrote a study of Chinese Painting Academy. The poems over the years were sorted out and published as "tingtian Ge Shicun". He wrote Qiuhan and xingshuhualun scroll.

Teaching career

From 1944 to 1947, he was the president of the National Academy of Arts,

After 1949, he successively served as vice chairman of China Artists Association, vice chairman of Zhejiang Federation of literary and art circles, chairman of Zhejiang branch of China Artists Association, vice president of East China branch of Central Academy of fine arts, President of Zhejiang Academy of fine arts, deputy to the first, second and third National people's Congress, and member of China Federation of literary and art circles.

In 1950, he served as the director of the "National Art Research Office" of East China branch of the Central Academy of fine arts. Together with Wu fuzhizhu, he acquired and identified a large number of folk paintings, classified them, mounted and trimmed them, enriched the collection of the Department, and provided sufficient intuitive teaching materials for teaching. He painted figure paintings, such as "actively striving for agricultural tax", "artists visiting poor farmers", "planting melons to tide over spring famine".

In 1955, he made a speech on the understanding of literary and artistic thoughts, and clearly put forward his own views on the development of national art. He wrote "a corner of lingyanjian" and "Meiyu Chuqing".

In 1957, he published the article "recalling Mr. Wu Changshuo" in the first issue of Fine Arts in 1957. In the first issue of art research in 1957, Wu Daozi's life survey was published, and in the fourth issue, who said "Chinese painting will be eliminated". He wrote about wild goose Dang Mountain flowers and Yingying mountains and waters.

In his later years

On April 1, 1959, he published "more beautiful paintings" in Wen Wei Po. He wrote the first draft of a brief history of flower and bird painting. He was invited to take part in the exhibition of "our contemporaries" held by the Soviet Union with his works such as vulture, canoe and jiangtianxinji.

In April 1961, at the "National Conference of liberal arts teaching materials for colleges and universities" in Beijing, he put forward the suggestion that the three subjects of Chinese painting department should be taught separately, and wrote the opinion that the three subjects of Chinese painting department should be studied separately.

In April 1962, he published "on Huang Binhong's achievements in landscape painting" in the October 1962 issue of Donghai magazine. For the Burmese Embassy in China.

On the new year's day of 1963, "Pan Tianshou's painting exhibition" was hosted by the Shanghai Art Association and the Chinese Academy of painting and exhibited in the Shanghai Art Museum. Under the leadership of Pan Tianshou and with the help of student Ma Jinliang (Jingliang), the Academy of fine arts officially established the Department of calligraphy and seal cutting.

In the spring of 1965, he went to Shangyu county with teachers and students to participate in the rural social education movement.

At the beginning of June 1966, when the "Cultural Revolution" broke out, he was imprisoned in a cowshed for three years.

At the beginning of 1969, he was escorted to his hometown Ninghai County and other places to fight. On the way back to Hangzhou, he wrote the last poem on the back of a cigarette case paper: "the cage is narrow, and the heart is as wide as heaven and earth. Right and wrong are weaved in luozhi. Since ancient times, there have been grievances. " In April, he was sent to work in the factory. As a result of heart failure caused by coma, sent to hospital rescue, after that bedridden.

In August 1970, due to lack of timely and serious treatment, severe hematuria occurred.

On September 5, 1971, Pan Tianshou died before dawn.

Main works

Artistic ideas

Brush and ink skills

Western Europe and the East are different in region, race and skin color, life style, temperament, customs and habits. Westerners say that there is no ink in nature, but Chinese painting uses ink to express objects. Ancient Chinese painted pottery uses ink to express objects. Wu Changshuo often uses ink and red to draw peony, which gives full play to the effectiveness of ink and makes its color change very complicated The contrast is strong, reaching the most incisive degree.

Qi Baishi said that "the beauty lies between resemblance and non resemblance", which is the characteristic of Chinese traditional art. Ink is the master of five colors, but if it needs to be matched with white, then it is clear. Laozi said: "know the white and keep the black. "In painting, we use pen to draw Qi, ink to draw rhyme, and focus, accumulate and break to draw massiness. This idea is known to MI Xiangyang in the Northern Song Dynasty. It is difficult for ink to wither, scorch, moisten and moisten. The key to using ink is to wither, scorch and moisten. Ink does not wake up, pen does not run through, wake up is clear and God, run is not stagnant, the two can not be neglected. Color is easy to be gorgeous, not easy to be quaint, ink is easy to be quaint, not easy to be vulgar. Ink and wash painting, can be appropriate shade, black and white phase, dry and wet phase, and colorful parallel Zhen, although colorless, better than color, five colors in one, better than green, yellow, red and purple. Light color is only for elegance, heavy color is only for ancient thickness. Knowing this, you can get the extreme state of using color.

Traditional Chinese painting teaching

Chinese painting has its unique tradition and style. Learning Chinese art should be based on Chinese methods. In the basic training of Chinese painting, the first two points for freshmen are as follows:

1、 We should concentrate on painting. Be determined to devote your life to art.

2、 Don't be prejudiced and learn from others.

The repetition of art is zero!

The learning methods are as follows: (1) to practice the technical basis of Chinese painting; (2) to pay attention to the assistance of poetry, calligraphy and stone; (3) to study the history of painting, painting theory, and appreciation of ancient calligraphy and painting; finally, to focus on the cultivation of moral character and mind. If you persist in it and do not seek quick success, you will be able to achieve it naturally.

The foundation is real life. On the one hand, it absorbs techniques to the ancients, and on the other hand refines the essence from the life of nature. Sketching from life should be written alive, not dead. Good works should be better than life.

Finger painting art

The paper and ink transportation of finger painting is quite different from that of stroke. This is the interest of finger painting and its evaluation. If you use your fingers as a tool to dazzle and boast, and your paintings are always similar to the strokes, why do you have your fingers?

Finger painting, suitable for capitalization, suitable for painting simple ancient theme. However, we must pay attention to simplicity but not simplicity, and write but not write, in order to get the length of finger painting. Otherwise, it is easy to fall into monotony and carelessness without any implication.

Finger painting is a side path, which has its own characteristics in the movement of fingers and ink, so it has not been abandoned since it was high and after the garden.

Zhimo is good at congealing and regenerating, which is difficult to be found in brush and ink.

Character evaluation

People's online review: "Pan Tianshou's paintings make people feel shocked; one is full of passion and interest of life, the other is full of spiritual tension and heroism. The former is based on natural revelation, while the latter is based on dedicated management. At the same time, he thinks that the mixing of Chinese and foreign art can promote the brilliant development of art, but his own creation insists on seeking new from the tradition itself all his life, and does not draw lessons from foreign factors. His style is different from that of Wu, Qi and Huang, which does not go beyond the unified circle of traditional materials, tools, ways of expression and aesthetic taste. Therefore, his pursuit of the grand, dangerous, strong aesthetic character, still does not come out of the traditional aesthetic category of "Magnificence", does not change from learning from the spirit of western culture to sublimity. He is

Chinese PinYin : Pan Tian Shou