Pan Tianshou (1897-1971), the word Daxie, self-administered A Shou, Shou. Modern painter and educator. Ninghai people in Zhejiang.
In 1915, he was admitted to the First Normal School of Zhejiang Province, and was taught by Henry and Li Shu. His freehand flower and bird beginner Wu Changshuo, after taking Shi Shitao, Bada, served as the vice chairman of the Chinese Artists Association, dean of the Zhejiang Academy of Fine Arts. He was a member of the First, Second and Third National People's Congress and a member of the China Federation of Literary and Art Circles; in 1958 he was appointed as an honorary academician of the Soviet Academy of Arts. He is the author of "The History of Chinese Painting" and "Tian Tian Ge's Paintings and Essays".
In 1897, he was born in Guanzhuang Village, Ninghai County, Zhejiang Province.
In 1903, the mother died. In the summer, I went to the village to study privately. Outside the day of the article, I like to write, and I am enthusiastic about the novels such as Linyi’s Romance of the Three Kingdoms and The Water Margin.
From 1915 to 1920, he studied at the First Normal School in Zhejiang Province.
In the spring of 1920, he participated in the advancement of Zhejiang University. Xia, graduated, and returned to Ninghai to learn high school teaching. After work, I study hard, study, calligraphy, poetry, and engraving. For Zhao Pingfu (Ruo Shi), "Sparse Jackfruit" and "Snow in the Mountains".
In the spring of 1923, he taught at the Women's School of the Republic of Shanghai. Xia, also serves as a teacher of Chinese painting and theory classes in the Chinese Painting Department of Shanghai. Meet Wu Changshuo, Wang Yiting, Huang Binhong, Wu Yuzhi, Zhu Qizhan, and the style of painting is close to Wu Changshuo. From the original swaying to the deep development. As "Autumn Wet Dew" and so on. Change "Tianzhi" to "Tianshou".
Write a history of painting
In 1924, he served as a professor of Shanghai aesthetics and began to compile the History 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 professor of Chinese painting at the National Art Institute of Hangzhou and the instructor of the Painting and Calligraphy Research Association. Since then, I have been living in Hangzhou. At the same time, he is also a teacher of Shanghai Meizhu and Xinhua Art College.
In 1932, he published the second episode of "Baishe Painting Collection" and participated in "Xinhua Art College Professor's Recent Exhibition".
In 1933, the work participated in the "Chinese Modern Painting Exhibition" hosted by Xu Beihong in Paris, France. From October 17th to 22nd, the second exhibition of "Baishe" was held in the Auditorium of the Central University. Revise "The History of Chinese Painting" and compile the first draft of "History of Chinese Calligraphy".
In 1936, the "Chinese Painting History" was revised and reprinted and included in the "University Series". In August, the fourth exhibition of "Baishe" was held at the Suzhou Park Library. As a "dream tour Huangshan."
On April 1, 1937, Pan Tianshou's works "Ink Cat" and "The Book of Verticals" were exhibited at the "Second National Art Exhibition" held at the Nanjing Art Exhibition Hall. "Jiangzhou Night Park Map" was exhibited at the "6th Exhibition of Chinese Painting Society".
In 1943, he wrote the "Chinese Painting Academy Examination". Organize the poems of the past years and compile them as "Tian Tian Ge Poetry". For "Autumn Festival", "Handwriting and Handwriting".
From 1944 to 1947, he served as president of the National Art College.
After 1949, he served as Vice Chairman of the Chinese Artists Association, Vice Chairman of the Zhejiang Federation of Literary and Art Circles, Chairman of the Zhejiang Branch of the American Association, Vice President of the East China Branch of the Central Academy of Fine Arts, and Dean of the Zhejiang Academy of Fine Arts, and was the First, Second and Third National People's Congress Representatives. Member.
In 1950, he served as director of the "National Art Research Office" of the East China Branch of the Central Academy of Fine Arts. Together with Wu Haozhi, he purchased and identified folk Tibetan paintings in large quantities, sorted them into books, decorated them, and enriched the collections of the departments, providing a full visual teaching material for teaching. He is a figure painting, "The eagerness to pay the agricultural tax", "the literary and art workers visit the poor and employ the farmer", and "the spring and autumn of the melons."
In 1955, the speech "The Experience of Literary and Artistic Thoughts" clearly stated his own ideas for the development of national art. For "The Corner of Lingyan" and "The First Rain of Meiyu".
In 1957, in the first issue of "Art" 1957, "I recalled Mr. Wu Changshuo". In the first issue of "Art Research" in 1957, "Overview of Wu Daozi's Life" was published. In the fourth issue, "Who said that Chinese painting must be eliminated". Make "Knocking Yandang Mountain Flower" and "Yingying Mountain Water".
On April 1st, 1959, he published "There is a more beautiful picture" in Wenhui Daily. Write the first draft of "A Brief History of Flower and Bird Painting". He was invited to participate in the exhibition "Our Contemporaries" held by the Soviet Union with works such as "Eagle", "Small Boat" and "Jiangtian Xinyu".
In April 1961, at the "National College of Arts and Sciences Textbook Conference" in Beijing, he proposed the teaching of the characters, landscapes, flowers and birds in the Chinese painting department, and wrote "Opinions on the three subjects of Chinese painting, landscapes, flowers and birds should be divided into subjects." .
In April 1962, in the October 1962 issue of "Donghai" magazine, "The Achievements of Huang Binhong's Landscape Paintings" was published. For the Myanmar Embassy in China, "Rain".
On New Year's Day in 1963, "Pan Tianshou Art Exhibition" was hosted by Shanghai Artists Association and Chinese Painting Institute and exhibited at the Shanghai Art Museum. Under the auspices of Pan Tianshou, students Ma Jinliang (King Liang) and other help, the Academy of Fine Arts officially established the calligraphy engraving department.
In the spring of 1965, the teachers and students of the school went to Shangyu County to participate in the rural social education movement.
At the beginning of June 1966, the "Cultural Revolution" broke out and was imprisoned for three years in the cowshed.
At the beginning of 1969, he was taken to his hometown of Ninghai County and other places to fight. On the way back to Hangzhou, he wrote the last poem on the back of a cigarette shell paper: "There is no such thing as a narrow cage, and the heart is wide and wide. The right and wrong are in Luozhi. "In April, I was forced to work in the factory in a serious illness. Due to heart failure caused by coma, sent to hospital for rescue, then bedridden.
In August 1970, severe hematuria occurred due to lack of timely and serious treatment.
On September 5, 1971, Pan Tianshou died before dawn.
Ink and ink skills
Western Europe differs from the East in different regions. People's skin color is different. Lifestyle, temperament, and customs are different. Westerners say that there is no ink in nature, but Chinese painting uses ink to express objects. Ancient Chinese painted pottery is expressed in ink. Wu Changshuo often paints peony in ink and red, giving full play to the efficacy of ink color, making the color change very complicated, and the contrast is strong, reaching the fullest extent.
Qi Baishi said that "the difference between seemingly and not like" is the pursuit of the gods, not the appearance of the surface, which is the characteristic of Chinese traditional art. Ink is the master of the five colors, but it must be white, and it is clear. Lao Tzu said: "Knowledge the white to keep the black." Painting things with pens to take qi, with ink to take rhyme, with focus, product, and take heavy. This is the meaning of the Northern Song Dynasty. It is difficult to use the ink to dry, focus, moist, and wet. It must be dried and burned, and it can be moisturized without being smeared. If the ink is not awake, the pen will not be transported, and if it is awake, it will be clear and have a god. If it is transported, there will be no stagnation. The color is easy to be gorgeous, not easy to be quaint, easy to be quaint, easy to be popular, and with ink color, it is difficult to use color. Ink painting, can be light and decent, black and white, dry and wet, and Bai Cai, although colorless, better than color, five colors are free, better than Qinghuang Zhu Ziyan. Light color only seeks to be clear, heavy color only seeks ancient, knowing this, you have to use the extreme of color.
Chinese painting teaching
Chinese painting has its own unique traditions and styles. Learning Chinese art should be based on the Chinese approach. The basic training of Chinese painting, the first thing to talk about for new students is:
First, we must concentrate and study hard. Be determined to dedicate yourself to art for a lifetime.
Second, there must be no prejudice, and learn from others.
The repetition of art is equal to zero!
The learning methods are generally: (1) the training of the basics of Chinese painting technology; (2) the attention of the gold and stone of the poetry and calligraphy method; (3) the examination of painting history, painting theory, and the appreciation of ancient paintings; the final focus, in morality Self-cultivation with the chest. Perseverance, not quick, naturally can make the water come true.
The foundation is real life. On the one hand, it absorbs the techniques from the ancients, on the other hand, it extracts the essence from the life of nature. Sketching should be written alive, not dead, and good works should be better than life.
Finger painting art
The ink on the fingertips is different from the strokes. This point refers to the interest of the head painting, that is, its evaluation. If you use the finger as a tool to make a dazzling and exaggerated tool, and each stroke is similar to a stroke, why does He Gui have a finger painting?
Finger painting, suitable for capitalization, is suitable for painting the theme of Jane. However, it is necessary to pay attention to the simplicity and simplicity, and not to write, in order to get the length of the finger painting. Otherwise, every easy to fall in monotony has no ambiguity.
Finger painting is a side-by-side path, and there is no special in the transportation of the ink. Therefore, since the high garden, it has not been scrapped.
It means that the ink is so strong that it is hard to get the ink.
People's Network Review: "Pan Tianshou's paintings make people feel shocked; one is filled with the emotions and tastes of life, a spirit of tension and pride. The former is based on natural excretion, the latter is deliberately operating. His life struggle At the same time as the ups and downs of Western art thoughts on Chinese art, he believes that the mixed art of Chinese and foreign art can promote the splendid development of art, but his own creation has insisted on finding new things from the traditional self and not drawing on the external factors. The difference between his style and Wu, Qi and Huang does not exceed the unified circle of traditional materials tools, expressions and aesthetic tastes. Therefore, the heroic, singular and powerful aesthetic character he pursues remains unseen. The traditional aesthetic category of "magnificence" has not been converted to loftyness by drawing on the spirit of Western culture. He is the last master of traditional painting that is closest to the modern era."
Phoenix Net Review: "Pan Tianshou is good at freehand flowers, birds and landscapes, and occasionally characters. You are good at painting eagle, starling, fruits and vegetables, pine, plum, etc. The pen is bold and dyed. The ink is criss-crossed, the composition is fresh and beautiful, and the momentum is magnificent. The picture is agile and fascinating. Pan Tianshou's painting themes include eagle, lotus, pine, four gentlemen, landscapes, figures, etc. Everything must have a strange situation, balance in structural risk, shape can be streamlined and far-reaching."