Only afraid of the thorn bushes traveling too fast,
A fall must prevent falling into a deep valley,
Shou Hu Shou Shu Shu Shu
Today, why do we still commemorate Mr. Pan Tianshou? Because he is a peak of art; his artistic views still have strong enlightening and warning significance; fewer and fewer people really understand his art education ideas. And his advocacy, his creativity, his sense of mission and self-consciousness, are all things that we are missing now. This is to let the latecomers take the peak as a mirror, take the peak as the direction, look up and climb over, and create a new peak of Chinese art.
In 1963, Pan Tianshou gave a lesson to the students of the Flower and Bird Class of the Department of Chinese Painting
The understanding of Pan Lao cannot be limited to the small circle of art, he himself said: "I have been a teacher all my life, and painting is only a side job." It can be seen how much he attaches importance to education. The most fundamental thing, he considers how to promote the overall development of Chinese culture through education and creation, he said, "The art of a nation is the crystallization of a national spirit." Therefore, the revitalization of national art is closely related to the revitalization of the national spirit. "So today we're going to understand him from a much bigger perspective.
Around 1940, in Bishan, Chongqing, Mr. Pan Tianshou said to the students: "We are trying to save the country, there is nothing we can do, only like Tagore - culture to save the country." You are still young, you must work with me to study the national culture assiduously, strive to climb the peak, and develop from generation to generation, even if China dies, our national culture will still have successors. From this passage, it can be seen that Mr. Pan Tianshou has always embraced the determination and courage to revitalize China with national art, as well as the peak consciousness of artistic creation. He demanded himself, students, and education with peaks, and insisted on his confidence in national culture all his life.
In 1938, Pan Tianshou (front row, second from right) and Li Lincan and other students were photographed at the gate of the Yuanling National Art College
There are three characteristics in Pan Lao's body that we are most missing now:
The first is a strong sense of mission and responsibility, that is, the spirit of joining the WTO, to take responsibility and contribute to this society, rather than hiding in small buildings to become unified. Throughout the social development of the 20th century, the majority of people were often wrapped up in the social and political wave of the group, and it was difficult to sustain themselves, and only a very small number of people with a strong temperament and independent thoughts maintained a sober mind and a long-term determination. When traditional art was coldly received and criticized, Mr. Pan Tianshou never wavered his academic heart, he always eliminated difficulties and fought for the development of national art.
Manuscript of Pan Tianshou's "Zhiyin Tan Cong" 1944-1945
The second is not to care about fame and fortune, but we must transcend it artistically. During the Cultural Revolution, he was escorted back to his hometown of Ninghai to criticize the struggle, and on the way back to Hangzhou, he wrote his last poem behind a cigarette shell he found, one of which was "Repentance and shallowness in joining the world, and the pain of escaping from fame." In the deepest part of Wanfeng, drinking water has a career. "Throughout his life, he has lofty ambitions, has the world in mind, and has always devoted himself to the cause of national art with a practicing attitude, not pursuing fame and fortune, and not considering personal gains and losses." This is the Confucian responsibility of "knowing what cannot be done.". But in the midst of grievances, he transcends a lonely, painful sense of personal existence and points to a natural contemplation of detachment, expanse, and freedom. What he left to posterity is a great book of life that is worth reading deeply!
Pan Tianshou's manuscript of "The Severe Winter of Self-Unitary Was Dismantled by the Hometown of the Critics of the Dou Shi Tu Cheng"
The third is creativity, he always has to create art that can compete with other paintings, he has talent, self-taught, can finally achieve the ideal, but now many people have talent but lack a sense of mission and responsibility. Pan Tianshou was the true innovator of his time. We hope that the exhibition will present such a kind of courage to consciously create a consciousness based on tradition, to break through consciousness, and to constantly deny and renew itself. We also hope to show how a truly creative master of art has gone from the initial willful disposition to returning to tradition, and then breaking out of the cocoon, and then grasping the reform propositions of the times and society, and establishing a personal style and artistic height on the basis of respecting the ontology of art.
Pan Lao is not opposed to the integration of Chinese and Western painting, he advocates that it cannot be casually integrated, but must be academic and under rational thinking. Unlike Dong Qichang, Dong Qichang was facing the problems of the North and the South Sect, and he was facing the problems of the East and the West. The art he wants to create is different from both the ancients and the West. He is very modern, but instead of forgetting the aesthetic requirements of traditional pen and ink, he has promoted it again on the basis of Wu Changshuo Jinshi's paintings, pushing the aesthetic taste of pen and ink to a more domineering height and creating a powerful pattern with visual impact.
Pan Tianshou's "Qingxia Tu" 1960s
In fact, the problems we are facing are all the problems of contemporary Chinese picture pairs. But now the problems encountered in Chinese painting are worse than 20 or 30 years ago or in the era of Mr. Pan Tianshou, why? Because creation and education seem to be very prosperous, but the value of art is out of line, the standard of innovation is out of line, resulting in a chaotic situation of mixed fish and dragons, good and bad, which also causes the so-called masters to fly everywhere.
Many people have a number of this problem in their minds, but intentionally or unintentionally the water is mixed. Who suffers after the water mixture? It is ordinary people, because they do not know which is good and which is bad, and if the professional community does not play a guiding role, it is a dereliction of duty. As a famous calligraphy and painting museum, our responsibility is to make good use of resources to clean up the source, rather than standing idly by.
Pan Tianshou,"A Screenshot of Xiaolong Huan", 1960
In contrast, in Pan Lao's time, life may not be as good as it is now, the political environment is worse, and the limitations are greater, but why can he so resolutely and insist on proposing the theory of "opening up the distance between Chinese and Western painting" and proposing "two major peaks"? Pan Lao's sense of mission and rational thinking are what we lack most now.
Some things have to be upheld, but they must have a contemporary vision. Pan Lao adheres to the style, style and pattern, and also creates the best works of the times in the modern sense. At present, some people who paint Chinese paintings blindly follow the popularity of the Ming and Qing dynasties, which is not a reflection of contemporaryness.
Pan Tianshou was born in Ninghai Guanzhuang "and new residence" East Dafang
Pan Tianshou was born here on March 14, 1897 (the twelfth day of The Twelfth Month of Ding You). His father, Pan Bingzhang, known as Mr. Da Pin or Da Pin Gong, was admitted to Xiucai at the age of 26 and was elected as the township director and township chief of Guanzhuang for more than 30 years, and was elected as a county senator. In addition to the housework, the mother can also be used in ancient poems to tell the story to the child. The skillful mother will also tailor herself and cut paper and embroider flowers. Pan Tianshou received the first enlightenment from his parents.
The plaque on the middle hall of the private school where Pan Tianshou attended
At the age of 7, Pan Tianshou began to receive an old-fashioned education in a private school, when he liked to write, draw, and engrave stamps. Pan Tianshou laid a solid foundation in Sinology here, which was an important foundation for him to understand and carry forward traditional Chinese culture and art in the future.
The former site of Ninghai Zheng and other higher primary schools
In 1912, at the age of 16, Pan Tianshou graduated from elementary school and entered the Ninghai County Higher Primary School with excellent grades. The school was the highest institution in Ninghai County before the Xinhai Revolution, and was formerly known as "Wenchang Academy". Later, in honor of Fang Xiaoru, it was renamed "Zhengyi Higher Primary School", also known as "Zhengyi Higher Primary School"
The bell tower and courtyard of Zhejiang Provincial First Normal School
Zhejiang Provincial First Normal School was formerly known as Yangzheng Shushu founded by Hangfu Taishou Lin Qi in 1899. The principals and teachers of the "First Division" have deep roots in the old learning and promote a new culture, so this is a school with active academics, the integration of East and West, tolerance and openness. The atmosphere it provides has created a group of students who dare to be the first.
Jing Hengyi, the principal of the "First Division", is a democratic educator who returned from studying in Japan, advocating "personality education" and leading by example, teaching students according to their aptitudes, re-inspiring and reforming, and opposing suppression and restraint. It focuses on cultivating students' moral education, with the four words of "diligence, prudence, sincerity and forgiveness" as the school motto; at the same time, it pays attention to aesthetic education, and combines this with morality, intellect and physique as "four educations", focusing on the all-round development of students, with the aim of cultivating talents with both virtue and knowledge.
The content of the "First Division" class is all Western painting system, and Li Shutong, who returned from Studying Western Painting in Japan, opened the first body sketching class in the "First Division". Pan Tianshou feels that his personality is extensive, and he is also influenced by Chinese freehand painting, and feels that Western painting requires the accuracy of the image, the light is dark and real, and he feels constrained and unhappy, so it is not his own interest, so he still focuses on self-study. But Li Shutong's vision and artistic style have a great influence on him. In the summer of 1920, Pan Tianshou graduated from the Provincial First Normal School, and Li Shutong gave him a poem: "There is no ancient person to learn, there is no law to be able to do; it is like an ancient, where am I?" Later, Pan Tianshou had the idea of becoming a monk because he could not bear the world. Later, after being dissuaded by his teacher Master Hongyi, he was exempted from cutting his hair and becoming a monk.
Pan Tianshou wrote the "Five Leaves Flowing Fang" plaque when he was 24 years old
Pan Tianshou joined the seal engraving research organization "LeShi Society" (later renamed "Sending Society") in the "First Division". In the third and fourth grades, Pan Tianshou was already a main member of the seal engraving team. He is also known for his proficiency in calligraphy. Students buy paper to make screens, strips, couplets, and there are several cases every day.
Pan Tianshou in the Shanghai period
In 1924, Pan Tianshou resigned from teaching at the Minguo Girls' Technical School in Shanghai and was hired as a professor at shanghai art college. He taught Chinese painting techniques and the history of Chinese painting, and has never left China's art education career.
"Bald Monk Figure"
After graduating from the "First Division" in the summer of 1920, Pan Tianshou returned to his hometown of Ninghai and taught in Ninghai and Xiaofeng (now Anji). The remote and isolated countryside is not conducive to the improvement of artistic vision and level, and Pan Tianshou's "Bald Monk Diagram" made in 1922 was titled: "Write this bald head in a body of troubles", revealing the bitterness of being guided by no famous teacher in the countryside and unable to break through art.
In 1923, Pan Tianshou was introduced by Chu Wenyun and met Wu Changshuo, and since then he has often visited the Wu family for advice. Wu Changshuo's exhortations and points made Pan Tianshou realize that Chinese painting could not last long just by relying on talent, so he honestly converged on his relatively rough and majestic painting style in his early years, and started from Wu Changshuo's painting method, from the aspects of pen and ink, composition, and artistic conception. This effort to go deep into tradition laid a solid foundation for him to finally break away from the influence of Wu Feng and find and establish his own artistic outlook after a few years.
Classroom teaching in the Department of Chinese Painting at Shanghai Academy of Fine Arts
Pan Tianshou and Zhang Zhenduo took a group photo
In October 1938, when Hubei was in a state of emergency and Changsha was on fire, the National Art College decided to move from Yuanling, Hunan to Kunming. Pan Tianshou was ill because of his wife's illness, so he sent his family back to his father-in-law in Zhejiang (Jinyun), and then chased zhang Zhenduo back to the school, encountering an air raid on the way, and had to take a detour from Hanoi to Kunming. In the winter of 1939, the National Art College was ordered to evacuate from Kunming to Anjiang Village, Chenggong County, on the shore of Dianchi Lake, and borrowed the five ancient temples in the village as a school building. Pan Tianshou lived in the same room with Wu Mozhi and Zhang Zhenduo.
Pan Tianshou's residence in Yuanling, Hunan during the War of Resistance Against Japanese Aggression
Anjiang Village, Chenggong County, Kunming, was relocated by the National Art College in 1939
During the War of Resistance Against Japanese Aggression, social unrest and school displacement, Pan Tianshou and his colleagues in the National Art College overcame practical difficulties and devoted themselves to teaching. In February 1939, at the suggestion and insistence of Pan Tianshou, President Teng Gu submitted to the Ministry of Education for approval the establishment of two sections of Chinese and Western painting, and established the Western Painting Group and the Chinese Painting Group. Pan Tianshou served as the director of the Chinese painting group. After the teaching of Chinese and Western painting, students generally learn the basic knowledge and basic skills of Chinese painting in the first year, and learn landscapes, flowers, birds and figures at the same time, and the second and third years are divided into landscape and flowers and birds. At this point, the ten-year teaching of the Chinese and Western Painting Department of the National Art College began to end
Pan Tianshou in the 1940s
In 1940, the National Academy of Arts set off a wave of students again, and the director of academic affairs, Fang Ganmin, was dismissed, and Pan Tianshou was the director of academic affairs. In July, President Teng Gu resigned due to illness (died of illness the following year), and the Ministry of Education appointed Pan Tianshou as the acting principal.
Documents rearranged in 1956 for Pan Tianshou and other old gentlemen
In June 1956, the Ministry of Culture sent a letter urging the school to change its unfair treatment of Pan Tianshou and others.
Faculty and teaching arrangements of the Department of Chinese Painting
Cancel chiaroscuro sketching and replace it with white drawing, sketching, structural sketching, etc. Pan Tianshou teaches landscape, flowers and birds, inscriptions, and calligraphy.
Pan Tianshou Teaching Program
On November 1, 1959, Pan Tianshou gave an academic lecture on the issue of "Chinese Painting Genres of Past Dynasties".
Pan Tianshou calligraphy class time
Pan Tianshou offers calligraphy courses for students in his busy schedule
In 1958, Pan Tianshou received the title of Honorary Academician of the Usser Academy of Arts in Hangzhou
In 1959, Pan Tianshou demonstrated to the students of Lu Xun Academy of Fine Arts
On November 1, 1959, Pan Tianshou gave an academic lecture on the issue of "Chinese Painting Genres of Past Dynasties"
In 1962, Pan Tianshou and Guo Moruo met in Hangzhou to exchange painting skills
Pan Tianshou demonstrated finger painting for students
Pan Tianshou (in the 1960s)
1971 Xinhai died at the age of 75 and died on September 5.
<h1 class="pgc-h-arrow-right" data-track="125" > Pan Tianshou Painting and Quotation Award, Feast your eyes:</h1>
Pan Tianshou Songying, 1948, Collection of the National Art Museum of China
The art of a nation is the crystallization of the spirit of a nation. Therefore, the revitalization of national art is closely related to the revitalization of the national spirit.
—— "Listening to the Heavenly Pavilion Painting and Talking about Essays"
Pan Tianshou stared
Every country and nation should have its own independent literature and art, thinking that it is the glory of the country and the nation. The development of national painting is of great significance to cultivating the noble concept of national independence and national self-esteem.
——1959 "Talking about the Current Situation of Chinese Painting in the Motherland"
After Pan Tianshou rain, Qianshan Iron was cast in 1961 for 89.9 × 45.9cm ink on paper
I believe that in the future, new Chinese paintings will surely grow vigorously and beautifully in a short period of time.
——Outline of his speech at the Literary and Art Thought Seminar in 1955
Pan Tianshou Jiangzhou night berth
The organization of the Gaiwu script is mainly based on the line, and the line is based on the bone qi. From one stroke to ten million strokes, it must be done in one go, interlaced continuously, dense and sparse, giving way to each other, complementing each other, such as the ethereal clouds in space, the popularity of flowing water in the earth, a natural, that is, with the qi. The qi is in the heavens and the earth, and the qi is in the pen and ink, one also. Therefore, those who know the painter must know the book.
Pan Tianshou Ink Bamboo Diagram Ink on Paper Mirror Heart
Beauty is like the enthusiasm of fire, beauty has a cool head, beauty has the wisdom of ice and snow, beauty has the law of freedom, beauty has boundless sincerity, beauty has extreme goodwill, and beauty has a realm of happiness.
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Pan Tianshou Autumn Meaning
No inspiration, no creation. No skill, i.e. no painting. Therefore, inspiration is the soul of painting, and skill is the parent of painting. However, if you have to live with qi and blood, who is qi and blood? Ideology is also. Painting things must be the courage to "dare not" dare.
Pan Tianshou Xunyang River Boat
The heart of fame and fortune should not die, and the heart of scholarship should not live. Fame and fortune, selfish desires, death with the heart, human nature is long. Painting things, academics also, living with heart, painting is also alive.
Pan Tianshou battlefield yellow flowers are particularly fragrant
To study, one is diligent, the other is lifelong, the third is ambitious, the fourth is empty, the fifth is humble to seek more knowledge, the sixth has an independent spirit and does not depend, and the seventh is optimistic and forward.
——Letter to the students of the National Academy of Arts in May 1943
Among the barren mountains and rocks, a few wild grasses, and a few idle flowers, that is, the supreme powder of my generation.
We must be honest and seek truth from facts. But painting can't be too honest, otherwise there is no artistry.
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Whoever creates will have a place in history; whoever does not create will be eliminated by history. So don't be satisfied with learning to be like me.
- Language to students in the 1940s
Painting must have noble morality, lofty ambitions, transcendent insights, profound knowledge, broad and in-depth life, and then be able to reach the pinnacle.
Mountains have no clouds and no spirit, mountains have no stones, mountains have no trees and no shows, and mountains have no water and do not live.
The art of different nationalities, regions and schools is the same or different. The same, the nature of human beings, the essence of art; different, the environment is different, the transmission is different. Therefore, in art, we must seek differences in the same, and seek common ground between different things.