CRITIQUES – Chen Guang Lin

游于艺 志于道


中国国家一级美术师 陈光林

孔子曰:志于道。《庄子》亦曰:通于天地者,德也,行于万物者,道也。“艺”与“道”的统一,在本质上是艺术与哲学的统一,“艺”是“道”的载体;“道”是“艺”的灵魂。这正是中华艺术博大精深与感人魅力的精 神所在 也是范昌乾先生旅居海外,笃志坚守,专研并传播 中国传统艺术的乡情所系。

范昌乾的大名,早就在新加坡享誉画坛,他是新加坡 最重要也是最受人敬重的画家之一,平生淡泊名利,提携后学,乐于助人。广东揭阳是他的出生地,早年就读于上海新华和昌明艺术专科学校,先后师从海派名家王个簃、王一亭及潘天寿等,并对吴昌硕的作品有精深的研究,诗、书、画、印皆有海派风骨作品多以书法入笔,高古刚健 ,丰满多姿我特别喜欢他画的兰竹,青竿摇曳,叶片葱笼,满纸烟云道风,远观摄人神魄,近视风生入怀,品格不在板桥之下。正如其自题兰竹诗“漫将旧样新青竿,两三 幽兰正雅看,不绝人言形得失,千年墨晕孰知难”。

板桥画兰竹,专注高洁之象,蕴喻其人,昌乾先生亦然正所谓博学笃志 “艺”近乎“道”也。



陈光林 中央文史馆书画院研究员 中国华侨文艺家协会副主席 国家一级美术师

Heart in Art and Mind on Tao

Fan Chang Tien and His Painting

Chen Guanglin (Translated by Teo Han Wue)

Confucius says, “I set my heart on the Way.” Zhuang Zi also says, “Pervading all Heaven and Earth there is Virtue; stirring all life is the Tao.” The unity of Art and the Way is essentially the unity of Art and Philosophy. Art is the purveyor of the Tao and the Tao is the soul of Art. This is precisely the spiritually rich and profound power of Chinese art that fascinates and moves people emotionally. This is also the emotion that bound Fan Chang Tien who though based abroad had staunchly adhered to and studied Chinese traditional art.

Fan Chang Tien had long been known to many in Singapore as one of the nation’s most important and respected artists. Never one to seek fame and fortune, Fan was dedicated to nurturing a younger generation of artists and helping them develop. Born in Jieyang, Guangdong, he studied art at Xinhua Art Academy and Changming Academy of Fine Arts under the Shanghai school master Wang Geyi, and others such as Wang Yiting and Pan Tianshou, and was especially steeped in the works of Wu Changshuo. Fan’s poetry, calligraphy, painting and seal carving all bear a strong character of the Shanghai school.  His works show an inclination for calligraphic brush strokes that hark back to the robust style of ancient masters, supple and vivacious. I particularly like his orchids and bamboo where the stems and branches appear swaying gently and the leaves luxuriant and lush. His painting exudes a misty Taoist ambience which draws the distant viewer near and looks as though it blows breezes into the viewer up close. It displays a character no lesser than that of Zheng Banqiao just as what he writes in the poem he inscribed on a orchid-bamboo painting: “Painting randomly a new bamboo much in the old way, With some hidden orchids appearing as elegant, Unending remarks I hear about the right and wrong of my paintings, Who knows how difficult it is to command the ink tones of a millennium?”

When painting orchids and bamboo, Zheng Banqiao focused on the nobility and purity of the image to symbolise his own aspirations. So did Fan Chang Tien in his diligence in learning and perseverance in his pursuit of the Way so that Art would become almost Tao itself.

Fan Chang Tien understood thoroughly the Tao of the Art of xieyi (painting the idea) be it landscape or human figures, flower and birds, calligraphy, poetry, seal carving, all of which would lead the viewer to the wonderful realm of expression of idea, wit and emotion.

The essence of Art blending with the Tao in Chinese culture is brilliantly reflected in Fan Chang Tien’s works.

(Chen Guanglin in Beijing, October 2019)