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Epigrapher, Calligrapher and Painter Tan Jiancheng VCD

  • Epigrapher, Calligrapher and Painter Tan Jiancheng
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Epigrapher, Calligrapher and Painter Tan Jiancheng (Collection Edition)
--Xiling Celebrated Masters Series
Published by Zhejiang Culture and Art Audio-visual Publishing House, 2003
Medium: 1 VCD disc
Narration: Mandarin Chinese
ISRC: CNE140301410

Tan Jiancheng (1898-1995) was native of Huzhou, Zhejiang Province. He was interested in painting and calligraphy at the age very young, and learned to copy by himself. At the age of 14 he was presented to the generation of calligraphy and painting master Wu Changshuo in Shanghai by his eldest uncle. Master Wu tested him and realized the young man's artist potential. At the age of 16 he took Huzhou calligraphy master Song Miancheng as his teacher. During this period he got acquainted with Li Shutong, Ding Ziqing, and Qi Jitang. He was admitted to Nanjing Southeast University in 1916, and received Bachelor of Arts degree after study. 1922, 25-year-old Tan Jiancheng went to Japan, and recommended to the the Tokyo Fine Arts College for graduate study by the Japanese master painter Hashimoto Kansetsu (1883-1945). In return, he had held personal calligraphy and painting exhibitions in Shanghai and Huzhou, etc.

In the early of 1950s, Tan Jancheng worked in Industrial and Commercial Bureau in Hangzhou, and spent his spare time to discuss arts with Huang Binhong, Pan Tianshou, Wu Fuzhi, Zhu Lesan, etc. However, in 1954 he was accused of the service in-oversea by the informer, and sacked back to hometown Huzhou. During the 10-year Cultural Revolution, he was listed as "counter-revolutionary of history, the right" and had suffered tribulation. Shortly after the reform and opening up of China, Mr. Tan was given a fair review and washed away the imposition of unrighted wrong in his possession. He was dean of Huzhou Calligraphy and Painting House. Mr. Tan was good at landscapes, flowers and birds, figures, specially Buddhist sculptures. He was also an epigrapher. He was known as the last master of the 20th century whose painting, calligraphy, seal carving as well as poetry were superb works in the Chinese art world. His works have been exhibited many times at home and abroad and published in the press, or treasured by art galleries, museums, and other organizations.

金石书画家谭建丞 (珍藏版)
—西泠名家系列
出版社:浙江文艺音像出版社,2003
介质:VCD
解说:国语普通话
ISRC:CNE140301410

谭建丞(1898-1995)原名钧,号澄园,浙江湖州人。自幼好画嗜书,1911年求学于浙江省立第三中学,课余从乡中名家习字画。1916年入南京东南大学,毕业获文学士学位。1924年6月赴日本,入东京美术专科学校,为研究生。回国后于里中创办“竞义女校”,先后任教员、校长。1929年入上海政法大学,3年后获法学士学位。期间,与王一亭、庞左玉、吴东迈、沈迈士等发起创办“清远艺社”,共磋艺事。曾先后在上海、湖州等地举办个人书画展。擅山水、花鸟、人物,尢精佛像,所作笔墨简朴,尚气势,重整体,浑厚雅瞻。作品曾多次在国内外展出及在报刊上发表,或被美术馆、博物馆等单位收藏。有的作品先后参加“浙江六老画展”、“浙江十老画展”等。代表作有《冰壶洞写景》《蔬果》《达摩造像》《山居图》《丈四花卉》(为中央文史馆收藏)《八尺山水》(为君陶艺术院收藏)等。工书法,精篆刻,善诗文。书画论著有《怎样画葡萄》《澄园写石》《建丞画选》《建丞画选》《建丞印存》《澄园诗草》《春晖小识》等。生前为浙江美术家协会顾问,浙江书法协会誉理事,西泠印社社员,浙江省篆刻研究会顾问,浙江省文史研究馆馆员,湖州市美术协会名誉主席,湖州书画院院长。

谭建丞的书法厚重端凝,颇具风格。他认为用笔要软,笔软才能遒劲;醮墨要饱,墨饱才能丰腴。因此,先生每每作书,即在笔酣墨饱时,以迅疾的笔势和遒劲的笔力,再加上中锋行笔时副毫与纸面的摩擦,产生一种润而厚、涩而实之笔,从而使人感受到‘干裂秋风,润含春雨’的墨韵之美。谭老的画可谓无所不能,诸如花卉、翎毛、草虫、瓜果、山水、人物、仕女、佛像等,无一不佳。花鸟设色清丽而不俗艳,笔致沉重中见流畅。人物画则兼工带写,须眉毕具。1967年夏天,谭建丞开始学画葡萄,其动机是看到邻家所种的葡萄藤蔓披过墙来,绿叶垂阴,青葱可爱,就取来废纸,随意写生。谭建丞用深厚的笔墨功力驾驭着湿润的水墨,写出了晶莹剔透的葡萄,一片自然生机,韵味悠长,像一首首银灰色的诗。画葡萄十年,积稿三千余幅。遂有“谭葡萄”之称。85岁以后,改为多画松石,以期松石延年。

谭建丞在西泠名家中是一个难得的全才,他不只是书画印“三绝”,而是诗、书、画、印“四全”。他向来认为从艺更当注重文学修养,否则终不出匠人范畴。全面的才能,以及各项造诣的高超,可以说,谭建丞是继吴昌硕以来的一个传统艺术的代表,一个文人艺术的典型。他熔诗书画于一炉,在形式上和内容上密切结合高度相通,成为金石画派的一个成功的典范。

tan jiancheng's painting

tan jiancheng's calligraphy

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