Detaljer
ObjektnummerC2024-0001-043-0
TitelCalligraphy
OphavPan Shou
BeskrivelsePan Shou (潘受) (D. Litt) (b. 26 January 1911, Quanzhou, Fujian, China –d. 23 February 1999, Singapore) was a noted Chinese calligrapher and poet. In addition to his artistic pursuits, Pan had also worked in other roles, from newspaper editor to bank manager. He was the founding secretary-general of Nanyang University.
Early life
Pan was born to a Qing-dynasty scholar in 1911, a turbulent year that saw the end of the Chinese Qing dynasty. Despite completing his formal education at age 18 and lacking a university degree, he held a position as a teacher at the Westminster school in Quanzhou, Fujian province. He left home for Singapore in 1929, at the age of 19.
Taken from: https://www.nlb.gov.sg/main/article-detail?cmsuuid=23878f30-3a2b-4482-a14d-d3c3d551d231#:~:text=26%20January%201911%2C%20Quanzhou%2C%20Fujian,secretary%2Dgeneral%20of%20Nanyang%20University.
Career In search of a journalistic career before launching into a vocation in education, Pan became the deputy editor of the newspaper Lat Pau’s literary supplement in 1930. The paper was Singapore’s first Chinese daily, published from 1837 to 1932. Barely a year into his job, however, an opening for the position of principal in Chong Zheng Primary School (also known as Chung Cheng School or Chong Cheng Primary School), located on Beach Road, caught his eye. Urged by Chinese teacher-friends in Indonesia who sought to teach in Singapore, he went for the interview and caught the eye of a member of the board of governors, Lee Kong Chian, and clinched the position. Pan’s career in education brought him back to China in 1931 for a teaching stint in Shanghai, where he again witnessed tensions between the Nationalists and Communists. However, his father’s illness brought him back to his hometown in Fujian. Upon his father’s demise, Pan returned to Singapore to teach at Chinese High School, soon after student protests had led to the school’s reorganisation under Lee Kong Chian’s chairmanship. In 1934, Pan became the principal of Tao Nan Primary School, nurturing it into a premier institution. During this time he met Tan Kah Kee. In 1940, he began a two-year principalship in Muar, Malaya, before the outbreak of World War II disrupted his teaching career. The war years saw Pan escaping with his family, travelling first to Bombay in India, then China. He returned after the war, setting up a trading business. On top of this, he was often asked by Tan Kah Kee, Lee Kong Chian and Tan Lark Sye to help draft important press announcements. He was also invited to join the Hokkien Huay Kuan. As early as 1949, with the University of Malaya’s decision to start a Chinese studies department, Tan Lark Sye had contributed $500,000 to the project. However, no such department was ever started. Tan then proceeded with plans for a Chinese University, which eventually became Nanyang University (also known as “Nantah”). The discussions concerning the university, and involving Tan Lark Sye, Tan Kah Kee and other prominent Hokkien businessmen, invariably drew Pan into the fold. He designed the three-ringed logo of the school, which was originally drawn by his daughter, Xiao Fen. The three rings represent three races – Malay, Chinese and Indian – with the star in the centre reflecting the university’s role in serving the three races. When Nantah’s first vice-chancellor, Lin Yutang, resigned suddenly because of differences with the main committee, Pan was asked to become the secretary-general and ensure that the buildings were completed and lecturers in place, before the university’s opening on 15 March 1956. He took on the role in April 1955, and remained in the position until the first batch of students graduated in 1959. He then resigned, leaving the campus in February 1960. Unfortunately, the university’s alleged links with communism and Chinese chauvinism cost Pan his citizenship, which was retracted by the government in 1958. Taken from: https://www.nlb.gov.sg/main/article-detail?cmsuuid=23878f30-3a2b-4482-a14d-d3c3d551d231#:~:text=26%20January%201911%2C%20Quanzhou%2C%20Fujian,secretary%2Dgeneral%20of%20Nanyang%20University.
Artistic pursuits After retirement, Pan devoted himself to calligraphy and poetry. This hobby, which ultimately became his passion, made him world-famous. He had practised calligraphy since he was eight, beginning with kaishu, the regular script used by the great Tang calligraphers. It was only in the last 25 years of his life that he began to focus on the xingshu script. Influenced by He Shaoji, a noted Qing dynasty scholar and calligrapher, Pan was also remarkable as a poet. Poetry: By the tender age of 12, Pan’s gift in Chinese literature was recognised by the Quanzhou scholar, Lim Chong He. The final anthology contains approximately 1,200 poems written by Pan in various classical formats over 60 years, between 1937 and 1997. This coincided with the period spanning Japan’s invasion of China and Hong Kong’s return to China after 155 years of British rule. Calligraphy Pan’s calligraphic style is said to be so unique that, according to some, a “Pan style” of calligraphy has emerged. Pan provided calligraphy for a number of organisations and institutions in Singapore and China, including the Singapore Art Museum and the Esplanade – Theatres on the Bay. Pan’s works are also on permanent display in China, in places such as the Confucius Temple in Qufu, the Stele Forest Museum in Xi’an, on the honorific arch marking the beginning of the ancient Maritime Silk Road in Quanzhou, on the Yellow Crane Tower in Wuhan and in the museum of the Great Wall of China. Rubbings of his inscription in xingshu style mark the archway to his native hometown in Quanzhou. Collection of Chinese Calligraphy, a three-volume compilation of Pan’s works, was published in 1982. Two exhibitions of his works were held in 1984 and in 1991 at the National Museum of Singapore. Pan had also been the honorary adviser of the Chinese Calligraphy Society of Singapore since 1977. Death Pan died of pneumonia at Mount Elizabeth Hospital just weeks after his 88th birthday, leaving behind his second wife, two children, four grandchildren and a great-grandchild. His ashes were placed at the columbarium at the All Saints Chapel off Upper Serangoon Road. Taken from: https://www.nlb.gov.sg/main/article-detail?cmsuuid=23878f30-3a2b-4482-a14d-d3c3d551d231#:~:text=26%20January%201911%2C%20Quanzhou%2C%20Fujian,secretary%2Dgeneral%20of%20Nanyang%20University.
Career In search of a journalistic career before launching into a vocation in education, Pan became the deputy editor of the newspaper Lat Pau’s literary supplement in 1930. The paper was Singapore’s first Chinese daily, published from 1837 to 1932. Barely a year into his job, however, an opening for the position of principal in Chong Zheng Primary School (also known as Chung Cheng School or Chong Cheng Primary School), located on Beach Road, caught his eye. Urged by Chinese teacher-friends in Indonesia who sought to teach in Singapore, he went for the interview and caught the eye of a member of the board of governors, Lee Kong Chian, and clinched the position. Pan’s career in education brought him back to China in 1931 for a teaching stint in Shanghai, where he again witnessed tensions between the Nationalists and Communists. However, his father’s illness brought him back to his hometown in Fujian. Upon his father’s demise, Pan returned to Singapore to teach at Chinese High School, soon after student protests had led to the school’s reorganisation under Lee Kong Chian’s chairmanship. In 1934, Pan became the principal of Tao Nan Primary School, nurturing it into a premier institution. During this time he met Tan Kah Kee. In 1940, he began a two-year principalship in Muar, Malaya, before the outbreak of World War II disrupted his teaching career. The war years saw Pan escaping with his family, travelling first to Bombay in India, then China. He returned after the war, setting up a trading business. On top of this, he was often asked by Tan Kah Kee, Lee Kong Chian and Tan Lark Sye to help draft important press announcements. He was also invited to join the Hokkien Huay Kuan. As early as 1949, with the University of Malaya’s decision to start a Chinese studies department, Tan Lark Sye had contributed $500,000 to the project. However, no such department was ever started. Tan then proceeded with plans for a Chinese University, which eventually became Nanyang University (also known as “Nantah”). The discussions concerning the university, and involving Tan Lark Sye, Tan Kah Kee and other prominent Hokkien businessmen, invariably drew Pan into the fold. He designed the three-ringed logo of the school, which was originally drawn by his daughter, Xiao Fen. The three rings represent three races – Malay, Chinese and Indian – with the star in the centre reflecting the university’s role in serving the three races. When Nantah’s first vice-chancellor, Lin Yutang, resigned suddenly because of differences with the main committee, Pan was asked to become the secretary-general and ensure that the buildings were completed and lecturers in place, before the university’s opening on 15 March 1956. He took on the role in April 1955, and remained in the position until the first batch of students graduated in 1959. He then resigned, leaving the campus in February 1960. Unfortunately, the university’s alleged links with communism and Chinese chauvinism cost Pan his citizenship, which was retracted by the government in 1958. Taken from: https://www.nlb.gov.sg/main/article-detail?cmsuuid=23878f30-3a2b-4482-a14d-d3c3d551d231#:~:text=26%20January%201911%2C%20Quanzhou%2C%20Fujian,secretary%2Dgeneral%20of%20Nanyang%20University.
Artistic pursuits After retirement, Pan devoted himself to calligraphy and poetry. This hobby, which ultimately became his passion, made him world-famous. He had practised calligraphy since he was eight, beginning with kaishu, the regular script used by the great Tang calligraphers. It was only in the last 25 years of his life that he began to focus on the xingshu script. Influenced by He Shaoji, a noted Qing dynasty scholar and calligrapher, Pan was also remarkable as a poet. Poetry: By the tender age of 12, Pan’s gift in Chinese literature was recognised by the Quanzhou scholar, Lim Chong He. The final anthology contains approximately 1,200 poems written by Pan in various classical formats over 60 years, between 1937 and 1997. This coincided with the period spanning Japan’s invasion of China and Hong Kong’s return to China after 155 years of British rule. Calligraphy Pan’s calligraphic style is said to be so unique that, according to some, a “Pan style” of calligraphy has emerged. Pan provided calligraphy for a number of organisations and institutions in Singapore and China, including the Singapore Art Museum and the Esplanade – Theatres on the Bay. Pan’s works are also on permanent display in China, in places such as the Confucius Temple in Qufu, the Stele Forest Museum in Xi’an, on the honorific arch marking the beginning of the ancient Maritime Silk Road in Quanzhou, on the Yellow Crane Tower in Wuhan and in the museum of the Great Wall of China. Rubbings of his inscription in xingshu style mark the archway to his native hometown in Quanzhou. Collection of Chinese Calligraphy, a three-volume compilation of Pan’s works, was published in 1982. Two exhibitions of his works were held in 1984 and in 1991 at the National Museum of Singapore. Pan had also been the honorary adviser of the Chinese Calligraphy Society of Singapore since 1977. Death Pan died of pneumonia at Mount Elizabeth Hospital just weeks after his 88th birthday, leaving behind his second wife, two children, four grandchildren and a great-grandchild. His ashes were placed at the columbarium at the All Saints Chapel off Upper Serangoon Road. Taken from: https://www.nlb.gov.sg/main/article-detail?cmsuuid=23878f30-3a2b-4482-a14d-d3c3d551d231#:~:text=26%20January%201911%2C%20Quanzhou%2C%20Fujian,secretary%2Dgeneral%20of%20Nanyang%20University.
MaterialeInk on Paper, Ink, Paper
Mål
Height: 196 cm
Width: 80 cm
Depth: 3.5 cm
Height: 93 cm
Width: 55 cm
Width: 80 cm
Depth: 3.5 cm
Height: 93 cm
Width: 55 cm
KreditrammeGift of Mok Lee Kwang & Mok Wei Wei
