潘天寿：最守传统的人，为何非要改变中国画？| The Master Who Saved Chinese Painting: Pan Tianshou | 画外派 EP.09

看上去最保守的潘天寿，守住中国画的方法，却是不断改变它。 从吴昌硕那句“一跌须防堕深谷”的警告，到与林风眠共同面对中国艺术的现代转型；从战乱中接下国立艺专，到为“中国画系”重新争回名字与独立的教学体系——潘天寿穷尽一生都在回答一个问题：传统如何才能不被时代淘汰？ Pan Tianshou is remembered as one of the great defenders of traditional Chinese painting. Yet he believed tradition could survive only by changing. From transforming finger-ink painting and monumental composition to rebuilding Chinese painting education in modern China, how did this apparent traditionalist become one of its boldest reformers? 👇 Expand for the full story, key works & chapters / 展开查看深度解析 👇 [中文深度解析] 潘天寿（1897—1971）是20世纪中国画大师，也是现代中国画教育的重要奠基者。 他从临摹《芥子园画谱》起步，在浙江第一师范接受新式教育，随后前往上海教画，并结识吴昌硕。面对这个才气横溢却过于自信的年轻人，吴昌硕写诗提醒：“只恐荆棘丛中行太速，一跌须防堕深谷。” 这句话让潘天寿逐渐明白：真正的创新，并不是绕过传统，而是先进入传统内部，吃透它的规则，再走出自己的路。 1928年，他进入林风眠主持的国立艺术院，成为中国画教学的核心负责人。林风眠关心传统如何向外打开；潘天寿则不断追问：打开之后，中国画如何不失去自己？他担心，如果所有绘画都用同一种标准训练，中国画最终只会变成“用毛笔画出来的西画”。 战争爆发后，内迁的杭州与北平艺专陷入教学冲突。原本不愿从事行政工作的潘天寿，最终接下校长职务，在动荡中维持学校与学生的未来。 重新回到创作后，他的画面开始显现出越来越鲜明的个人语言：巨石压住画面的重量，花鸟被推向边角，大片留白成为结构的一部分；而断续、生涩的指墨，则让画面产生一种近乎“霸悍”的力量。 进入1950年代，中国画一度被改称“彩墨画”。潘天寿真正担心的，并不是中国画要不要面对现实，而是它能不能用自己的观察方式、造型基础与教学体系，面对一个不断变化的世界。 1955年，他带领学生走进雁荡山，让他们离开古人的范本，直接面对山川草木。1957年，“彩墨画系”经教师表决重新改为“中国画系”；人物、山水、花鸟的分科教学也由此逐渐建立起来。 1963年，潘天寿完成近3.6米高的指墨巨作《无限风光》。传统的松石题材，被他推向前所未有的巨大尺度。观众必须退后、抬头，才能看见画面的全貌。 潘天寿曾说： “凡事有常必有变。常，承也；变，革也。承易而革难。” 他守住的，从来不是让传统停留在过去的权利，而是让它始终拥有走向未来的可能。 [English Deep Dive — Reinventing Chinese Painting] Pan Tianshou (1897–1971) was a master of modern Chinese painting and one of the principal architects of Chinese painting education in the twentieth century. He began by studying the Mustard Seed Garden Manual before encountering modern education in Hangzhou. In Shanghai, he met the celebrated painter Wu Changshuo, who admired his talent but warned him against allowing confidence to become carelessness. The lesson stayed with Pan: an artist could not move beyond tradition without first understanding its rules. In 1928, Pan joined the National Academy of Art in Hangzhou under Lin Fengmian. While Lin explored how Chinese art might open itself to the West, Pan asked a different question: after opening that door, how could Chinese painting avoid losing its own identity? During the war, Pan reluctantly accepted responsibility for the academy as internal conflict threatened its survival. When he later returned to painting, his visual language became increasingly distinctive. Monumental rocks dominated his compositions, birds and flowers occupied precarious corners, and empty space became an active structural force. His experiments with finger-ink painting gave his work an unusually raw and forceful energy. In the 1950s, when Chinese painting was renamed “colour-and-ink painting,” Pan fought to preserve its independent system of training. He took students to Mount Yandang to study nature directly, while insisting that observation and sketching should strengthen—not replace—the foundations of Chinese painting. In 1957, the department reclaimed the name “Chinese Painting,” followed by a teaching structure divided into figure, landscape, and bird-and-flower painting. Pan’s ideas reached a monumental scale in Infinite Scenery, completed in 1963. Nearly 3.6 metres high, the finger-painted work transformed the traditional imagery of rocks and pines into an overwhelming modern composition. For Pan Tianshou, preserving tradition never meant freezing it in the past. It meant giving tradition the strength to keep changing. 🕒 章节导航 | Chapters & Timestamps 0:00 最守传统的人，为何一生求变？｜Why Tradition Had to Change 0:21 宁海少年：从私塾走向中国画｜From Ninghai to Chinese Painting 0:44 从师范到讲台：画画与教学成为一生｜Painting and Teaching as a Lifelong Calling 2:08 创立白社：守住传统，也必须求变｜The White Society: Tradition Through Change 3:02 临危受命：在战火中接下学校｜Leading the Academy Through War 3:58 巨石、留白与指墨：画出自己的结构｜Rocks, Empty Space and Finger Ink 4:52 夺回“中国画”之名：重建传承之路｜Reclaiming Chinese Painting 6:30 《无限风光》：把传统推向新的高峰｜Infinite Scenery: Tradition Made Modern 📖 资料与延伸阅读 | Sources & Further Reading 潘天寿纪念馆｜生平年表、艺术思想与作品资料 https://pantianshou.caa.edu.cn/ 中国美术学院｜1957年中国画系改名与分科教学史料 https://www.caa.edu.cn/info/3811/1161... 🎬 延伸观看 | Watch Next • EP.08 林风眠｜同一个时代难题，另一条中国艺术的现代之路 👉 [插入 EP.08 链接] • EP.07 吴大羽｜教出赵无极、吴冠中、朱德群后，他为何困在10㎡阁楼作画？ 👉    • 教出赵无极、吴冠中与朱德群，他却躲在10平米阁楼画了一辈子？| Wu Dayu: T...   • EP.06 吴冠中｜人人都想吃他一口：吴冠中为什么说自己是“唐僧肉”？ 👉    • 人人都想吃他一口：吴冠中为什么说自己是“唐僧肉”？｜Everybody Wanted...   ▶️ 完整系列｜中国现代艺术大师 👉    / @beyondtheframeofart   💌 走出画框，看见画外 | Join the Community 如果你也关心传统如何在今天继续生长，欢迎点赞、订阅并打开小铃铛。你的每一次互动，都支持《画外派》继续讲述那些值得被重新看见的艺术家与作品。 If Pan Tianshou’s story changed the way you think about tradition, please like, subscribe and turn on notifications. Every interaction helps Beyond the Frame bring important stories from modern Chinese art into view. ➡️    / @beyondtheframeofart