YE GONGCHUO (1881-1968) / TAN YANKAI (1880-1930)
Calligraphy in Running Script Collection
1. YE GONGCHUO
Calligraphy in Running Script
Scroll, mounted for framing, ink on paper
100.5 x 49.5 cm. (39 ⁵⁄₈ x 19 ¹⁄₂ in.)
Signed, with one seal of the artist

2. YE GONGCHUO
Five-character Poem in Running Script
Scroll, mounted for framing, ink on paper
68.5 x 32.5 cm. (27 x 12 ³⁄₄ in.)
Signed, with one seal of the artist

3. TAN YANKAI (1880-1930)
Seven-character Poem in Running Script
Scroll, mounted for framing, ink on gold-flecked paper
86.5 x 38.5 cm. (34 x 15 ¹⁄₈ in.)
Inscribed and signed, with two seals of the artist
Dedicated to Shaojue
Dated February, nineteenth year (of the Republic, 1930)
One collector’s seal

Renowned Singaporean artist and calligrapher Tan Keng Cheow (Chen Jingzhao, 1907–1972) was born in Guangdong. He earned a law degree from Shanghai Jinan University and later lectured at several colleges and universities, including Kwang Chew University. Eventually, he settled in Singapore in 1949, where he became the principal of Tuan Mong High School while also lecturing at Chung Cheng High School.

Tan Keng Cheow was the son of Tan Teo Ngo (1879-1950), an eminent calligrapher and painter. Growing up in an artistic environment, he mastered both calligraphy and painting at an early age. While in Shanghai, he studied painting under renowned masters, including Huang Binhong and Ye Gongchuo, who profoundly influenced his artistic development. During this period, he also had the opportunity to appreciate works by contemporary artists. Through Ye Gongchuo, Tan established connections with Qi Baishi and other leading artists and acquired many fine pieces directly from them.

Tan was a distinguished educator, artist, and art collector. He served as the honorary chairman of the Chinese Pen Calligraphy Institution and was the superintendent of the Society of Chinese Artists. Tan trained many Singaporean artists in traditional Chinese ink and brush and influenced many in their appreciation of the art form. He played a significant role in the Chinese Calligraphy Society of Singapore and was a noted collector of Huang Binhong’s paintings. His extensive collection of Chinese paintings, particularly works by Huang Binhong, earned him the studio names Hundred Huang Pavilion and The Studio of Three Hundred Paintings.