Shi Xiangtuo 施香沱

Shi Xiangtuo (1906-1990) was a pioneer artist in the history of calligraphy and paintings of Singapore. As he had taught many students in fine arts and therefore can be considered to be one of the most influential masters of epigraphy, calligraphy and painting in Singapore and Malaysia. He was well known as an art educator in Southeast Asian countries such as Singapore, Malaysia, Brunei, Indonesia and Philippines.
Shi Xiangtuo was born into a noble literati family in Zhangzhou of Fujian in 1906. His father was a famous master of calligraphy and seal cutting. In his home town of Longxi (now known as Longhai) in Zhangzhou, the family had a collection of several thousand books. Their study was known as ‘House of Lychee Fragrance’.
During the Japanese war with China, Shi came to Singapore alone in 1938 and was appointed as Principal of Heng A School. 1938 was also the year in which the Nanyang Fine Arts College (currently known as the Nanyang Academy of Fine Arts, NAFA) was established. Shi joined the staff of NAFA in 1941 and taught Chinese ink and brush paintings during weekends for 36 years. After Singapore fell into Japanese hands, Shi escaped to Sumatra, spending 3 years and 8 months there before returned to Singapore.
He was actively involved in the arts groups. He was a former President of the Singapore Society of Chinese Artists and advisor of Molan Art Association, Siaw-Tao Chinese Seal-Carving Calligraphy & Painting Society, San Yi Finger Painting Society. He also gave talks to schools, art societies and radio talks on art subjects.
Shi passed away on 25 April 1990, at the age of 85.
Shi excelled in calligraphy, painting, seal cutting, poetry and essay writing. In the area of painting, after many years of hard work, he had evolved a new art style with distinctive Nanyang characteristics. In this respect, he can be said to be in a league of his own. Generally, it is commented that he was best in calligraphy, followed by painting and seal cutting.
In calligraphy, Shi advocated the learning of Stone Drum inscription (inscriptions on drum-shaped stone blocks) of Qin and Bronze inscription (inscriptions on ancient bronze objects). The former must be written with Qi (vital spirit) and the latter should contain rhythmic momentum. Shi paid much attention to Qi, and as he was driven by Qi and over a period of time, he had achieved a unique grandeur of his own in calligraphy. He also put emphasis on Clerical script, which he thought was the connecting link between the Seal script and other scripts developed later.
His student Lim Buan Chay (Lin Wanjing) thinks that the style of his calligraphy is imposing and bold, and yet is tinged with an air of simplicity.
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施香沱（1906－1990）是新加坡书画史上的一位先驱人物，在书画界中拥有最多学生，故成为影响新加坡、马来西亚最深远的一位金石书画家，并以美术教育工作者驰誉新马、汶莱、印尼及菲律宾等地。
施香沱在1906年出生于福建漳州一户书香世家。他的父亲施拱南是福建有名的书法家和篆刻家。施家在中国故乡漳州龙溪县(今称龙海市)拥有许多藏书，达数千券之多，书房叫‘荔香楼’。
日本攻打中国时，施香沱于1938年独自南来新加坡，任兴亚小学校长。当时正逢南洋美术专科学校（南洋艺术学院的前身）创立，他于1941年加入美专师资阵容，周末任水墨画科老师，达36年之久。新加坡沦陷后，到苏门达腊避难，三年零八个月过后才回返新加坡。
施香沱活跃于艺术团体，曾任新加坡中华美术研究会会长，并应邀担任墨澜社和啸涛篆刻书画研究会顾问，三一指画会名誉顾问。施香沱也常到学校，画会，电台讲解美术。
1990年4月25日，施香沱与世长辞，享年85岁。
施香沱书，画，印，诗，文样样皆通。在绘画的领域，它多年来努力于南洋风的创建，在南洋画坛上不能不说是独树一帜。一般论者对他的评价是：书法第一，画作第二，印张第三。
在书法上，施香沱力倡临学石鼓文和钟鼎文。石鼓文必须是写气，而金文还有势在内。故施香沱时时重气，以气作书，其书法渐渐具备了无所依傍的大家气魄。除了篆书，施香沱特别重视隶书，认为隶书有承上启下的作用。
他的学生林万菁认为“他的书法风格以雄迈浑厚，古朴苍劲取胜。”