《为艺日新 中央美术学院博士书画十八人展》全部作品及开幕现场

杨梅岗人

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杨梅岗人

中国风·亚洲巡回文化活动  
为艺日新
中央美术学院博士书画十八人展

策展人：谭振飞

特邀艺术家：
邱振中   张鉴瑞   汪为新   祝   帅   苏   米   龙   友

参展艺术家：
蔡梦霞   陈相锋   陈忠康   杜    浩  况   尉   刘海勇   林    维  雷子人   潘一见
邱才桢   王赫赫   王    若   谢    萌  叶  芃   衣雪峰   张学峰   周    延   赵彦国

2012年1月6日上午10:00时
江西师范大学美术馆开幕
诚邀光临！

杨梅岗人

江西师范大学（瑶湖校区） 校址：南昌市紫阳大道99号 邮政编码：330022
公交路线：市中心广场可乘坐208、220、226、308（直达校园）
联系电话：0791-8120620（美术学院办公室）

杨梅岗人

请柬

杨梅岗人

展览前言：为学日益  为艺日新
祝 帅

        这是一个别开生面的展览。
        参展艺术家是中国当代中青年艺术家的杰出代表，自然也是当代书画界的中坚力量，但与此同时，他们还都拥有着另外一个重要的学术头衔——中央美术学院博士。
        为学与为艺，构成了他们艺舟的双楫。
        先说为学。
        南宋严羽在《沧浪诗话》中说：“诗有别材，非关书也；诗有别趣，非关理也。然非多读书，多穷理，则不能极其至。”在我看来，书法与绘画创作也是一样。书法、绘画本身的技法固然不可或缺，但如欲登峰造极，则不得不转向寻求“画外功”。而这一点，既是18位艺术家的学术理想，实际上也是他们的母校——中央美术学院博士研究生培养的教育目标。
        事实上，在进入中央美术学院求学博士或硕士研究生之前，他们中间的绝大多数人就已经拥有了娴熟的技法和系统的绘画训练，在中央美术学院的研究生学习，一方面使得他们得以站在一个更高的学术平台上审视、检省自己的艺术创作；另一方面，更多的则是按照培养计划的要求系统开展学术方面的训练，最终撰写出代表他们本人以及中央美术学院学术高度的博士论文。在艺术上不断攀登上高峰的同时，他们中间的很多人在学术上取得了令人瞩目的成就，有的出版专著、教材，有的在核心期刊发表重要的学术论文。更加难能可贵的是，他们用学术来反哺艺术，这反过来为他们的艺术创造开辟了新的境界，让他们的学术高度和眼界迥然与时人相异。
        次说为艺。
        此次展览的主题是“中国风”，自然，意在说明当今中青年书画艺术家，在深入传统、由技悟道方面所取得的高度与成就。
        然而，专业的观众可能会提出这样一个问题：中国美术教育格局的“南北宗”中，由潘天寿所开创的浙江杭州中国美术学院中国画学派，以“传统”为大纛，倡导“中西绘画要拉开距离”；而由徐悲鸿所开创的北京中央美术学院中国画教育体系，则从一开始就倡导中西结合，以素描改良中国画，擎起的是“西化”、“创新”的旗帜。那么，此次展览以中央美术学院学派的创作作为“中国风”的代表，依据何在？
        的确如此。新中国于1950年仿效苏联学制设立了中央美术学院，从而取代了民国时期“艺专”的建制，使得这所学院从一开始就有着强烈的西方色彩，油画在很长一段历史时期内成为中央美术学院当之无愧的“第一学科”，而徐悲鸿、蒋兆和的中国画教育体系，也曾在相当长的一段时间内形成了中央美院中国画教学的传统。
        然而，这并不意味着中央美术学院的中国画教育只能固守成规、一成不变；同样也不意味着中国美术学院的中国画教育只能囿于传统、裹足不前。事实上，近年来随着两大美术学院之间的学术交流日益增多，“学派”或曰“南北总”的界限也在日益模糊，两大美术学院都以不断拓展自己的学术疆界为荣，艺术风格层面的互渗也是一个不争的趋势。此次参展的画家中，便有相当一部分人具有中国美术学院的学术背景，有的是从中国美术学院毕业后考入中央美术学院深造，这种学派之间的“跨界”自然更加耐人寻味。
        不宁唯是。对于中国书画创作来说，“传统”和“创新”也并非总是一对矛盾。“苟日新，日日新，又日新”本身就是传统经典给后人留下的教诲。有了系统的学术和艺术训练，有了明确的艺术创造的雄心和目标，“传统”自然已经化入血脉，而“创新”更是他们艺术创造的精神流露与必然表彰。
        18位艺术家作为艺术上的同道、生活中的挚友，举办此次联展的意义当然还不限于此，作为一次中国美术教育最高层次的学术巡礼,我相信此次展览给美术界、美术理论界所带来的话题，也会持续相当长的一段时间。
        是为序。

        2011年10月15日于中国艺术研究院

杨梅岗人

Pursuing Learning & Perfecting Art  
By Zhu Shuai

This is a one-of-a-kind art exhibition.

The artists of this exhibition are excellent representatives of China’s contemporary artists, and the backbones of modern painting and calligraphy artists. Meanwhile, they are distinguished by their PhD degrees—— Doctors of Central Academy of Fine Arts.

Their pursuits in learning and in artistic expression are the twin forces that drive them forward.

First, let’s talk about their pursuit of learning. Yu Yan, a scholar of the Southern Song Dynasty of China, says in Cang Lang’s Notes on Poets and Poetry, “originality in poetry doesn’t derive from learning; sensitivity in poetry doesn’t derive from reasoning. However, without constant reading and reasoning, the pinnacle of the art of poetry cannot be attained.” His words hold true for the art of calligraphy and painting. Though skills are necessary for the calligraphy and painting, artistic excellence cannot be achieved without seeking knowledge beyond the field, which is also the academic pursuit of the eighteen exhibitors and the education objective of the PhD program offered by their home institute —— Central Academy of Fine Arts.

In fact, before pursuing their graduate degrees in CAFA, most of them have received systematic painting training and mastered polished skills. Further study in CAFA has enabled them to examine their artistic creations from an academic point and provided them rigorous academic training that helps them to produce excellent PhD thesis showing the best that they and CAFA can achieve academically. Along with their ascent in the art field, they have made remarkable academic achievements. Some of them publish monographs or textbooks, and influential academic papers in key journals. It is more important that their academic study feed their art in reverse, opening new field for their artistic expression and giving` them higher academic achievements and distinctive art sights.  

Second, let’s turn to their pursuit of art. The theme of the exhibition is “Chinese Style”. It means that this exhibition is about their above-skill achievements from the absorption of the essence of Chinese artistic traditions. However, a professional may ask such a question: How could CAFA represent “Chinese Style”? What is it based on? As a matter of fact, Chinese painting education has been divided into two camps: the Southern camp and the Northern camp.  The Southern camp is represented by the Chinese painting education in Hangzhou-based China Academy of Art (CAA), founded by Tianshou Pan. It lays emphasis on “tradition” and “keeping distance between Chinese and western painting”. The Northern camp is represented by the Chinese painting education in CAFA, initiated by Beihong Xu. It advocates “Westernization” and “innovation” by blending Chinese and western styles.

Actually, the distinction between the two camps doesn’t mean that Chinese painting education in CAFA and CAA cannot learn from each other. The reality is that, with increased academic communications between CAFA and CAA, the boundary between the Northern camp and the Southern camp becomes increasingly blurred. These two academies pride themselves in extending academic frontiers. The mutual penetration of artistic styles of the two camps is already an indisputable tendency. The fact that some of the 18 artists have got degrees from both academies sheds an interesting light on this “border-crossing” between the two academic camps.

Moreover, “tradition” and “innovation” do not have to contradict each other. The Chinese saying “Day by day makes it newer” is the ancient wisdom that speaks to future generations. Having been armed with systematic academic and art training, these eighteen artists, with a clear objective, have absorbed the essence of “tradition” and made “innovation” an integral part of their artistic expression.

The significance of the joint exhibition by the eighteen artists is more than showcasing what they have learned and done. I believe this exhibition, as the fruits of the academic endeavour of the best school in Chinese Fine Arts education, would be a topic of conversation in the art community and the art theorist community for a long time.

The preface is sincerely dedicated to the exhibition.

Written on October 15, 2011, in National Academy of Arts

万盛贾秀平

李立山

祝贺诸位师兄联展圆满成功。

司令部

祝贺展览

依世无悠