沵 力

我的大学

沵 力

“70后”“80后”的青春记忆，有着这样一张封面：晴空，暖树，衣衫宽博的少年。清风拂面，少年明媚初升的目光随风穿过林木与斗拱掩映间的层叠校舍，凝注于天际留白处那一抹飘摇万状的晨曦。画匣外随意散落的藤黄、曙红，点缀着草丛中青涩的春意。当飞鸟振翅的声响掩住了市尘升腾的喧嚣，大学的时光便如这春晨般缓缓降临在眼前。

是一日之晨，亦是四时之春，大学对一个人学养情志的启蒙，足以惠及一生。如今，走出学院的他们或已在生命的长河中涉水万里，但当浮世的浪潮退去，所有的沙岩被一一获悉，那些静默的河床，终会发出悠远的回音。在“70后”“80后”画家的艺术养成史中，大学正是这样母亲般的存在。他们用最茂盛的华年，在象牙塔中孜孜攀登，既贪婪吸收，又有无数的困惑和激情需要释放，而大学承载着他们共同的美丽与哀愁，并赋予了他们一双飞翔的翅膀。

方政和 曹植诗意图（局部）

李 勇 青城之夏（局部）

苍烟弥漫的历史天空，盛满青葱往事。自1918年蔡元培先生倡导成立国立北京美术学校，拉开中国现代美术教育的帷幕，岁月的车轮已走过近百年历程。从向西方学习，到效仿苏联，再到20世纪80年代以后面向更广阔世界的吸纳与改革，百年间它与瞬息万变的社会进程相应，逐步进入了兼收并蓄的多元化时代。风云变幻，在每一位学子的眉目间悄然映现。经历“文革”岁月蹉跎的一代，单纯并执着，充满着黎明摄取日出般原初的力量。自媒体时代的“90后”学子，善变而天真，一张张桀骜不驯的脸庞却共同汇聚成集体无意识的面容。对于介乎其中的“70后”“80后”而言，左脚迈出的张扬自我永远被右脚承续的理想主义追赶。时而，它们步履纷错，时而，它们逆路奔波，然而更多的时候，它们却并肩倚靠、相互审视，使得主体精神之矗立如一面墙般笔直而坚固。“每个人都是时代的塑造者和负荷者。”（希阿荣博堪布）一个时代的劫运，塑造了那个时代大学特有的品格，而大学观念和经验在学人心中的投射，又自然地演绎出这个“代际”特有的美学逻辑。在“70后”“80后”画家身上，袒露着20世纪90年代以来高等美院师生对艺术不同的想象方式。它们被写入初心，召唤着一场华丽的远走。

在大学所描绘的旅行地图中，地域史与时间史纵横交错。它们于20世纪末期面向更广袤、更深远维度的延展，直接启迪了“70后”“80后”艺术多元化的门径。那个年代，自我否定与批判的浪潮层层翻涌，中国艺术开始在加速奔跑中敞开胸襟。现实主义、现代主义迎面而至，后现代主义刚刚漂洋过海便被迅速纳入怀中。自此，中国当代艺术创作与思潮呈现出一派争奇斗艳的错综气象。这一气象毫无悬念地反映到美术学院的生态之中。在20世纪80年代的校园，如果你没读过萨特的“他人即地狱”可能会显得落伍，而90年代之后，与任何一种思想的擦身而过似乎都不值得扼腕长叹。相同年龄的表象下，灵感资源、知识构成、价值倾向都判然有别—艺术场域的“共识”早已破产，无论何种智慧都无法从容面对杂多且断裂的中国经验。在学院教育的大树上，古与今、洋与中虬结纠缠，旧花叶团团如盖，新枝条节节伸展，时间和空间在这里写就一段碰撞交融的佳话。可以说，七八十年代出生的艺术家是在学院不同的观念土壤中生长出来的。他们的艺术被嫁接在不同枝干上，有着各异的范式和愿景，并对样貌、形式采取了为我所需的态度。“架上”“架下”并举，传统、现代融通，“镜与灯”相互交彻，不拘一格的多样风格已成为这一代艺术家的主要特征。确实，“他们可能再也没有必要像80年代开始从事艺术创作的艺术家那样，以集体的名义、一代人的力量，共同去批判和否定一种新的传统，只要在某种已发展起来的新传统的内部，以个体的力量、个人化的方式，去发展、推进和超越它们即可。”（邹跃进）纷繁复杂的背后，是一个更安静也更宽广的世界。这里有足够的空间，让内心与物象相互辨认。这，正是一代人的幸运之处。

没有一条道路是重复的，正如没有两个相同的梦境，可北斗之星却始终闪耀，于每一个空茫的夜晚，指引前进的征途。20世纪90年代，在西方主要美术学院纷纷放弃造型基础而走向观念装置的潮流下，中国高等美术教育亦曾徘徊在疾风骤雨的十字街头。全世界都奋不顾身地向前走，蓦然回首时，传统却依然带着难以掩盖的风华伫立在岁月尽头。一种难以消弭的力量，自血缘深处迸发，是对古典美学精神的世代传承，是对过去与未来的清澈洞见，使美术教育在世纪之交的求索与抉择中迈出了理性的步伐。嬗迭不息的西方艺术，为它提供了参照与检视的视角，而精纯深厚的中华文脉，才是它进行现代重构的旨归。90年代之后，在全球视野与民族传统所激发的绚烂花火中，高等美术学院确立了以中国历史、现实为支撑的新的结构，并在此基础上自觉探寻具有当代和未来学意义的生长点。传统是一个充满能量的磁场，一极昨日，一极今朝，灵思的罗盘在这里强烈震颤。在研习中国画的学子心中，传统更是挥之不去的骨血深情：魏晋宋元，逝去的王朝中住着他们理想生活的倩影；经史子集，不变的经典里是他们润泽心灵的源泉。“对于他们来讲，学习传统与艺术创作或许最初只是一种学习过程之中的被动选择，但他们由被熏陶、演练而逐渐走向熟知和喜爱，并在学院的氛围中逐渐形成了拒绝媚俗的倾向。”（“70后”画家赫英海）文人精神里的诗意世界，笔墨挥洒中的桃花之源，使得光阴这岸的他们，亦拥有了一份足以抵抗混沌日常的欢喜与自在。

李宏禹 观心无我（局部）

叶 芃 菩提心· 异（局部）

云门张岩 何处惹尘埃（局部）

李恩成 月光如水（局部）

赵少俨 舒野（局部）

从理想出发，最终回归理想的原乡。一所好的大学，不止放飞梦想，更迎候归来。每当游子倦游，思归故乡，那年岁用力追寻、衷心赞叹之事，那青春神秘且炽烈的珍藏便是最温柔的怀抱。它用自然力般作用，拂去仆仆风尘，点燃并复苏着一颗心乃至一个时代的命运和梦想！“85美术新潮”之后，在一些前卫艺术家眼中，学院是“艺术死亡之地”，是因循、陈旧的渊薮，他们不屑于对任何一种“学院身份”及“学院传统”的认同，而是靠本能、靠玩儿生活方式、靠异数般的态度来实现自我的声张和表达。在这个层面上，学院教育便显示出了其不可或缺的优势。这不仅表现为学理灌输和技法培养的完备，更体现在“工具理性”和“技术理性”占主导的洪流中，以人文哲思为舟楫的逆流而上的努力。“在人文艺术学科，没有人能够夸耀并保证在学院中培养出真正的艺术家。但学院教育应该，也能够达到这样一种起码的要求，即确立以为艺术学生葆蓄终生的品格。这品格就是清华大学前国学研究院大师陈寅恪写在70年前的名句—‘独立之人格，自由之思想’。”（陈丹青）大学，为“70后”“80后”画家提供了一生有用的资粮。它是一颗对艺术的敬畏之心—把自己当作一个专业画者看待，精勤努力，并在师友系统的终生砥砺下保持蓬勃向上的姿态。它是一种视野和胸怀—在知识分子精神和人文主义意识的影响下成为一个拥有担当与思想的完整的“人”。它更是一种足以贯通一切的生活方式—用自由、美、想象和创造，在理性终结的地方开启新的诗意世界。学院陶染中所收获的素养与品格，使“70后”“80后”画家发现了赖以理解历史、时代和自我的支撑点，并最终确立了个体生命得以丰富展开的形式。

像一间空阔无边的建筑，大学，它永远敞开。没有门窗，因为思想行走的地方处处都是门窗；没有屋顶，因为云朵和星空就是最美的屋顶。它是空的，却那么满。当你进入它，被它包围，一个意义充满的世界才慢慢在你面前展开。可以是任何一条河流，也可以是任意一缕风，“70后”“80后”画家经过它，流连，栖居，休整，再出发，或汲汲深入，或辟路以求……也许，无限的可能性，而非答案，正是大学带给“70后”“80后”画家最好的礼物。

潘一见 绝壑千春之一（局部）

范治斌 嵩山写生（局部）

王跃奎 鼓楼仙境写生（局部）

Youthful memory of “generation after 70s” and “generation after 80s” shows a cover： a boy in loose clothes， under clear sky and sunny tree. The boy looked away， with the wind， across the school buildings where the forest and “Dougong” set each other off， to the sunrise at margin of horizon. Outside of the painting， Gamboges and cosin spread out in grass， decorating the spring. When the bird flies， making a sound which covers up the noise of the world， university time， just like the spring morning， is coming slowly.

The university like the morning of a day and spring of four seasons can enlighten one’s knowledge and emotion， enough to benefit one’s whole life. Nowadays， they who left the university may go far along the long river of the life， but when the worldly waves were gone and all sandstones were exposed， finally the silent river bed gives out the distant echo. During growth period of art of “generation after 70s” and “generation after 80s”painters， the university is like their mother. They climbed the ivory tower sedulously in their most beautiful years. They absorbed the knowledge greedily while having a lot of confusion and passion to be released. The university carries their beauty and sorrow， and gives them a pair of wings.

The history with wars is full of past events. In 1918， Mr. Cai Yuanpei initiated the establishment of National School of Fine Arts， opening the China modern arts education. Till now，it has a history of near hundred years. During hundred years，it corresponded with the social process that change at every moment， from learning to the west， to following the example of the Soviet Union， and then to the absorption and reform facing to wider world after 1980s， at last gradually to the era of diversification. Trace in history was reflected on every student’s face. The generation who experienced “Cultural Revolution” are pure and persistent， with the original strength of dawn absorbing sunrise. Students of “generation after 90s” in self-media era， are quick-change and innocent. So many defiant faces get together to form the collective unconscious facial feature. For students of “generation after 70s” and “generation after 80s”，they always stick to the idealism inherited while chasing after the self-affirmation. Sometimes they walk with intricate paces， sometimes they go ahead despite the difficulties. However， most of time， they lean on shoulder by shoulder and examine each other， showing a subject spirit that is as straight and solid as a wall.“Everyone is the shaper and bearer of the era”（Master Sherab Rsongbo）. Disaster and fortune of an era caused the university own character in that era. The projection of concept and experience of a university in hearts of students also will naturally reflect this“intergeneration” own aesthetic logic. From painters of “generation after 70s” and “generation after 80s”，you can see the different imagination way of teachers and students of Academy of Fine Arts for arts， since the 1990s. They are written into the original heart，calling up a gorgeous long journey.

阴澍雨 海棠蟋蟀（局部）

徐光聚 山水（局部）

李雪松 雪线晴光（局部）

In the travel map drawn by university， regional history and time history crisscross. They have been extended to the wider and more far-reaching dimension since the end of the 20th century， and inspired the diversification thinking of “generation after 70s”and “generation after 80s” painters. In those years， wave of self-denial and criticism came after another wave， and Chinese Art started to speed up to run with an open mind. Realism and modernism were brought in， and postmodernism was attracted into bosom immediately after coming across the sea. Since then， China Contemporary Art and ideological trend showed a contested and complex scene. This phenomenon was reflected into the ecology of Academy of Fine Arts without doubt. In campus of 1980s， if you did not read “Hell Is Other People”of Sartre， you would fall behind others. But after 1990s， missing any thinking seemed not to make us regret. Under the same age， there are very different inspiration source， knowledge composition and value priorities——“Common view” in art field domain was already gone. No wisdom can deal with the miscellaneous and discontinuous Chinese experience. In the big tree of academic education， the ancient and the modern， the west and the east are mixed together like the twisted roots and gnarled branches. In the tree， there are so many old flowers and leaves like covers， and new branches grow notch by notch. Collision and fusion between time and space occur here. As it were， artists born in the 70s and 80s grew up in soil of academy with different concepts. Their arts are grafted to different branches， with different paradigms and visions. Appearance and form of art are required by self demand. This generation of artists are mainly characterized by development simultaneously in “above the trellis” and “below the trellis”， fusion of traditional and modern arts，mutual shining of “mirror and lamp” and diversified styles. Indeed， “They do not have to criticize and deny a new tradition together with strength of one generation， in the name of collective， as the artists who have started up in art creation since the 1980s did. They only need develop， promote and go beyond the new developed tradition by individual strength and individual manner， within it.”（Zou Yuejin）. There is a quieter and wider world behind a complicated appearance， where there is an enough space for heart and object recognizing each other. This is the luck of this generation.

There are not two repeated roads， just as there are not two same dreamlands. However， the Big Dipper always shines in every night， guiding the way. In the 1990s， when main Academies of Fine Arts in the west have given up the plastic arts and selected concept and installation， Chinese higher art education also wandered around the crisscross streets. When the whole world is going ahead， and you look back， you suddenly realize that the tradition is still standing on the end of the time，with the beauty that can hardly be concealed. A strength that cannot be eliminated burst out from the deep of the blood ties， which is the succession for classical aesthetics， and is the clear insight for the past and future，causing the art education to take the rational decision in seeking and selecting at the turn of the century. The western art that changes forever provides the Chinese art education with the reference and viewing， but the pure and deep Chinese culture is the fundamental aim to reconstruct the art education. After the 1990s， in the gorgeous sparkle excited by global vision and national tradition， Higher Academy of Fine Arts established the new structure supported by Chinese history and reality， and based on this sought the growing point with modern and future significance. Tradition is a magnetic field full of energy， with one pole of yesterday and another pole of today， where compass of inspiration vibrates strongly. In the heart of the students who study Chinese painting， tradition is the deep feeling that cannot take away： in Wei， Jin， Song and Yuan Dynasty there are their beautiful images for ideal life； there is the source purifying their hearts in the philosophy and literature， constant classic. “For them， learning tradition and artistic creation may be their passive choice at the beginning of learning period， however， they will know and like tradition from being edified and practiced by tradition， and they will gradually refuse kitsch in the atmosphere of academy.” （Painter of “generation after 70s”， He Yinghai）. The poetic world in literati spirit and Land of Peach Blossoms in words written by pen and ink make them joyful and comfortable in daily life.

廖星君 妙法莲华系列之一（局部）

颜海蓉 不文火（局部）

赵丽娜 梦幻新娘（局部）

李 振 清池（局部）

岳小飞 冷骨（局部）

The one who starts with ideal should return to the homeland of ideal finally. A good university not only can fly your dream， but can wait for your return. When a man travelling in a place far away from home is tired of travelling， the thing that he chased after and highly praised in that year， the precious collection about mysterious youth will become his most gentle embrace. It brushes off the hardships of travel naturally， lights and recoveries the destiny and dream of one heart and even an era！ After the new tide in 1985， some edgy artists considered that the academy is “the death land of the art”， and the conventional place. They do not acknowledge any kind of “academy identity” and“academy tradition” but realize their own personality and expression by their instinct，the way of playing life and anomaly-like attitude. From this level， academy education showed indispensable advantages， including the completion of theoretical infusion and skill cultivation， dominant “instrumental rationality” and “technology rationality” and effort of overcoming the difficulty with humanistic thinking. “In the arts and humanities，nobody can ensure that the academy can cultivate the real artist. However， the academy should and also can reach the requirement at least， namely establishing the character that the art students can enjoy for the whole life. This character is the famous words written by the former Master Chen Yinke of The Academy of Chinese Learning， Tsinghua University 70 years ago——‘Independent personality， and freedom of thinking’” （Chen Danqing）. A university provided accumulation for “generation after 70s” and “generation after 80s” painters， which can benefit their whole life. The accumulation is the heart with respect and fear for art——you can treat yourself as a professional painter， be diligent and keep the positive attitude under the encouragement of teachers and students in the whole life. It is a kind of view and bosom——you can become a “man” who has responsibilities and thinking under the influence of intellectual spirit and humanistic consciousness. It is also a life-style that can cut through anything——you can open the new poetic world at the place where reason ended with freedom， beauty， imagination and creation. The attainment and character obtained under the edification of academy can make “generation after 70s” and “generation after 80s” painters find the supporting point of understanding history， era and self and establish the form that can bloom the individual life finally.

The university is open forever like an unbounded building. No window， because windows are everywhere in the place that the thinking walks； no roof， because cloud and star sky are the most beautiful roof. It is empty but so full. When you walk into it， a meaningful world will unfolds before you slowly. It may be a river， or a breeze， when “generation after 70s” and“generation after 80s” painters pass it， they will linger on， dwell， rest or set out again， or go deep into or seek it by cleaving path…. Maybe， the endless possibilities but the answer are the best gift that the university gives the “generation after 70s” and “generation after 80s”painters.

My University

Mi Li

一顷含秋 68cm × 34cm 2016年