沵 力

我的大學(xué)

沵 力

“70后”“80后”的青春記憶，有著這樣一張封面：晴空，暖樹(shù)，衣衫寬博的少年。清風(fēng)拂面，少年明媚初升的目光隨風(fēng)穿過(guò)林木與斗拱掩映間的層疊校舍，凝注于天際留白處那一抹飄搖萬(wàn)狀的晨曦。畫(huà)匣外隨意散落的藤黃、曙紅，點(diǎn)綴著草叢中青澀的春意。當(dāng)飛鳥(niǎo)振翅的聲響掩住了市塵升騰的喧囂，大學(xué)的時(shí)光便如這春晨般緩緩降臨在眼前。

是一日之晨，亦是四時(shí)之春，大學(xué)對(duì)一個(gè)人學(xué)養(yǎng)情志的啟蒙，足以惠及一生。如今，走出學(xué)院的他們或已在生命的長(zhǎng)河中涉水萬(wàn)里，但當(dāng)浮世的浪潮退去，所有的沙巖被一一獲悉，那些靜默的河床，終會(huì)發(fā)出悠遠(yuǎn)的回音。在“70后”“80后”畫(huà)家的藝術(shù)養(yǎng)成史中，大學(xué)正是這樣母親般的存在。他們用最茂盛的華年，在象牙塔中孜孜攀登，既貪婪吸收，又有無(wú)數(shù)的困惑和激情需要釋放，而大學(xué)承載著他們共同的美麗與哀愁，并賦予了他們一雙飛翔的翅膀。

方政和 曹植詩(shī)意圖（局部）

李 勇 青城之夏（局部）

蒼煙彌漫的歷史天空，盛滿(mǎn)青蔥往事。自1918年蔡元培先生倡導(dǎo)成立國(guó)立北京美術(shù)學(xué)校，拉開(kāi)中國(guó)現(xiàn)代美術(shù)教育的帷幕，歲月的車(chē)輪已走過(guò)近百年歷程。從向西方學(xué)習(xí)，到效仿蘇聯(lián)，再到20世紀(jì)80年代以后面向更廣闊世界的吸納與改革，百年間它與瞬息萬(wàn)變的社會(huì)進(jìn)程相應(yīng)，逐步進(jìn)入了兼收并蓄的多元化時(shí)代。風(fēng)云變幻，在每一位學(xué)子的眉目間悄然映現(xiàn)。經(jīng)歷“文革”歲月蹉跎的一代，單純并執(zhí)著，充滿(mǎn)著黎明攝取日出般原初的力量。自媒體時(shí)代的“90后”學(xué)子，善變而天真，一張張桀驁不馴的臉龐卻共同匯聚成集體無(wú)意識(shí)的面容。對(duì)于介乎其中的“70后”“80后”而言，左腳邁出的張揚(yáng)自我永遠(yuǎn)被右腳承續(xù)的理想主義追趕。時(shí)而，它們步履紛錯(cuò)，時(shí)而，它們逆路奔波，然而更多的時(shí)候，它們卻并肩倚靠、相互審視，使得主體精神之矗立如一面墻般筆直而堅(jiān)固?！懊總€(gè)人都是時(shí)代的塑造者和負(fù)荷者?！保ㄏ０s博堪布）一個(gè)時(shí)代的劫運(yùn)，塑造了那個(gè)時(shí)代大學(xué)特有的品格，而大學(xué)觀(guān)念和經(jīng)驗(yàn)在學(xué)人心中的投射，又自然地演繹出這個(gè)“代際”特有的美學(xué)邏輯。在“70后”“80后”畫(huà)家身上，袒露著20世紀(jì)90年代以來(lái)高等美院師生對(duì)藝術(shù)不同的想象方式。它們被寫(xiě)入初心，召喚著一場(chǎng)華麗的遠(yuǎn)走。

在大學(xué)所描繪的旅行地圖中，地域史與時(shí)間史縱橫交錯(cuò)。它們于20世紀(jì)末期面向更廣袤、更深遠(yuǎn)維度的延展，直接啟迪了“70后”“80后”藝術(shù)多元化的門(mén)徑。那個(gè)年代，自我否定與批判的浪潮層層翻涌，中國(guó)藝術(shù)開(kāi)始在加速奔跑中敞開(kāi)胸襟?，F(xiàn)實(shí)主義、現(xiàn)代主義迎面而至，后現(xiàn)代主義剛剛漂洋過(guò)海便被迅速納入懷中。自此，中國(guó)當(dāng)代藝術(shù)創(chuàng)作與思潮呈現(xiàn)出一派爭(zhēng)奇斗艷的錯(cuò)綜氣象。這一氣象毫無(wú)懸念地反映到美術(shù)學(xué)院的生態(tài)之中。在20世紀(jì)80年代的校園，如果你沒(méi)讀過(guò)薩特的“他人即地獄”可能會(huì)顯得落伍，而90年代之后，與任何一種思想的擦身而過(guò)似乎都不值得扼腕長(zhǎng)嘆。相同年齡的表象下，靈感資源、知識(shí)構(gòu)成、價(jià)值傾向都判然有別—藝術(shù)場(chǎng)域的“共識(shí)”早已破產(chǎn)，無(wú)論何種智慧都無(wú)法從容面對(duì)雜多且斷裂的中國(guó)經(jīng)驗(yàn)。在學(xué)院教育的大樹(shù)上，古與今、洋與中虬結(jié)糾纏，舊花葉團(tuán)團(tuán)如蓋，新枝條節(jié)節(jié)伸展，時(shí)間和空間在這里寫(xiě)就一段碰撞交融的佳話(huà)?？梢哉f(shuō)，七八十年代出生的藝術(shù)家是在學(xué)院不同的觀(guān)念土壤中生長(zhǎng)出來(lái)的。他們的藝術(shù)被嫁接在不同枝干上，有著各異的范式和愿景，并對(duì)樣貌、形式采取了為我所需的態(tài)度?！凹苌稀薄凹芟隆辈⑴e，傳統(tǒng)、現(xiàn)代融通，“鏡與燈”相互交徹，不拘一格的多樣風(fēng)格已成為這一代藝術(shù)家的主要特征。確實(shí)，“他們可能再也沒(méi)有必要像80年代開(kāi)始從事藝術(shù)創(chuàng)作的藝術(shù)家那樣，以集體的名義、一代人的力量，共同去批判和否定一種新的傳統(tǒng)，只要在某種已發(fā)展起來(lái)的新傳統(tǒng)的內(nèi)部，以個(gè)體的力量、個(gè)人化的方式，去發(fā)展、推進(jìn)和超越它們即可?！保ㄠu躍進(jìn)）紛繁復(fù)雜的背后，是一個(gè)更安靜也更寬廣的世界。這里有足夠的空間，讓內(nèi)心與物象相互辨認(rèn)。這，正是一代人的幸運(yùn)之處。

沒(méi)有一條道路是重復(fù)的，正如沒(méi)有兩個(gè)相同的夢(mèng)境，可北斗之星卻始終閃耀，于每一個(gè)空茫的夜晚，指引前進(jìn)的征途。20世紀(jì)90年代，在西方主要美術(shù)學(xué)院紛紛放棄造型基礎(chǔ)而走向觀(guān)念裝置的潮流下，中國(guó)高等美術(shù)教育亦曾徘徊在疾風(fēng)驟雨的十字街頭。全世界都奮不顧身地向前走，驀然回首時(shí)，傳統(tǒng)卻依然帶著難以掩蓋的風(fēng)華佇立在歲月盡頭。一種難以消弭的力量，自血緣深處迸發(fā)，是對(duì)古典美學(xué)精神的世代傳承，是對(duì)過(guò)去與未來(lái)的清澈洞見(jiàn)，使美術(shù)教育在世紀(jì)之交的求索與抉擇中邁出了理性的步伐。嬗迭不息的西方藝術(shù)，為它提供了參照與檢視的視角，而精純深厚的中華文脈，才是它進(jìn)行現(xiàn)代重構(gòu)的旨?xì)w。90年代之后，在全球視野與民族傳統(tǒng)所激發(fā)的絢爛花火中，高等美術(shù)學(xué)院確立了以中國(guó)歷史、現(xiàn)實(shí)為支撐的新的結(jié)構(gòu)，并在此基礎(chǔ)上自覺(jué)探尋具有當(dāng)代和未來(lái)學(xué)意義的生長(zhǎng)點(diǎn)。傳統(tǒng)是一個(gè)充滿(mǎn)能量的磁場(chǎng)，一極昨日，一極今朝，靈思的羅盤(pán)在這里強(qiáng)烈震顫。在研習(xí)中國(guó)畫(huà)的學(xué)子心中，傳統(tǒng)更是揮之不去的骨血深情：魏晉宋元，逝去的王朝中住著他們理想生活的倩影；經(jīng)史子集，不變的經(jīng)典里是他們潤(rùn)澤心靈的源泉?！皩?duì)于他們來(lái)講，學(xué)習(xí)傳統(tǒng)與藝術(shù)創(chuàng)作或許最初只是一種學(xué)習(xí)過(guò)程之中的被動(dòng)選擇，但他們由被熏陶、演練而逐漸走向熟知和喜愛(ài)，并在學(xué)院的氛圍中逐漸形成了拒絕媚俗的傾向?！保ā?0后”畫(huà)家赫英海）文人精神里的詩(shī)意世界，筆墨揮灑中的桃花之源，使得光陰這岸的他們，亦擁有了一份足以抵抗混沌日常的歡喜與自在。

李宏禹 觀(guān)心無(wú)我（局部）

葉 芃 菩提心· 異（局部）

云門(mén)張巖 何處惹塵埃（局部）

李恩成 月光如水（局部）

趙少儼 舒野（局部）

從理想出發(fā)，最終回歸理想的原鄉(xiāng)。一所好的大學(xué)，不止放飛夢(mèng)想，更迎候歸來(lái)。每當(dāng)游子倦游，思?xì)w故鄉(xiāng)，那年歲用力追尋、衷心贊嘆之事，那青春神秘且熾烈的珍藏便是最溫柔的懷抱。它用自然力般作用，拂去仆仆風(fēng)塵，點(diǎn)燃并復(fù)蘇著一顆心乃至一個(gè)時(shí)代的命運(yùn)和夢(mèng)想！“85美術(shù)新潮”之后，在一些前衛(wèi)藝術(shù)家眼中，學(xué)院是“藝術(shù)死亡之地”，是因循、陳舊的淵藪，他們不屑于對(duì)任何一種“學(xué)院身份”及“學(xué)院傳統(tǒng)”的認(rèn)同，而是靠本能、靠玩兒生活方式、靠異數(shù)般的態(tài)度來(lái)實(shí)現(xiàn)自我的聲張和表達(dá)。在這個(gè)層面上，學(xué)院教育便顯示出了其不可或缺的優(yōu)勢(shì)。這不僅表現(xiàn)為學(xué)理灌輸和技法培養(yǎng)的完備，更體現(xiàn)在“工具理性”和“技術(shù)理性”占主導(dǎo)的洪流中，以人文哲思為舟楫的逆流而上的努力?！霸谌宋乃囆g(shù)學(xué)科，沒(méi)有人能夠夸耀并保證在學(xué)院中培養(yǎng)出真正的藝術(shù)家。但學(xué)院教育應(yīng)該，也能夠達(dá)到這樣一種起碼的要求，即確立以為藝術(shù)學(xué)生葆蓄終生的品格。這品格就是清華大學(xué)前國(guó)學(xué)研究院大師陳寅恪寫(xiě)在70年前的名句—‘獨(dú)立之人格，自由之思想’?！保惖で啵┐髮W(xué)，為“70后”“80后”畫(huà)家提供了一生有用的資糧。它是一顆對(duì)藝術(shù)的敬畏之心—把自己當(dāng)作一個(gè)專(zhuān)業(yè)畫(huà)者看待，精勤努力，并在師友系統(tǒng)的終生砥礪下保持蓬勃向上的姿態(tài)。它是一種視野和胸懷—在知識(shí)分子精神和人文主義意識(shí)的影響下成為一個(gè)擁有擔(dān)當(dāng)與思想的完整的“人”。它更是一種足以貫通一切的生活方式—用自由、美、想象和創(chuàng)造，在理性終結(jié)的地方開(kāi)啟新的詩(shī)意世界。學(xué)院陶染中所收獲的素養(yǎng)與品格，使“70后”“80后”畫(huà)家發(fā)現(xiàn)了賴(lài)以理解歷史、時(shí)代和自我的支撐點(diǎn)，并最終確立了個(gè)體生命得以豐富展開(kāi)的形式。

像一間空闊無(wú)邊的建筑，大學(xué)，它永遠(yuǎn)敞開(kāi)。沒(méi)有門(mén)窗，因?yàn)樗枷胄凶叩牡胤教幪幎际情T(mén)窗；沒(méi)有屋頂，因?yàn)樵贫浜托强站褪亲蠲赖奈蓓?。它是空的，卻那么滿(mǎn)。當(dāng)你進(jìn)入它，被它包圍，一個(gè)意義充滿(mǎn)的世界才慢慢在你面前展開(kāi)?？梢允侨魏我粭l河流，也可以是任意一縷風(fēng)，“70后”“80后”畫(huà)家經(jīng)過(guò)它，流連，棲居，休整，再出發(fā)，或汲汲深入，或辟路以求……也許，無(wú)限的可能性，而非答案，正是大學(xué)帶給“70后”“80后”畫(huà)家最好的禮物。

潘一見(jiàn) 絕壑千春之一（局部）

范治斌 嵩山寫(xiě)生（局部）

王躍奎 鼓樓仙境寫(xiě)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.

陰澍雨 海棠蟋蟀（局部）

徐光聚 山水（局部）

李雪松 雪線(xiàn)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 妙法蓮華系列之一（局部）

顏海蓉 不文火（局部）

趙麗娜 夢(mèng)幻新娘（局部）

李 振 清池（局部）

岳小飛 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

一頃含秋 68cm × 34cm 2016年