When the flags are scattered, the stars are scattered
My days in Gome
Art Newspaper Planning/All Media News Department Writer/Jiang Lingxiachao
The so-called years is an article composed of many small pieces of past spelling,
no matter those who follow the wind Whether the scattered words and sentences are beautiful or not, they are always lingering in my heart.
It is those joys and sorrows that slowly settle in time, and only then have the later stories and history.
ninety years, also long and short.
In their memory, there are wooden chairs with curved armrests in the classroom, the school corridor that runs almost across the school, and the cabin bar on Luyang Road diagonally across from the Academy of Fine Arts...
Now, let us Together those years, those people, those things.
China Academy of Art celebration poster
Zhang Yuanfan: Japanese class for teachers and students
In 1977, Zhejiang Academy of Fine Arts resumed enrollment. In the first year after enrolling at Level 77, there was a notice that students who did not have a foreign language test at the time of enrollment will start learning foreign languages in the next second academic year, otherwise they will not get a degree when they graduate.
Zhang Yuanfan, who was studying for an undergraduate degree in printmaking at the time, was a little flustered: in the past ten years, he had been handed over to farming and lathes. There is no foundation at this time and he does not know how to handle it; but there is also a vision: the new college library The large number of foreign picture albums imported are the sweet pastries that hungry students are rushing to read. If you have the help of foreign languages, you may get more interpretation behind the images.
Students in the Department of Oil Painting and Crafts must choose English, those in the Chinese Painting Department must choose Japanese, and those in the Printmaking Department can choose between English and Japanese. After some struggles, Zhang Yuanfan chose Japanese, thinking about reading the Japanese prints in the reading room earlier. Due to the lock-up of the "Cultural Revolution" and unable to find qualified Japanese teachers, the college specially hired Peng Shijia, a high-achieving student from the former "Hangao" to teach.
The composition of the Japanese class at the time was colorful. In addition to all students majoring in traditional Chinese painting, Zhang Yuanfan majoring in printmaking, and graduate students majoring in traditional Chinese painting such as Chen Zhenlian, there are also teachers such as Mr. Liu Jiang from the Department of Chinese Painting and Mr. Li Songchai from the Department of Ceramics. At that time, Liu Jiang and Li Songchai were both old gentlemen who were highly respected by students. They were very busy teaching and creating, but they took the time to work together as students, and their seriousness was even better than being present. Young people. The two Mr.
are from Chushu. Due to the influence of dialects, when reading the texts, there are frequent occurrences of "null and no distinction", and they will hear the snickers of their classmates. It corrects the pronunciation repeatedly. Or they may apologize to the teacher with shame, saying that because the work is very busy, the preview and review are not enough. Witnessing the gentlemen's diligently seeking knowledge regardless of their age and status, it is impossible to be impressed. It also made Zhang Yuanfan, who had the mentality of trying it out at first, to be very energetic to attend the class. Soon after the
class started, Mr. Peng called each person’s name in Japanese. The odd pronunciation becomes a material for students to tease each other. The pronunciation of the three characters Liu Yousha is exactly the same as the Chinese pronunciation, which is not very interesting; while the pronunciation of the three characters Chi Shahong is similar to "eating sand pot", which is especially easy to remember. Since we met, we have called the latter. Now when Zhang Yuanfan and Chi Shahong meet by chance, they still can't help but pull out this stalk.
Japanese class lasts for two years every Friday. Based on this, Chen Zhenlian later translated a large number of professional Japanese calligraphy documents. Zhang Yuanfan also passed the national examination on the basis of his learning, and fortunately seized the opportunity to study abroad.
In the 1980s, Sha Menghai was teaching
Chen Zhenlian: Drinking the "first sip" of calligraphy graduate education
Zhang Yuanfan's "classmate" Chen Zhenlian was only 23 years old when he enrolled in 1979, the youngest of the graduate students enrolled in the same period One of them. "We drank the "first sip" of calligraphy graduate education, which has a profound impact on my life. Before entering the Academy of Fine Arts, I was mainly interested in calligraphy, but after entering the Academy of Fine Arts, calligraphy became my lifelong exploration and research. His career has allowed me to really start thinking about calligraphy from a professional point of view.”
In January 1980, before Lu Weizhao died of illness, he still insisted on teaching the last lesson for graduate students in front of the hospital bed, and entrusted the training of graduate students to Sha Menghai. . "Old gentlemen have a lot of interest in Chinese calligraphy educationThe pioneering work began at that time, and then we stayed in school to teach after graduation. We continued to explore the subject of calligraphy and formed a set of effective teaching models. "
Chen Zhenlian's youthful memories are all left in the Academy of Fine Arts. "The academic atmosphere of the Academy of Fine Arts is very strong, which inspires me to continue to conduct various academic explorations. My research on Japanese calligraphy, including later thematic creation of calligraphy, and the proposal of academic calligraphy, were all done in the Academy of Fine Arts. "
When Chen Zhenlian first entered the Academy of Fine Arts, it was still controversial whether calligraphy was a professional subject. Comparing Chinese painting, oil painting, sculpture and other majors, I always felt that calligraphy was dwarf. This also inspired him in the future dozens of years. In the middle of the year, he regarded calligraphy education as his life's career, and made in-depth explorations in teaching methods, creative forms, curriculum settings, etc.
Chen Xiangxun: The rigor of the old man carries 90 years of academic content
as a native Hangzhou native Chen Xiangxun knew the famous art school of the China Academy of Fine Arts since he was a child. “There are many famous painters in it, and I have a great interest in landscape painting, so I really want to study painting at the Academy of Fine Arts. "In 1980, he was admitted to the Department of Chinese Painting of the Chinese Academy of Fine Arts as he wished, because this year he restarted enrollment in the fields of figure, landscape, and flowers and birds.
In 1984, Chen Xiangxun’s undergraduate graduation creation "March of Pastoral Songs" was featured in the "6th National He won a silver award at the “Art Exhibition”, and his reputation for a while, he stayed on to teach smoothly. In 1986, he began to study for a master’s degree on the job, and his tutor was Mr. Lu Yanshao. “The interpretation of the classics and the experience of pen and ink are all The precious wealth the old man left us is also the essence of the basic teaching of Chinese painting at the Academy of Fine Arts. "
When he first started studying in graduate school, Mr. Lu asked him to submit a postgraduate study plan. He wrote it down with a pen and gave it to the tutor. After reading it, Mr. Lu not only made suggestions for amendments, but also asked him to copy it again in small letters, old man. This extra request shocked him, and he deeply felt the rigorous scholarship of the old gentleman. In the eyes of the old gentleman of the Chinese Painting Department, his knowledge should be of high standards and strict requirements at all times.
This also affected Chen Xiangxun. Creation and exploration in painting. Many people who see Chen Xiangxun’s work can’t help but ask how it was drawn. His freehand landscape is said to be freehand, but in the early stage of creation, from idea to draft, it is more than meticulous painting. Be rigorous. He believes that every single stroke in painting is very particular, and the "exquisiteness" in painting creation is also the "quality" he has been pursuing.
The four words "teaching for each other" are vividly reflected in Chen Xiangxun. . His teaching to students is more like a conversation between friends, from teaching to life, everything is said. After more than 30 years of teaching at the school, the Academy of Fine Arts is not only a place to work, but also a testimony to him. The place where he lives. Even his acquaintance and communication with his wife are related to the Academy of Fine Arts. In his words, the Academy of Fine Arts has been integrated into his life. Mr. Lu Yanshao’s words and deeds influenced Chen Xiangxun, and Chen Xiangxun also influenced him. A large number of students, there are many of his students in the current faculty of the Department of Chinese Painting. Liyuan’s salary has been passed down from generation to generation. It is precisely this way that it has carried the 90 years of profound cultural accumulation and academic content of the China Academy of Art.
Lu Xuefeng : Two or three things in the "Theory Teaching and Research Office"
On the campus of the Old Academy of Fine Arts where Zhang Yuanfan, Chen Zhenlian, Chen Xiangxun and others studied, there is a long corridor that runs almost across the entire school. There is a blue brick two-story building beside the long corridor. The famous "Theory Teaching and Research Section" was where there were many famous scholars with "story". The
Theory Teaching and Research Section has four teaching and research groups, namely the History Theory Group, the Marxist-Leninist Group, the Literature Group, and the Physical Education Group. The teaching of almost all public courses except foreign languages.
In 1980, when he arrived in the teaching and research section, Lu Xuefeng began to call his seniors in accordance with the tradition. The gentlemen mainly concentrated in the history group, including Lu Hongji, Shi Yan, Qian Jingchang, Wang Bomin, Yan Mohan, in addition to Shen Runtang, Zhu Boxiong, Yan Bo, Yu Shouren, etc.
In the Academy of Fine Arts in the late 1970s, many details of campus life were beyond the imagination of latecomers. With the emancipation of mind and the removal of imprisonment, gentlemen and teachers Everyone became cheerful and talkative. Every Saturday afternoon political study activities, everyone gathered together, some old gentlemen with strong local accents still enthusiastically spoke, and gave generous speeches on national events, school development, and professional development. At that time, there was a rare union benefit. Such as dividing watermelon in summer and dividing fish or sweet potato in winter, the old gentlemen also showed their "serious" attitude. For example, dividing watermelonAt that time, Lu Xuefeng was in the center of the venue and was responsible for lining up the watermelons according to their sizes and dividing them into piles. They would watch them carefully from the side, and then proposed to adjust the order of several of them to show fairness.
At that time, not long after the "Cultural Revolution" was over, I could often witness some teachers (including the now famous painters) go to the trade union mutual aid association to borrow one or twenty yuan to spend the "green and yellow" days, and then return it immediately after the salary is paid. . In the face of poverty, gentlemen and teachers have no more complaints. They still teach seriously and do not ask for anything in return.
In the theoretical teaching and research section, Lu Xuefeng is the youngest member. He takes care of many errands, so he has personal relationships with many gentlemen and teachers. Mr. Qian Jingchang’s spectacle lenses are really as thick as the bottom of a wine bottle. When cleaning, he often laughed at himself and said that he could not see the dust. When Lu Xuefeng visited his house, he found that the historical "accumulation" was indeed very heavy.
Mr. Wang Bomin’s Huangyan Cavity needs to be carefully distinguished. He once told Lu Xuefeng that he used to put his hands on a wet towel in the heat of summer, soak his feet in a bucket filled with cold water to cool down, and study hard throughout the night. Group photo after graduation from the Chinese painting class of
83 in June 1987 in the back row of Chinese Painting Department
(from left to right): Zhu Hong, Wang Qingming, Liu Wenjie, Wu Shanming, Zhang Zuan, Gu Shengyue (then director of the department), Tong Zhongtao, Wang Dongling, Tang Yongli, Chen Zhenlian, Sun Xiangchun (the department secretary at the time), Tong Zhenguo, Kong Zhongqi, Lou Feinai (the teaching secretary at the time), Xu Mo, Wang Jin, Xia Xiaolong, Wu Gang, Wang Zan, Yin Xiaobin
front row (from left To the right): Pan Fengquan, Huang Fabang, Wang Jinsong, He Xi, Hu Shourong, Zhang Xihong, Wang Zuojun, Liu Yong
Pan Yaochang: I made thousands of slides
In 1979, the theory teaching and research department had the first batch of graduate students, Hong Huizhen, Ouyang Ying, Pan Yaochang, Fan Jingzhong, and Fan Xiaoming all stayed in school after graduation and became the leaders of the new generation.
In 1985, the Theory Teaching and Research Section was reorganized into Marxism-Leninism Teaching and Research Section and History Theory Teaching and Research Section. In the same year, Xiao Feng, the dean at the time, proposed the establishment of a historical theory department. In May 1988, the History Theory Teaching and Research Section was officially changed to the Department of Art History Theory, and Pan Yaochang was appointed as the deputy director.
didn’t have a computer at the time. Pan Yaochang and his teachers archived the things done in the department and written documents on carbon paper. It seemed to be handed in once a month. There were handwritten ones and those with typewriters. In Pan Yaochang’s memory, "typewriters" You can knock off your finger covers.” At that time,
had to hold black-and-white or color albums in class. Later, the teachers began to make black-and-white photos in the darkroom. At that time, there were no reversal films. They were all made up of black and white slides by teachers. After the color photos were available, every teacher in the department spent almost all of their research funds on buying color photos. Sometimes when you go abroad, you can buy color slides in places you travel and bring them back to class. "After the computer came, the thousands of slides I made were useless."
Huang Heqing: Personal experience of Zao Wou-ki's short-term training class
was in the second year of Pan Yaochang's postgraduate study. The college began to run its own journal, according to Pan Yaochang's memory. At that time, according to Jin Ye's proposal, the journal was named "New Art", and the word "new" took the meaning of breaking with tradition. In the same year, the college decided to change "Foreign Art Materials" to "Art Translation Collection", and at the same time distribute it to the whole country. Both journals are quarterly journals, and their appearance reflects the academic tendency of the college to introduce foreign art and study Chinese art equally.
In April 1984, Huang Heqing was seconded to Zhejiang Academy of Fine Arts as the editor of "Art Translation Collection". In 1985, he passed the examination of Mr. Qian Jingchang as a graduate student of Western Art History. Yang Qirui, Yang Hualin and Tang Yongli were in the same session with him.
has just entered the Academy of Fine Arts, and Huang Heqing lives in the young teacher's dormitory on the top floor of the student dormitory. On both sides of a long corridor, there are two people in a room, all of which are famous figures in the art academy or the art world. Next to the left are Wu Haiyan and Li Xiuqin, and next to the right are Long Xiang and Wang Weimin. Inside, there are Gu Wenda, Guo Zhen, An Bin, Lu Shaofu, Zheng Chongbin and others. At the top of the stairs are Song Jianming and Wei Tianyu. The same dormitory with Huanghe Qing is Liu Jian from the Department of Chinese Painting.
In 1985, Huang Heqing returned as the translator of Mrs. Zao Wou-Ki and went through the "Zao Wou-Ki Painting Workshop" throughout the process. In the one-month short training class, 27 outstanding lecturers and painters from major art academies across the country attended the class. Huang Heqing and the oil painting buddies such as Xu Jiang and Sun Jinggang in the short training class "fight together", and even after the short training class ended, 27 students gathered in Huagang and wanted to set up a painting club.Counting that, it was named "28 Painting Club".
"During this period, I was also the'gang leader' of a group of art students. The members included Xiao Lu, Changqing, He Hongzhou, Chen Hongqing of the Oil Painting Department, and Li Zhi of the Printmaking Department... This group also had a serious "gang song" by Li Zhi. Composing, having many gatherings, drinking and having fun."
Once, Huang Heqing participated in the graduation event of the oil painting department, and Wang Guangyi was sitting next to him, "He looks very simple, saying that he has taken French for four years as an elective, and he would only say'Hello, thank you, goodbye ...Hahaha', I didn't expect to become like Dürer's self-painted Christ with long hair and long hair. He is very'artist' and one of the four kings of China's'contemporary art'!"
June 1987, two years Half a year in the school system, Huang Heqing finished his master's thesis, but before he could reply, he was sent to France as a graduate student and studied at the School of Art History and Archaeology at the Sorbonne I in Paris.
