我的大學

沵 力

我的大學

沵 力

“70后”“80后”的青春記憶，有著這樣一張封面：晴空，暖樹，衣衫寬博的少年。清風拂面，少年明媚初升的目光隨風穿過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狀的晨曦。畫匣外隨意散落的藤黃、曙紅，點綴著草叢中青澀的春意。當飛鳥振翅的聲響掩住了市塵升騰的喧囂，大學的時光便如這春晨般緩緩降臨在眼前。

是一日之晨，亦是四時之春，大學對一個人學養情志的啟蒙，足以惠及一生。如今，走出學院的他們或已在生命的長河中涉水萬里，但當浮世的浪潮退去，所有的沙巖被一一獲悉，那些靜默的河床，終會發出悠遠的回音。在“70后”“80后”畫家的藝術養成史中，大學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，又有無數的困惑和激情需要釋放，而大學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 曹植詩意圖（局部）

李 勇 青城之夏（局部）

蒼煙彌漫的歷史天空，盛滿青蔥往事。自1918年蔡元培先生倡導成立國立北京美術學校，拉開中國現代美術教育的帷幕，歲月的車輪已走過近百年歷程。從向西方學習，到效仿蘇聯，再到20世紀80年代以后面向更廣闊世界的吸納與改革，百年間它與瞬息萬變的社會進程相應，逐步進入了兼收并蓄的多元化時代。風云變幻，在每一位學子的眉目間悄然映現。經歷“文革”歲月蹉跎的一代，單純并執著，充滿著黎明攝取日出般原初的力量。自媒體時代的“90后”學子，善變而天真，一張張桀驁不馴的臉龐卻共同匯聚成集體無意識的面容。對于介乎其中的“70后”“80后”而言，左腳邁出的張揚自我永遠被右腳承續的理想主義追趕。時而，它們步履紛錯，時而，它們逆路奔波，然而更多的時候，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固?！懊總€人都是時代的塑造者和負荷者。”（希阿榮博堪布）一個時代的劫運，塑造了那個時代大學特有的品格，而大學觀念和經驗在學人心中的投射，又自然地演繹出這個“代際”特有的美學邏輯。在“70后”“80后”畫家身上，袒露著20世紀90年代以來高等美院師生對藝術不同的想象方式。它們被寫入初心，召喚著一場華麗的遠走。

在大學所描繪的旅行地圖中，地域史與時間史縱橫交錯。它們于20世紀末期面向更廣袤、更深遠維度的延展，直接啟迪了“70后”“80后”藝術多元化的門徑。那個年代，自我否定與批判的浪潮層層翻涌，中國藝術開始在加速奔跑中敞開胸襟。現實主義、現代主義迎面而至，后現代主義剛剛漂洋過海便被迅速納入懷中。自此，中國當代藝術創作與思潮呈現出一派爭奇斗艷的錯綜氣象。這一氣象毫無懸念地反映到美術學院的生態之中。在20世紀80年代的校園，如果你沒讀過薩特的“他人即地獄”可能會顯得落伍，而90年代之后，與任何一種思想的擦身而過似乎都不值得扼腕長嘆。相同年齡的表象下，靈感資源、知識構成、價值傾向都判然有別—藝術場域的“共識”早已破產，無論何種智慧都無法從容面對雜多且斷裂的中國經驗。在學院教育的大樹上，古與今、洋與中虬結糾纏，舊花葉團團如蓋，新枝條節節伸展，時間和空間在這里寫就一段碰撞交融的佳話?？梢哉f，七八十年代出生的藝術家是在學院不同的觀念土壤中生長出來的。他們的藝術被嫁接在不同枝干上，有著各異的范式和愿景，并對樣貌、形式采取了為我所需的態度?！凹苌稀薄凹芟隆辈⑴e，傳統、現代融通，“鏡與燈”相互交徹，不拘一格的多樣風格已成為這一代藝術家的主要特征。確實，“他們可能再也沒有必要像80年代開始從事藝術創作的藝術家那樣，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，只要在某種已發展起來的新傳統的內部，以個體的力量、個人化的方式，去發展、推進和超越它們即可。”（鄒躍進）紛繁復雜的背后，是一個更安靜也更寬廣的世界。這里有足夠的空間，讓內心與物象相互辨認。這，正是一代人的幸運之處。

沒有一條道路是重復的，正如沒有兩個相同的夢境，可北斗之星卻始終閃耀，于每一個空茫的夜晚，指引前進的征途。20世紀90年代，在西方主要美術學院紛紛放棄造型基礎而走向觀念裝置的潮流下，中國高等美術教育亦曾徘徊在疾風驟雨的十字街頭。全世界都奮不顧身地向前走，驀然回首時，傳統卻依然帶著難以掩蓋的風華佇立在歲月盡頭。一種難以消弭的力量，自血緣深處迸發，是對古典美學精神的世代傳承，是對過去與未來的清澈洞見，使美術教育在世紀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，為它提供了參照與檢視的視角，而精純深厚的中華文脈，才是它進行現代重構的旨歸。90年代之后，在全球視野與民族傳統所激發的絢爛花火中，高等美術學院確立了以中國歷史、現實為支撐的新的結構，并在此基礎上自覺探尋具有當代和未來學意義的生長點。傳統是一個充滿能量的磁場，一極昨日，一極今朝，靈思的羅盤在這里強烈震顫。在研習中國畫的學子心中，傳統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；經史子集，不變的經典里是他們潤澤心靈的源泉。“對于他們來講，學習傳統與藝術創作或許最初只是一種學習過程之中的被動選擇，但他們由被熏陶、演練而逐漸走向熟知和喜愛，并在學院的氛圍中逐漸形成了拒絕媚俗的傾向?！保ā?0后”畫家赫英海）文人精神里的詩意世界，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 觀心無我（局部）

葉 芃 菩提心· 異（局部）

云門張巖 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，最終回歸理想的原鄉。一所好的大學，不止放飛夢想，更迎候歸來。每當游子倦游，思歸故鄉，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，拂去仆仆風塵，點燃并復蘇著一顆心乃至一個時代的命運和夢想！“85美術新潮”之后，在一些前衛藝術家眼中，學院是“藝術死亡之地”，是因循、陳舊的淵藪，他們不屑于對任何一種“學院身份”及“學院傳統”的認同，而是靠本能、靠玩兒生活方式、靠異數般的態度來實現自我的聲張和表達。在這個層面上，學院教育便顯示出了其不可或缺的優勢。這不僅表現為學理灌輸和技法培養的完備，更體現在“工具理性”和“技術理性”占主導的洪流中，以人文哲思為舟楫的逆流而上的努力?！霸谌宋乃囆g學科，沒有人能夠夸耀并保證在學院中培養出真正的藝術家。但學院教育應該，也能夠達到這樣一種起碼的要求，即確立以為藝術學生葆蓄終生的品格。這品格就是清華大學前國學研究院大師陳寅恪寫在70年前的名句—‘獨立之人格，自由之思想’?！保惖で啵┐髮W，為“70后”“80后”畫家提供了一生有用的資糧。它是一顆對藝術的敬畏之心—把自己當作一個專業畫者看待，精勤努力，并在師友系統的終生砥礪下保持蓬勃向上的姿態。它是一種視野和胸懷—在知識分子精神和人文主義意識的影響下成為一個擁有擔當與思想的完整的“人”。它更是一種足以貫通一切的生活方式—用自由、美、想象和創造，在理性終結的地方開啟新的詩意世界。學院陶染中所收獲的素養與品格，使“70后”“80后”畫家發現了賴以理解歷史、時代和自我的支撐點，并最終確立了個體生命得以豐富展開的形式。

像一間空闊無邊的建筑，大學，它永遠敞開。沒有門窗，因為思想行走的地方處處都是門窗；沒有屋頂，因為云朵和星空就是最美的屋頂。它是空的，卻那么滿。當你進入它，被它包圍，一個意義充滿的世界才慢慢在你面前展開。可以是任何一條河流，也可以是任意一縷風，“70后”“80后”畫家經過它，流連，棲居，休整，再出發，或汲汲深入，或辟路以求……也許，無限的可能性，而非答案，正是大學帶給“70后”“80后”畫家最好的禮物。

潘一見 絕壑千春之一（局部）

范治斌 嵩山寫生（局部）

王躍奎 鼓樓仙境寫生（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