Discipline with Master’s Dignity-Teaching & Research Exhibition

  • Dates:2018-10-12 - 2018-11-04
  • Location:Gallery 3A, CAFA Art Museum
  • Opening:2018-10-12
  • Organizer(s): Central Academy of Fine Arts
  • Organizers: School of Fine Art of CAFA CAFA Art Museum
  • Academic Advisers: Zhan Jianjun|Xie Dongming
  • Academic Support: Yu Hong
  • Art Director: Ma Lu|Liu Shangying
  • Curator: Tang Yu

Details

In the last one hundred years, a large number of great masters and prominent artists have gathered at the Department of Oil Painting of CAFA and left their great masterpieces with significant achievements. Among them, the No.3 Studio of the Department of Oil Painting founded by Dong Xiwen has made c... More
In the last one hundred years, a large number of great masters and prominent artists have gathered at the Department of Oil Painting of CAFA and left their great masterpieces with significant achievements. Among them, the No.3 Studio of the Department of Oil Painting founded by Dong Xiwen has made constantly accomplishments in the magnificent art history of modern Chinese art and become the core power to promote the development of Chinese oil painting and the formation of the “Chinese school of oil painting”, which can be viewed as a typical study case in the history of modern Chinese oil painting.
Looking back, since the No.3 Studio started as Dongxiwen Studio in the beginning, it has rooted in the excellent tradition of Chinese culture while paying attention to absorbing and digesting the essence of Western oil painting, showing its extensiveness and inclusiveness in learning from others. At the same time, centering around the education idea of “teach students according to their level and take advantage of a favorable trend”, the studio carried on Dong Xiwen’s ideal of creating “Chinese-style oil painting” and had played an indispensable role in shaping the national image and cultivating talents for oil painting. After the Cultural Revolution (1966-1976), under the lead of Zhan Jianjun, the No.3 Studio has always adhered to the rules and standards of basic training, suggesting to create an atmosphere of academic freedom and guiding the students to explore and develop their individuality. It insisted upon the principle of “being both strict and mild” in teaching, neither conservative nor indulgent, and fulfilled the academic proposal of “initiatively establishing the Chinese-style oil painting” with excellent teaching results. Thus, many outstanding graduates emerged and became the backbone force in today’s Chinese art circles of oil painting.
In the new context of global art transformation since coming into the new century, the education work of the No.3 Studio has been presided over by Xie Dongming and Yu Hong successively with the teaching tradition proposed by Dong Xiwen that “being open to new ideas and drawing on the strengths of others”. The studio held firmly to strict realistic foundation training and attached equal importance to rigorous practice and active mind as well as to explore deeply the independent value and potential spiritual space of oil painting’s self-language that formed during the historical evolution. In the background of a variety of landscape and media of global culture and arts, the No.3 Studio injected new energy into Chinese art world with generations of graduates, which also pointed out the special meaning and value possessed by the No.3 Studio in the future development of global advanced art education and visual arts. Therefore, on the centennial anniversary of CAFA, the School of Fine Arts organized “Discipline with Master’s Dignity – Teaching & Research Exhibition of No.3 Studio of the Department of Oil Painting, CAFA”, which presents the historical development of the No.3 Studio of the Department of Oil Painting and showcases the education ideas and creation characteristics during different periods, forming a narrative structure composed of three sections – “National style, Chinese style”, “Establishing the Chinese school of oil painting” and “Base on tradition, face the contemporary era ”. Through the organic rearrangement of No.3 Studio’s works, historical pictures and archives of different periods, the exhibition comprehensively describes its historical line of the teaching and the wide dimension of the creation, featuring a total of 60 pieces of works created by teachers and students during different stages since the founding of the Dongxiwen Studio in 1959. Reviewing the development process of the No.3 Studio and doing research on its experience of teaching can be regarded as both a case study on the history of oil painting in new China and a summary and promotion of the academic spirit and inheritance of CAFA.

Preface

历百年迄今,中央美术学院油画系可谓名师大家济济一堂,鸿篇巨帙,成果斐然。其中由董希文先生创建的油画系第三工作室,在波澜壮阔的中国现代美术史上更是不断书写出一篇篇壮美华章,成为推动中国油画艺术发展并形成“油画艺术的中国学派”的核心力量,堪称中国现代油画史上的一个典型案例。

回望历史,第三工作室从建立之初的董希文工作室开始,广收博采、兼容并蓄,一方面扎根于中国文化的优秀传统,另一方面也注重对西方油画艺术的自主吸收、融会贯通。同时秉承着董希文先生“油画中国风”的学术理想,围绕“因材施教、顺水推舟”的教学理念,在塑造国家形象和培养油画艺术人才方面发挥了无可替代的重要作用。文革之后,在詹建俊先生的主持下,第三工作室始终坚持基础训练的规范和法度,主张创造自由的学术氛围,引导学生探索和发挥自己的个性,教学中坚持“严宽结合”,既不保守、也不放任,以优异的教学成果践行着“自觉建构油画艺术的中国学派”的学术主张,涌现出许多优秀的毕业生,成为今天中国油画艺术界的中坚力量。

新世纪以来,在全球艺术变革的新语境下,第三工作室的教学相继在谢东明、喻红两任工作室主任的主持下,不忘董希文先生提出的“广收博采,为我所用”的教学传统,清醒而理智地坚守严格的写实基础训练,在教学中做到严谨的训练与活跃的思维并重,并持续深入探寻油画语言本体在历史演进中生成的独立价值和潜在精神空间。在全球文化艺术景观化、媒体化的多元图景中,第三工作室培养出来一批批毕业生为中国艺术界注入了新的活力。这也是油画系第三工作室在今后全球高等美术教育与视觉艺术发展趋势中的独特意义和价值所在。

因此,在中央美术学院建校百年之际,造型学院推出“师严道尊:中央美术学院油画系第三工作室教学研究展”的专题展览,以油画系第三工作室发展的历史脉络为经,以不同时期的教学理念和创作特色为纬,形成“民族风格、中国气派”“建构油画艺术的中国学派”“立足传统、面对当代”三个展览单元作为叙事结构。通过对第三工作室不同历史阶段作品、历史照片、教学文献的进行有机编排,全面勾勒出其教学的历时展开和创作的广泛维度,共展出1959年董希文工作室成立以来各个阶段教师和学生作品共计六十余件,回顾第三工作室的发展历程,研究它的教学经验,这既是对新中国油画史的一次个案研究,也是对中央美术学院学术精神和学术传承的又一次总结和弘扬。


历百年迄今,中央美术学院油画系可谓名师大家济济一堂,鸿篇巨帙,成果斐然。其中由董希文先生创建的油画系第三工作室,在波澜壮阔的中国现代美术史上更是不断书写出一篇篇壮美华章,成为推动中国油画艺术发展并形成“油画艺术的中国学派”的核心力量,堪称中国现代油画史上的一个典型案例。

回望历史,第三工作室从建立之初的董希文工作室开始,广收博采、兼容并蓄,一方面扎根于中国文化的优秀传统,另一方面也注重对西方油画艺术的自主吸收、融会贯通。同时秉承着董希文先生“油画中国风”的学术理想,围绕“因材施教、顺水推舟”的教学理念,在塑造国家形象和培养油画艺术人才方面发挥了无可替代的重要作用。文革之后,在詹建俊先生的主持下,第三工作室始终坚持基础训练的规范和法度,主张创造自由的学术氛围,引导学生探索和发挥自己的个性,教学中坚持“严宽结合”,既不保守、也不放任,以优异的教学成果践行着“自觉建构油画艺术的中国学派”的学术主张,涌现出许多优秀的毕业生,成为今天中国油画艺术界的中坚力量。

新世纪以来,在全球艺术变革的新语境下,第三工作室的教学相继在谢东明、喻红两任工作室主任的主持下,不忘董希文先生提出的“广收博采,为我所用”的教学传统,清醒而理智地坚守严格的写实基础训练,在教学中做到严谨的训练与活跃的思维并重,并持续深入探寻油画语言本体在历史演进中生成的独立价值和潜在精神空间。在全球文化艺术景观化、媒体化的多元图景中,第三工作室培养出来一批批毕业生为中国艺术界注入了新的活力。这也是油画系第三工作室在今后全球高等美术教育与视觉艺术发展趋势中的独特意义和价值所在。

因此,在中央美术学院建校百年之际,造型学院推出“师严道尊:中央美术学院油画系第三工作室教学研究展”的专题展览,以油画系第三工作室发展的历史脉络为经,以不同时期的教学理念和创作特色为纬,形成“民族风格、中国气派”“建构油画艺术的中国学派”“立足传统、面对当代”三个展览单元作为叙事结构。通过对第三工作室不同历史阶段作品、历史照片、教学文献的进行有机编排,全面勾勒出其教学的历时展开和创作的广泛维度,共展出1959年董希文工作室成立以来各个阶段教师和学生作品共计六十余件,回顾第三工作室的发展历程,研究它的教学经验,这既是对新中国油画史的一次个案研究,也是对中央美术学院学术精神和学术传承的又一次总结和弘扬。


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