My wife and I are two graduate students of the Central Academy of Fine Arts in the entering class of 1978. This group of graduate students is the first batch enrolled by the Central Academy of Fine Arts after the Cultural Revolution in China. The recruitment of this group of graduate students was the beginning of the resurgence of the Central Academy of Fine Arts after the “Cultural Revolution”; for students, it was a major turning point and opportunity in everyone’s life. On the occasion of the centennial celebration of the Central Academy of Fine Arts, we, who have been nurtured by the CAFA, would like to hand a sincere tribute and blessing to our alma mater.

In 1977, the "Cultural Revolution" was over, and the time to change China came. On August 5, 1977, at the National Science and Education Work Symposium hosted by Deng Xiaoping, he solemnly announced: "Restore the unified college entrance examination, starting this year." Many young people were immersed in excitement, and many people woke up from the sense of loss during the Cultural Revolution! At that time, we were graduates of the class of 1966 from the Middle School Affiliated to Xi'an Academy of Fine Arts, and have been working in Taiyuan, Shanxi for ten years. The National Fine Arts Exhibition of the 50th Anniversary of the Founding of the Chinese People's Liberation Army opened at the National Art Museum of China (NAMOC) in Beijing on October 1, 1977. The Chinese painting we cooperated, “The Spirit of Taihang Mountain Passed through the Ages”, was on display, so our work unit organized us to visit Beijing. In the art museum, we met Mr. Ding Jingwen, the principal of the Middle School Affiliated to Central Academy of Fine Arts. Mr. Ding had enthusiastically invited us to his home (in the courtyard next to the east gate of the NAMOC) every time we visited Beijing. He treated young people from other places not only with enthusiasm but also with concerns in our art study. He secretly took out some of the paintings that famous painters sent him for us to look at, such as Huang Zhou's ink and wash painting, Huang Yongyu's portrait sketches of Principal Ding by writing brush. Principal Ding showed them one by one and introduced their artistic features. In that left-leaning period, Principal Ding’s love and care for the criticized painters reflected his uprightness. We have kept in mind for decades his kindness to us young people. Every time I went to Principal Ding’s home, I could feel the warmth of a revolutionary predecessor, and the call to be a righteous person, aside from improving my understanding of painting. This time, Principal Ding specially told us that the Central Academy of Fine Arts planned to recruit graduate students in 1978. He said very sincerely: “Welcome to register for the exam. You must have courage. The Cultural Revolution has caused great losses to the country, and the Reform and Opening Up is hungry for talents. The name of the famous professors of the Central Academy of Fine Arts are being rehabilitated. You should grab the chance to learn from them quickly…” The encouraging power of Principal Ding’s words was obvious. He later wrote to us personally: “You can first prepare for the exams of the Central Academy of Fine Arts.” In Taiyuan, Shanxi, from the factory to the art creation team of the Provincial Cultural Bureau, we had experienced ten years of hard work and never gave up painting. We adhered to the creative paths that reflect real life and co-created a number of Chinese paintings and oil paintings that gained some recognitions in the art world and the society. We also participated in the National Fine Arts Exhibition for four times. Perhaps Principal Ding and other teachers had seen our potential with their discerning eyes. Their sincere support enhanced our confidence in applying for the graduate school.

In 1978, the Central Academy of Fine Arts issued a notice to recruit graduate students from the whole country. It is particularly gratifying that the announcement solemnly stated that the repressed star teachers had been completely rehabilitated and they were going to lead the recruitment. The instructors of the Graduate School of Chinese Painting Department were Ye Qianyu, Jiang Zhaohe, Li Keran, Li Kuchan, Liu Lingcang, etc., which showed the focus on figure painting. Such a high-standard postgraduate class undoubtedly attracted many students. Ten years of Cultural Revolution caused the  lag of higher education in China. The country had piled a large number of fine art academy undergraduates and self-taught artists. The competition is fierce: The Central Academy of Fine Arts had to recruit a limited number of no more than 40 graduate students from thousands of applicants.

Overcoming the difficulties of reaching middle age, husband and wife applying at the same time despite leaving young children at home, we were determined to apply. After a few months of preparation for the cultural class examinations, we both went to Beijing. Together with the candidates from all over the country, we slept on the floor covered with grass mats in the auditorium of the Central Academy of Fine Arts, and greeted the exams nervously and excitedly.

Eventually, both of us were fortunate enough to be admitted to the Graduate School of Chinese Painting. After the semester began, we respectively lived in the collective dormitory for male and female students, and suddenly felt that we were back to become students. A great feature of this class was that students came from all over the country: Li Shaowen, Lou Jiaben, Chu Daxiong and Shi Guoliang are from Beijing; Xie Zhigao is from Shijiazhuang, Hebei; Li Yansheng, Nie Ou and us are from Shanxi; Liu Dawei, Yang Gang, Hu Bo, Weng Rulan are from Inner Mongolia; Hua Qimin, Zhu Zhengeng are from Anhui; Han Guozhen is from Shaanxi. There was another characteristic, which is that the age difference among students was very large. The youngest students Shi Guoliang and Hua Qimin were just in their early 20s, while Chu Daxiong was the oldest and nearly 40 years old. There were college graduates of 1966 and young intellectuals who just graduated from high school. In short, the graduate students of the entering class of 1978 were fortunate. Together with the graduate students of the Oil Painting Department, the Printmaking Department, the Sculpture Department, and the Art History and Theory Department, we formed a new student team. Everyone was incomparably excited.

Yang Lizhou was painting at CAFA in 1978

When I came to the unfamiliar Central Academy of Fine Arts campus at Shuaifuyuan No.5, all the teachers I met were optimistic with smiling faces. We felt that the college leaders and the so-called “reactionary authorities” who had just been liberated were deeply affectionate to the country and its people after the hard time they’ve been through in the past decade, and we also felt their enthusiasm after the pain, their determination to begin again and broad mind of recruiting new talents. Especially those teachers who had suffered from hardships were still immersed in the joy as they reflected upon their painful experience. However, the enthusiasm they devoted to art education in our nation was cast on this group of students who had dreams about the future. We students were cared for, warm in the heart, and motivated in action.

I remembered that Mr. Jin Shangyi especially went to the Chinese Painting Department to congratulate my wife and me for the admission, and he also asked: “Where is the student from Xi'an Academy of Fine Arts who painted the ‘Prime Minister Zhou Spinning Lines’? We wish him to apply for the Oil Painting Department, but he did not come.” We immediately understood that the person Mr. Jin talked about was Ge Riyao, our 9-year classmate. The year of 1968 was still in the middle of the Cultural Revolution. After graduation, Ge Riyao was assigned to work at the Xi'an Film Studio, and we parted hastily. The communication was bad at that time. We were in Taiyuan, Shanxi, and there were very little contact between us. Although barely knowing each other, Mr. Jin was still very sorry for the young painter missing the opportunity to come to Beijing for further study. We told Ge Riyao about this conversation later, and he was very grateful to be valued by the teachers of the Central Academy of Fine Arts. His self-confidence was greatly encouraged due to the praise. At that moment, it reminded us that during the preparation for the Shanxi Pingxingguan Memorial Hall in 1969, we had the precious opportunity to meet four teachers from the Central Academy of Fine Arts: Jin Shangyi, Zhan Jianjun, Luo Erchun, Wei Zuyin. They were sincere and enthusiastic, and had good relationship with young artists in Shanxi. More importantly, their creative process in those months, including the rigorous creative methods in theme painting and vivid artistic effects, had played a very good example for us. Mr. Zhan Jianjun also stood in front of our oil painting “Resounding Victory in Pingxingguan” and said with patience: “The color of the whole painting ought to be warm. The tone contrast, including the background of the yellow valley, the burning fireworks, the Japanese soldiers in yellow uniforms, and the Eighth Route Army wearing gray-blue uniforms rushing down from the mountain should constitute a harmonious whole with an inclination towards the color of yellow.” Such specific guidance had important inspiration for our artistic thinking. That was the first theme historical painting we created after graduation. At the same time, we carefully observed Mr. Jin Shangyi’s in-depth portrayal of figures. Mr. Zhan Jianjun’s paintings had high contrast and powerful brush strokes. Mr. Luo Erchun’s painting pursued expression with vivid colors. Mr. Wei Zuyin was good at oil painting landscapes. These teachers paid great attention to artistic conception and sketching, and were also good at painting from memory. Their demonstrations made us understand the significance of strengthening basic skills and pursuing personal style, something we could never forget till today.

At the beginning of the semester, Mr. Jiang Zhaohe came to the Chinese Painting department. His was very slim and walked slowly, but he had sparkling eyes. The college leaders cared about him, and explained to us why he could not come to the academy to teach in person. We went to his home to ask for advice. Mr. Jiang took out his portrait of Mr. Xiao Longyou, a famous doctor in Beijing, and elaborated on the basics of creating Chinese figure paintings. When we showed the sketch of the “Yellow River” triptych to Mr. Jiang and his wife Ms. Xiao for guidance, Mr. Jiang leaned back on the bed and expressed his appreciation.

Mr. Li Keran also had difficulty speaking because of physical discomfort, so he chose to play the recording, and let us systematically listen to his artistic views, such as the admonition of “The most valuable thing is to dare to innovate”. In addition, he demonstrated an ink and wash painting “The Cowherd” upon our request at the class in Shi Niu Tang.

Mr. Liu Lingcang was both enthusiastic and modest. He said: “People look down on us elaborate-style painters. Minister Huang Zhen of the Ministry of Culture talked to us. I said: ‘we were artisans’. Minister Huang said: ‘No, you are national treasures. You should go out there.’ So here I am teaching you today”. He not only preached the technique of line drawing, but also painted a four-foot freehand painting Portrait of Qu Yuan, but also let us watch his masterpiece The Battle of Feishui. Later, he asked Ms. Guo Muxi (Mr. Liu Lingcang’s wife) to invite the old elaborate-style experts of Rong Bao Zhai to guide us  in copying the woodblock copies of Night Revels of Han Xizai and Eighty Seven Immortals.

In the 1950s, Lu Hongnian participated in the protection, migration and copying work of the mural paintings in the Yongle Palace in Shanxi Province. He specialized in mural painting. He led the students to visit the murals of Fahai Temple of Ming Dynasty in Beijing and later led the postgraduate classes to Dunhuang to imitate the works there.

Mr. Liang Shunian taught calligraphy to us.

Mr. Li Kuchan drew the painting Plantain and Egrets at a big class of the department. He emphasized that Chinese freehand painting should be “metaphysical”, meaning to paint form with spirit. Li Yan, Li Kuchan’s son, who was assisting him with ink and paper at the side, quickly explained to everyone: “The ‘metaphysical’ that my father said is not the ‘metaphysical’ that some people say.” At that time, the Cultural Revolution was just over.  It was very normal for Li Yan to overreact, to avoid misunderstanding and protect Li Kuchan, who was deeply victimized in the Cultural Revolution. Mr. Kuchan knew that I (Yang Lizhou) was a graduate student, and did not go sketching in the countryside because of illness. During the break, he held my hand affectionately and said to the students: “Those who would like to achieve great success in career need to be strong and healthy physically. If you want to be a great painter, you have to live longer. You might live to a certain age. Mr. Qi Baishi passed away in his 90s. He changed his painting styles after 70 years old. If he didn't live long, he couldn't become the Qi Baishi we know. Our principal Xu Beihong was very talented, but unfortunately, he died at such a young age, passed away in his 50s from disease. What a pity. His success could have been even more remarkable. ” Mr. Kuchan energetically warned everyone: “Men should be optimistic every day. Fine character is the most important for improving painting.” We were all deeply moved by his heartfelt words. One class of his was worth a decade’s reading.

Mr. Ye Qianyu had been engaged in art education since 1947. Since the establishment of the Central Academy of Fine Arts, Xu Beihong had hired him as the head of the Chinese Painting Department. The old alumni said that Mr. Ye’s teaching was very strict, and he was very prestigious in the department. Mr. Ye Qianyu was the director of our graduate class and also our supervisor. After Mr. Ye was released from Qincheng Prison, he resumed the position of the director of the Chinese Painting Department. He was full of energy, and he seemed to have forgotten the pain of eight years in prison when facing us young students. Seriously and eagerly, he talked with us 16 students one by one, to understand each person's academic qualification, talent, personality and style. Not only did he go to the class to give guidance on a weekly basis, he also asked the students to take turns to visit his home on the Meishuguan Houjie (the street behind the NAMOC), to teach students according to their practical needs. He carefully reviewed their work and encouraged students to develop their individuality. When he saw our works painted in Xiyang County, Taihang Mountain, Shanxi, and a group of ink and wash paintings from life by Wang Yingchun in northern Shaanxi, he said: “Oh, that’s of Jiang Zhaohe’s school, with some northwest style.” He carefully commented on each student work, and emphasized that we must adhere to the principle of “art comes from life”.

He also formulated a 24-character guideline for the teaching of the postgraduate classes. “Learning from the ancient and the modern, studying the Chinese and foreign knowledge, taking self study as the principle thing and teaching as the secondary thing, respecting individuality, encouraging originality”, and the trinity teaching system of “copying, sketching and creating”. He taught in the Chinese Painting Department for many years seriously and persistently. He resisted and reflected on the leftist literary and artistic trend of the Cultural Revolution, and returned to the fine tradition of Chinese painting education in the Central Academy of Fine Arts. He also used the salary that the academy reimbursed him for his absent years because of the Cultural Revolution, to establish the Ye Qianyu Scholarship of the Chinese Painting Department.

All these reflect the enthusiasm of Mr. Ye and his noble air with dedication to art education.

In the beginning of 1980, Mr. Ye discussed how to create graduation works with every student. He hoped that everyone would bring their individuality into play. We planned to return to Shanxi to collect materials to represent the Yellow River in Dayudu, Hejin County, and prepared to draw in a larger frame. Mr. Ye said: “The size of a painting should depend on actual needs.” We said: “We want to test the capacity of the Chinese art paper and exercise our representation skills." Mr. Ye then said determinantly, “OK, as long as you have ideas, you shall practice boldly.” So after more than two months of field investigating, sketching and living together with the old boatmen in Hukou of the Yellow River and the Dayudu of Hejin, we conceived the triptych “The Yellow River is Roaring” according to the symphony of Xian Xinghai, and also painted the “Peasant Suona Horn Players” in the Shehuo activities during the Spring Festival in Hejin County. Returning to Beijing in April, we showed the sketches to Mr. Ye for advise. Mr. Ye said: ”I know that you are figure painters, but if you paint only the rowing boatmen without rendering the turbulence of the Yellow River, how would you express the strength of the boatmen?” Mr. Ye’s grasp of the creative principles and his sharp vision enlightened us all of a sudden. We were left in extreme admiration of him. We quickly re-constructed the paintings, repeatedly tested the ink and brush, and finally finished a better work, and won the third prize of the Ye Qianyu Scholarship (“The Peasant Suona Horn Players” won a scholarship as well). Cai Ruohong, an old official in the art world, published the article an article titled The Beauty of Power, the Beauty of Conquering the Nature - Reading the Ink  and Wash Painting ‘The Yellow River is Roaring’; critic Shen Peng also published the article A Praise Song of Power - Chinese Painting ‘The Yellow River is Roaring’. Taiwan’s critics commented that “‘The Yellow River is Roaring’ is one of the few works of Chinese paintings from mainland China that has a true realistic spirit, which is very different from many figure paintings that sing praises.” (Chinese Paintings from Mainland China Since 1949, Lion Art Issue No.6, Taiwan).

Yang Lizhou and Wang Yingchun at Yan'an on May 28th 2012

Other award-winning graduate student works include Li Shaowen’s elaborate-style painting Jiu Ge, which won the first prize; Yang Gang’s elaborate-style scroll Greeting the Bride, Han Guozhen’s Portrait of Jiang Zhaohe and Pu Songling won the second prize; Lou Jiaben’s The Soul of China also won the third prize (The Chinese Painting Department of Central Academy of Fine Arts Established Ye Qianyu Scholarship, Art Research, Issue No.1 of 1981). These works were exhibited in Beijing and Hangzhou with enthusiastic response. People received Li Shaowen’s Jiu Ge, Liu Dawei’s elaborate-style painting Wedding in Buryatia, Shi Guoliang’s freehand painting Eight Peasants and Nie Ou’s The Time of Bronze favorably. In addition, Chen Danqing from the Oil Painting Postgraduate Class was praised for his oil painting series on Tibet. Chen’s paintings were hailed as “a rare excellence in the history of Chinese oil painting”.

The journal of Zhejiang Academy of Fine Arts (now the China Academy of Art), New Art, published the article “Famous Teachers and Remarkable Students” in its February 1981  issue to report and comment on the postgraduate students’ graduation exhibition of the Central Academy of Fine Arts. The article particularly noted that "Mr’s Ye Qianyu teaches his students according to their aptitude. His students have diverse art styles”.

Liu Boshu, Jiao Kequn, Wang Tongren, Huang Runhua, Zhang Ping, Li Xingjian, Jiang Caiping, Wang Dingli and other teachers did not give us classes, but they were very enthusiastic to students.

The school’s party and government department, educational administration department, public administration department, logistics department, academy clinic and other departments provided assistance in study and life to this special group of graduate students. At that time, the communication was far less developed than now, and the school library reading room was open to students. Students in our class asked to see the ancient and modern collections from the academy's art museum. Overcoming great difficulties, the museum's director Yang Jun opened the storage of collections and spent a week with us to observe the original works of Zhu Da, Xu Gu, Dong Qichang, Wu Changshuo, Ren Bonian, Qi Baishi and many other masters. We also saw some other collections including land and water paintings, calligraphy, and folk artworks. Mr. Bao Yuguo from the educational administration department also negotiated with Rong Bao Zhai to let us observe many masterpieces in its collection. The academy also organized our class to go to the underground warehouse of the History Museum to observe a large number of history paintings in its collection. Here we discovered Mr. Jiang Zhaohe's masterpiece Refugees, a work that Mr. Jiang thought had already been lost. When we told him that his representative work was still in the warehouse, Mr. Jiang showed mix feelings of joy and grief. We saw a large number of revolution and history theme paintings organized by the government in the 1950s and 1960s, as well as excellent Chinese paintings, oil paintings and sculptures of ancient history themes. These experiences increased our knowledge and benefited us a lot. Besides, we also enjoyed the opportunities to copy paintings in the Palace Museum and visit exhibitions in the NAMOC on weekends.

Masters from different departments in the academy gave lectures to us. The academy also invited experts from outside the school, such as Qi Gong, Xu Linlu, Shi Lu, He Haixia, Ya Ming, Wu Guanzhong, Sun Qifeng and Sun Kegang, to give lectures. The academy also arranged students to go to Dunhuang and the Yongle Palace to copy paintings and study ancient murals, and go to northern Shaanxi and southwest borders to sketch and experience local life.

In that short period of two years, the faculty leaders and teachers were enthusiastic to educate the students. The graduate students who entered the school were all eager to study and respected teachers. They were relaxed, happy, motivated and friendly. The cohesiveness of the class was strong; the students loved to learn from each other; the exchanges between the departments were frequent. Students promoted new ideas, strengthened basic skills, and reminded themselves to pursue higher goals. The Central Academy of Fines Arts was in a strong academic atmosphere. Teachers and students were rushing to make up for the golden age and youthful years in the Cultural Revolution decade and cherished the opportunity of self-improvement. Although China was in the early days of the Reform and Opening Up, and the material conditions of the whole society were relatively poor, but everyone walked in the fields of hope, and our heart was filled with joy and confidence. Although the two-year postgraduate study was not long, it was a turning point in the life of each student. The art education of the Central Academy of Fine Arts had returned to good spirits and good traditions of talents cultivation after the Cultural Revolution. Teachers adhered to the lifelong education mission and made efforts to realize it. They helped us know the essence of art, improve artistic accomplishment, and broaden the horizon. We had the rare opportunity to learn from many famous masters. It can be said that we are luckiest of the luckiest.

After graduating from graduate school, some students stayed in the academy, and some went abroad. My wife and I, and most of our classmates went to different posts. However, no matter where we go, the connection with our alma mater is never broken. We constantly get care, help and guidance from tutors, which are full of affection and warmth. From social work to personal artistic creation, the care from teachers and the support of alumni are everywhere.

The alma mater is the most powerful backing on our life paths.

June 20th 2017

Writer: Yang Li Zhou, Wang Yingchun (the entering class of 1978, Chinese Painting Department)

This essay is from Our Academy of Arts, edited by Gao Hong and Fan Di’an, published by Hunan Fine Arts Publishing House in 2018.

Translated by Zhang Xiwen