Left: He Xiangning, Liao Chengzhi, Hu Peiheng, Chen Banding, Qin Zhongwen, Meeting of the Long March Forces, 1961, collected by the National Museum of ChinaRight: Li Hongren, Long March Diary (Illustration 1), 1979, collected by the Department of Printmaking, Central Academy of Fine ArtsThis forum seeks to examine the Long March experience within the analytical framework of contemporary literary and art criticism. As an iconic event in modern Chinese history, the Long March has evolved into an expansive cultural resource through ongoing artistic creation, exhibition narratives and theoretical research. Visual representations and critical discussions centering on the Long March have taken diverse forms across different eras. The historical memories, ideological ideals and inherent values embodied therein have gradually become an integral part of Chinese literary and artistic narratives. Held to mark the 90th anniversary of the victory of the Chinese Workers' and Peasants' Red Army Long March, the forum serves not only as a retrospective look back at history, but also an inquiry into the present. It explores how the Long March spirit keeps being interpreted, transformed and endowed with new connotations amid evolving times.Left: Li Ronglin, Site of the Zunyi Conference, 2016, collected by Art Museum of Central Academy of Fine ArtsRight: Feng Mengbo, Long March: Restart Series, 2009The forum adopts the concept of "journey" as its theme. On one hand, it refers to the progressive experience of the Long March as a historical event, highlighting its complex structure and narrative tension evolving through time. On the other hand, it serves as a methodological perspective, inspiring critics to perceive how literature and art engage with history, reconstruct experiences and generate meanings from a dynamic generative perspective.Left: Scene of the Fine Arts Exhibition Commemorating the 30th Anniversary of the Founding of the Chinese People's Liberation Army, August 1, 1957Right: Scene of One Artist's Long March — Research Exhibition of Original Comic Strips The Red Ribbon of the Earth by Shen Yaoyi from the Collection of Beijing Painting Academy, 2016The forum proceeds from three dimensions: artistic creation criticism, exhibition criticism and interdisciplinary literary and art criticism. It places art criticism within the ongoing historical process, and advances the expansion and in-depth exploration of relevant topics via multiple approaches.Scan the code to reserve admissionEnter campus via the North Gate of Central Academy of Fine ArtsFollow ground signs to reach the Lecture Hall, Building 5· Opening Speech·Yu YangMember of the Standing Committee of the Party Committee, Vice President of Central Academy of Fine Arts· Keynote speech ·Fan Di'anChairman of China Artists AssociationDirector of Literary and Art Criticism Research Center, Central Academy of Fine ArtsTopic: Long March-themed Art Creation: From First-person Perspective to Scene RevisitTang DongpingVice Chairman of China Literary and Art Critics AssociationProfessor of Beijing Film AcademySpeech Topic: Integration of Criticism and Creation, Forging Ahead on a New JourneyShang HuiDirector of Theory and Curatorial Committee, China Artists AssociationVisiting Professor, Central Academy of Fine ArtsSpeech Topic: The Contemporary Dimension of Epic RestorationHost: Fu YijingExecutive Director of Literary and Art Criticism Research Center & Director of General Administration Office, Central Academy of Fine ArtsBrief Introduction：This session focuses on how the Long March serves as historical experience and spiritual heritage integrated into artistic creation. It explores practical approaches of translating it into visual language and narrative structures across different periods. Speakers analyze the cultural vitality of this theme amid medium evolution and temporal changes based on typical thematic works, revolutionary fine art traditions and contemporary art practices.Host: Li Jie, Associate Researcher, Curatorial & Research Department, Art Museum of Central Academy of Fine ArtsCommentator: Hu Bin, Dean and Professor, School of Art and Humanities, Guangzhou Academy of Fine ArtsKeynote Speeches：Li Yaochen, Deputy Secretary of the Direct Party Branch & Director of Collection Department, Art Museum of CAFA| Visual Evolution of the Long March: A Preliminary Study on the Historical Development and Features of Figurative Creations about Long March StoriesQin Jianping, Researcher & Director of University History Research Center, CAFA | Propaganda Paintings by a Literary Soldier: On the Oil Painting Propaganda by Feng Fasi during His Red Army ServiceYang Canwei, Researcher, Fine Arts Research Institute, Chinese Academy of Arts | Long March in Ink and Brush: Re-exploring the Contemporary Value of Meeting of the Long March ForcesTang Yu, Associate Researcher, Deputy Director of Research Affairs & Deputy Secretary-General of Academic Committee, CAFA | Reinterpreting the Long March through Games: Centering on Feng Mengbo’s Long March SeriesJin Hao, Responsible Editor of Fine Arts Magazine | Contemporary Transformation and Stylistic Restructuring of Young Artists’ Long March-themed CreationsBrief Introduction：This session takes exhibitions as a perspective to study Long March-themed and revolutionary art. It explores how the Long March and its derived theme of "journey" are reconstructed and perceived within cultural spaces. By examining exhibition cases from different historical stages, speakers clarify the transformation of historical experience from visual texts to public cultural consensus.Host: Shen Sen, Associate Professor, School of Art and Humanities, Guangzhou Academy of Fine ArtsCommentator: Liu Libin, Deputy Director and Professor, Literary and Art Criticism Research Center, Central Academy of Fine ArtsKeynote SpeechesSheng Wei, Researcher, Academy of Arts & Design, Tsinghua University | 1942: Wartime Chinese Art in the United StatesZeng Xiaofeng, Associate Researcher, Central Academy of Fine Arts | Scene Creation and Lyric Expression: Visual Narratives and Emotional Politics of Long March Works at the 1957 30th Anniversary Army Founding Art ExhibitionWang Yanan, Art Director, Art Museum of Beijing Painting Academy | Curatorial Narratives of Thematic Exhibitions — A Case Study of the Original Works Exhibition of The Red Ribbon of the Earth by Shen YaoyiZhang Wenzhi, Associate Professor, School of Painting, Hubei Institute of Fine Arts | Aesthetic Education on the Long March Path — Re-examining the Practice and Exhibition of CAFA's Art Retracing the Long MarchWang Zhiliang, Professor & Deputy Chair of Art Department, School of Art, Hebei University | Journey in the Wilderness: Desert and Mountain Complex in Contemporary Chinese ArtJiang Feiran, Lecturer, School of Intermedia Art, China Academy of Art | The Long March: A Mobile Visual PresentationBrief Introduction：This session places the Long March within a broader horizon of literature, art, and intellectual history, exploring its ongoing interpretation and meaning-making in fields such as literature, film, and philosophy. Speakers first analyze the literary and artistic theoretical context of the Long March, then adopt interdisciplinary critical approaches to examine how the Long March flows and reconstructs across different knowledge systems and media structures. Thereby, they reveal its openness as a modern Chinese cultural proposition.Host: Liu Xiyan, Associate Researcher, Curatorial Research Department, Central Academy of Fine Arts Art MuseumCommentator: Wang Hao, Professor, Director of the Department of Art Theory and Director of the Social Science Division, School of Humanities, Central Academy of Fine ArtsKeynote SpeechesChang Peijie, Associate Professor & Vice Dean, School of Liberal Arts, Renmin University of China | From Debate to Program: Mao Zedong's Talks and the Formation of the Theory of Popularization of Literature and ArtHan Zhenhua, Professor, School of Chinese Language and Literature, Director of the Center for Comparative Literature and Cultural Studies, Beijing Foreign Studies University | Resistance Across Mountains and Rivers: Long March Literature and Art and the Global Left-Wing Landscape of the 1930sHe Hao, Associate Researcher, Department of Literary Theory, Institute of Literature, Chinese Academy of Social Sciences | Several Characteristics of 20th-Century Chinese Revolutionary History and Literary History from the Perspective of the Long MarchQi Tao, Associate Professor, School of Philosophy, Fudan University | Three Concepts for Philosophically Reflecting on the Long MarchZhang Xiaodi, Lecturer, School of Fine Arts, Beijing Film Academy | How Chinese Painting Moved from Stage to Screen — Revisiting the “Landscape” and “Journey” in The Butterfly LoversThe Journey: Long March-themed Art Creation and Exhibitions in Critical PerspectiveOrganizers: Literary and Art Criticism Research Center, Art Museum of Central Academy of Fine ArtsTime: 9:30-17:00, Saturday, May 23, 2026Venue: Academic Lecture Hall, Central Academy of Fine ArtsEditor-in-Chief / He YishaEditor / Du Yinzhu

2026年4月15日下午，十余位专家学者汇聚中央美术学院美术馆会议室，召开“李行简艺术探索研讨会”。此次会议是“峰高无坦途——李行简捐赠作品展”的配套学术活动。会议由中央美术学院党委常委、副院长于洋教授及中国人民大学艺术学院黄华三教授共同主持。本次研讨会，发言嘉宾围绕李行简先生的艺术传承、创作理念、写生实践、作品风格演变，以及其捐赠行为的学术价值与文化意义等核心议题展开了深入研讨，对于李行简先生在建构李可染山水画教学体系中的重要作用，践行“苦学派”的艺术求索精神，以及李行简先生在艺术创作中保持开放胸怀，勇于创新的精神给与了高度肯定。于洋  中央美术学院党委常委、副院长主持人于洋先生首先介绍了本次参会的各位专家，并对于本次会议的意义及目的向大家进行了介绍。他表示李行简先生此次无私地向母校中央美术学院捐赠他的260余幅中国画作品和3000余幅速写作品，应该说是中央美术学院美术馆有史以来体量最大的一次捐赠，确实是分量非常重的一次展览。李行简先生作为美术学院培养的重要艺术家，李可染山水画教学体系重要的参与者、构建者和实践者，这些作品也是美术学院学脉传承和学术研究的宝贵财富。本次研讨会特别围绕李行简先生的艺术传承、创作理念、写生实践、风格作品的演变，包括本次展览、捐赠项目的学术价值和文化意义展开研讨。黄华三  中国人民大学教授主持人黄华三老师作为家属代表，介绍了本次捐赠项目和研讨会的缘起和李行简先生对于美术学院的深厚情怀、无私的捐赠态度，以及在捐赠项目办理过程中提供帮助的各位师友。希望通过本次研讨会梳理李行简先生与中央美术学院山水画教学的意义。柳妍 北京美术家协会驻会副主席兼秘书长（代范迪安主席致辞）北京美术家协会驻会副主席兼秘书长柳妍受中国美协主席、北京美术家协会主席，中央美术学院原院长范迪安先生的委托，代为致辞：范迪安先生在致辞中肯定了李行简先生对于中国山水画发展的重要历史贡献，并对于李先生的无私捐赠行为表示敬意，他指出“大道之行在于行稳致远，大道至简在于追求本真”，展示和探讨李行简先生的艺术是为了在新时代更好地把握传承与创新的辩证统一，推动中国画与中国美术朝向高质量发展。他认为，进入新中国的山水画艺术面临如何在弘扬优秀传统的基础上与时俱进的新课题，李行简先生以李可染先生的艺术精神为动力，以李可染先生的创作方法为楷模，在山水画的题材内容和笔墨语言上开拓出崭新的境界。他评价李行简先生艺术探索的三个鲜明特点：一是胸怀宽远，具有强烈的国家情怀，作品透露出博大的境界和时代的风貌，折射出中国山水的精神内涵和文化气象。二是深入生活与自然，坚持写生创作，以大量的对景写生和临场创作积累经验，在与大自然的深入对话中汲取题材，经营画面，构成意境，别开生面。三是坚持锤炼笔墨，追求艺术品质，他秉承李家山水苦学派的信念，集传统笔墨精华，师可染先生精要，形成了笔线老辣、墨色朴茂、意韵醇厚、气象清新的艺术风格，为山水画的传承创新树立了时代的标杆。中国美术家协会秘书长王平发来书面致辞，他认为作为李可染先生的学生，李行简既师其迹，亦师其心，既传承了“李家山水”的精神谱系，又以鲜明的个人风格和深厚造诣，在其中留下了独具分量的一笔。他概括了李行简先生艺术创作的几个重要特征，一是“承李可染衣钵，辟自我新径：新山水画传统的开拓先锋”，二是“素描赋能笔墨：造型基础与新山水画表现力的深度融合”，三是“汲取文人画精髓：以书入画与意境营造的高度自觉”，四是“峰高无坦途：艺术攀登者的永恒追求”。他认为李行简先生将奖励金捐赠中央美术学院，设立“李行简写生奖”，这份“取之于艺，用之于教”的情怀，正如其为人与艺术一样，于朴素中见崇高。他以一生实践告诉我们：艺术之路从无坦途，而“峰高无坦途”，正是每一位艺术攀登者应有的姿态。王鲁湘 中国国家画院研究员、知名主持人、文化学者王鲁湘先生曾在李可染艺术基金会创立之初与李行简先生有过共事。他认为当时年轻、聪慧、苦学的李行简先生是“李家山水”这一美术史流派中的一位主力干将。他通过回顾20世纪50年代初期中国画发展的艰难处境，钩沉了李可染先生与张仃、叶浅予组成中国画革新领导小组进行山水画革新，以及20世纪90年代初对于“李家山水”的争论，分析李行简先生在李可染山水画创作及教学体系当中的重要实践和继承者的作用，同时提及了20世纪90年代之后李行简先生忽然沉默于画坛的复杂心态。通过李可染先生勉励李行简先生的“不恃才、不躐等，困而知之，做苦学派。”他说学生中李行简先生才情最高，“在这些人中间对于李可染先生继承得最好，学习得最像，实践得最认真，创作量最大的就是李行简，本来当时他是作为李家山水要扛大旗的一个人，突然之间好像变得沉默了。”三十多年来好像成为了美术史中的失踪者。通过本次展览和捐赠项目所看到的作品，他认为，首先要对他作出绝对肯定，如果没有他对于李可染的忠诚追随，“李家山水”靠李可染一个人是不能完成体系并构建的，他是第二梯队中间最主要的接棒手，“李家山水”我们放的时间越长，我们可能越能客观公正的去评价它在中国山水画史上的地位和它的贡献，等这一天到来的时候，李行简先生一定会获得他在中国20世纪美术史上应有的地位。崔晓东 中央美术学院教授、炎黄艺术馆馆长崔晓东先生作为李行简先生的学生和同事，回忆李行简为人坦荡正直、宽厚谦和，颇具君子之风，令他由衷崇敬。他指出，“李家山水”有两大开创性成果：一是山水画对景写生，以毛笔宣纸直面自然创作，革新了传统创作方式；二是将光线融入山水画，拓展了中国画的表现维度。而李行简完整传承并完善了“临摹—写生—创作”的教学链条，如今全国山水教学普遍重视写生，源头便在于此，这堪称20世纪中国山水画发展的重大突破，也是中央美术学院的重要教学成果。崔晓东强调，李行简是得李可染真传的继承者，深受李可染器重。李可染积墨技法难度极高，需反复积墨却不失通透，至今鲜有人能达到其高度，唯有李行简的技艺最接近恩师。20世纪80年代后，李可染到校授课减少，很多后辈学习“李家山水”的诸多技巧，均得益于李行简的传授，足见其在“李派山水”传承中的核心地位。针对传统继承问题，崔晓东提出当下需重视三大传统：中国古代传统、近现代新文化运动传统及新中国美术传统。其中新中国美术传统成就辉煌，山水画领域以李可染体系为代表。他认为当前画坛存在碎片化的问题，李行简捐赠的作品为传承传统提供了珍贵范本，期待美院能妥善保存、充分利用这批资源，助力传统艺术的传承与发展。裔萼 ‌中国美术馆研究部主任裔萼女士指出，本次展览与研讨让我们得以重新认识李行简的艺术成就。她认为，以往美术史书写常将其归于“李家山水”脉络，虽便于归类，却也往往模糊了艺术家自身的独立探索与个性价值。她强调，若仅停留在李行简六七十年代与李可染风格相近的创作，则难以充分评定其艺术地位。然而展览中一批代表性作品，如《峨眉山老洞遇雨图》《雨中小巷》《多少楼台烟雨中》等，展现了他独特的“轻、雅、逸”风格——不同于李可染的“满、重、黑”，李行简更擅长捕捉雨中、雾中清雅朦胧的诗意，体现了其个人的心性与才情。尤为值得注意的是，李可染晚年向文人写意传统的回归，与李行简在八九十年代对自我风格的追寻和确立，均体现了艺术家对自我表达与人格彰显的追求。因此，裔萼认为，应将李行简置于更完整的美术史视野中加以考察，不仅视其为“李家山水”的传承者，而张玉梅  《光明日报》文艺部高级编辑张玉梅女士分享了她观看展览的深刻体验。她以“沉默的坚持、朴素的深刻”概括对李行简艺术的整体印象，认为其作品能以真诚的创作状态跨越时空，深深感染观者。她着重指出李行简在技法上极为扎实，尤其在山水画的肌理、疏密与黑白关系处理上经得起推敲，体现出将简单之事做到极致的坚持。其写生作品如《桅墙林立》展现出对光影、色彩与细节的巧妙把握，源于深厚的素描功底。她强调，素描不仅是技法训练，更是一种观察方式的培养，李行简正是在“看”与“见”之间展现出独特的视觉智慧。展览名“峰高无坦途”，则既契合李行简的艺术追求，也与李可染先生的艺术理念高度一致，体现了艺术家攀登艺术高峰的刻苦与真诚，这种不迎合浮躁市场、专注坚守的态度，值得当下创作者与研究者学习。岳黔山 中央美术学院教授岳黔山先生结合自身经历与学术思考，回忆早在1982年他便通过老师王振中了解到李行简，得知其是李可染最欣赏的学生之一。1986年到北京后，他更是多次接触李行简，对其艺术始终保持关注。岳黔山指出，李可染学派对中国近现代山水画发展贡献卓著，其核心是“写生即对景创作”，李可染将西洋画素描逆光与中国画留白、焦点透视与散点透视巧妙融合，融入齐白石的沉稳用线与黄宾虹的积墨技法，形成独特风格，其“为祖国山河立传”“东方既白”的理念，深深影响了李行简等弟子。他提到，李可染教学范围有限，其艺术与教学理念主要靠李行简、黄润华、张凭等人传承，自己作为再传弟子也深受其益。他强调，李行简并未局限于李可染的艺术样式，自20世纪80年代初便主动探索突破，减少积墨、增加线条运用，注重图式留白，形成自身特色。同时，李可染学派具有“继承不盲从”的特质——包括李宝林、龙瑞、姜宝林、王镛等弟子均受益于李可染，却都形成了自身风格，李行简先生亦是一样。岳黔山高度肯定李行简捐献作品的举措，认为这些作品为传承李可染学派的教学思想与艺术理念提供了宝贵素材，对中央美术学院的中国画教学乃至整个山水画领域的传承与发展，具有不可替代的学术价值。张鹏 中央美术学院学报编辑部主任、《美术研究》杂志社社长张鹏女士高度评价李行简为“守正创新的典范”。她指出，李行简将李可染“苦学派”艺术理念内化于心、外化于行，是这一理念坚定且彻底的执行者。在创作与教学中，他始终坚守中国画本体，不迎合、不盲从，以“峰高无坦途”自勉，践行着央美学派“学到手再变”的传承精神，守住了艺术的根与魂。在创新方面，张鹏认为李行简的创新是守正基础上的自然生发。他以三千余幅速写积累展现出的虔诚创作态度，这在碎片化时代尤为珍贵。其作品虽尺幅有大小，却始终蕴含大山大水的气象与境界，“景小而境大，象括而意远”。部分作品在笔墨用线、形式表达上呈现出的现代性探索，也为研究其艺术脉络变化提供了切入点。张鹏回顾与李行简的接触，称其为人平和温润，作品亦具浸润之力，这种“不张扬”的力量正是苦学派精神的深层体现。她呼吁学界应系统梳理“苦学派”的传承链条，深化对李行简的研究，不仅为还原一位内敛而伟大的艺术家，更为当代山水画提供文脉清晰、治学严谨的典范。她强调，中央美术学院学报等学术平台应秉持敬畏之心，远离功利，深耕细作，在“大历史”中看见“人”的价值。王海鲲 李可染画院常务副院长王海鲲先生以家族传承与师承的双重身份，深情回顾了李行简先生的艺术人格。他指出，李行简为人温文尔雅，教学严谨认真，其艺术风格深受性格与生活环境影响。相较于李可染历经战乱、笔法中带有生涩与开创性的力量，李行简的绘画更显平和、雅致，尤其在留白、色彩与画面构成上体现出由内而外的温润气质。他特别提及李行简后期的创作，认为经历时代的“撕裂”后，反而让他的艺术迎来新的突破。其后期速写融入版画平面化效果与构成感，展现出回归内心的创作状态，极具启发意义。他还强调了李可染师徒写生时“约法三章”的创作态度，认为这种拒绝接待、专注写生的真诚，是作品动人的关键。正如李可染“狮子搏象”的创作理念，艺术家需集中精力、真诚投入，才能创作出有温度的作品。张鹏  《美术》杂志社副主编张鹏先生从美术史研究与学科建设的角度，阐述了李行简先生捐赠作品的深远意义。以往对李行简的认知常限于“李可染的延续”，而面对其跨越素描、速写至创作的全面文献，我们得以深入剖析其从师承到个性化探索的完整“路径”。这种“路径化”研究，对理解20世纪中国画丰富多元的演进脉络至关重要。他指出，李行简的艺术道路具有鲜明的时代特点与教学参考价值。与深入传统的李可染不同，李行简更侧重于以“对景写生”作为进入中国画体系的核心方式，其大量运用不同媒介的写生与转化过程，为今天的艺术教育提供了生动的图像教材与实践范本。在当下重提“深入生活”的语境中，其真诚、扎实的创作态度尤具启示。他也强烈呼吁学界应以此为契机，启动对李行简艺术的深度专题研究，建议可设为博士生课题，尽快产出扎实的学术成果。这不仅是为了补全“李家山水”乃至中央美院学派的研究链条，更能为反思当前中国画创作与教学中面临的现实问题，提供源自历史经验的重要参照。于跃  中央美术学院书法学院教师于跃先生作为学生深情回顾了李行简先生在山水画教学中的探索与实践。他回忆，20世纪80年代末，当“李家山水”面临外界质疑时，李行简与黄润华等先生并未随波逐流，而是选择以“沉默的智慧”深入传统，对教学进行了系统性改革。他们特别强化了以范宽、石涛、龚贤为重点的临摹课程，旨在通过范宽锤炼深入，通过石涛激发书写，通过龚贤掌握积墨，并要求学生“不起稿，下笔直取”，以此训练精准的观察力与笔墨控制力。他特别提到李行简的写生教学，其核心是将传统临摹的“下笔直取”转化为写生实践。在湘西写生时，李行简常引导学生以石涛等传统技法对应实景，既传承“李家山水”基础，又融入对传统的再思考，彼时他的个人艺术语言已趋于成熟，可见其在传承中求变的探索。他结合自身当前在书法学院的山水画教学实践证实，这套源自八、九十年代，强调“不起稿、下笔直取”与“笔墨转化”的教学方法，在面对零基础学生时依然成效显著，展现出其历久弥新的生命力与高效性。这促使我们回望与反思，李行简先生那一代教育者所构建的、将传统临摹与对景写生深度融合的教学体系，对今天的中国画教学仍是极为宝贵的财富。郑弌  中央美术学院教授郑弌先生分享了对李行简艺术价值的独特见解。他表示，此次观展让他意识到，李行简不仅是“李家山水”的继承者，更是这一体系形成过程中的重要参与者，其艺术探索拓展了“李家山水”的整体面貌，而20世纪八九十年代对“李家山水”的片面诟病，实则源于认知局限。他从两个微观角度展开分析：在构图“满”的特征上，李可染的“满”侧重于对自然秩序的重构，通过积墨层次与画面秩序的搭建实现；而李行简的“满”则带有松动感，他消解了山水主体与背景的严格界限，常采用画面偏置的构图方式，通过主体与背景的互文塑造意境，这与他的为人处事风格高度契合，体现了中国画主体性的重建与精神性复归。在光线运用上，李可染将外光纳入画面秩序构建，而李行简的用光经历了从外光到内光的转向。受岭南画派影响，其早年作品外光色向与明度变化丰富，且强调外光的流动性，与画面的“满”形成互文；八九十年代后，这种流动性演变为写意的意境表达。郑弌认为，尽管李行简不同阶段画面表达有差异，但背后的创作逻辑与价值取向始终恒定，相关研究仍有广阔空间，此次研讨会应成为深入研究的新起点。赫英海  北京美术家协会中国画艺委会委员赫英海先生从艺术感受与教学反思的角度分享了他的观展心得。他认为，李行简的山水作品之所以动人，在于其笔墨与构图背后所流露出的“诗意心灵”，如《多少楼台烟雨中》一作，便凝练了艺术家多年探索后所找到的、承载个人情怀的绘画语言。他同样强调了对李行简艺术展开系统性研究的迫切性，并以1972年的小幅速写《棚前晾衣架》为例，指出其虽为日常小景，却在层次、黑白与点景中见出宏大气魄与对山水画的深刻理解，值得在技法与观念层面深入探究。针对当下中国画教学，赫英海对“下笔直取”的教学理念感触颇深。他直言，如今部分师生过度依赖摄影、高清大图等工具，甚至在写生时离不开电子设备，这种现象值得警惕。他强调，写生的核心是“写其生意”，过度依赖工具会弱化对现场情境的感知，唯有直面自然、用心体悟，才能真正捕捉到艺术的格调和诗性，这也是李行简艺术实践留给当代的重要启示。李垚辰  中央美术学院美术馆直属党支部副书记李垚辰先生分享了本次捐赠与展览项目推进中的感动与感悟，对各位专家及李行简先生表达了诚挚感谢。他表示，李行简先生主动提出无偿捐赠作品，且慷慨允许工作人员自主挑选，最终精选260余件作品，完整留存其艺术成长脉络，这份无私令人动容。他提及，该捐赠项目从2022年推进至2026年，过程艰辛。当时85岁的李行简先生远在加拿大，与家人一同克服疫情困难，将所有捐赠速写逐页扫描、分类整理，这份严谨与真诚令人敬佩。李垚辰强调，此次捐赠的作品量足且完整，是中央美术学院培养的艺术名家的珍贵个案，蕴含诸多待挖掘的价值。美术馆计划将作品出版公之于众，助力社会重新认识这位低调内敛的艺术家。他表示，李行简先生践行“峰高无坦途”的探索精神，专注艺术、不慕虚名，美术馆将肩负历史责任，做好后续工作，不负先生嘱托，传承其艺术精神。相关展览主编 / 何一沙责编  / 杜隐珠编辑  /  张妮拍摄 / 孙霄萌

CAFAM学术季·行业论坛执藏与传布公共语境中的美术馆收藏及展示时间：2025年9月19日（周五）9:30-18:00地点：中央美术学院美术馆会议室论坛简介此次论坛为 2025 年 CAFAM 学术季的系列活动之一，以“执藏与传布”为主题，从中国的美术馆发展史着眼，探索公共美术馆对收藏的展示陈列历史，既溯源早期美术馆的藏品陈列探索路径，也与当下推进藏品陈列的公立美术馆和民营美术馆进行经验交流，旨在从美术馆理论及行业发展的角度，积极推动中国的美术馆藏品研究与陈列事业发展。论坛分为三部分，议题分别为“早期陈列与经验思辨”“多维陈列与研究拓展”“专题陈列与机构体系”。同时，此次论坛，也是“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动之一。论坛流程 开场辞靳军中央美术学院美术馆馆长第一场：早期陈列与经验思辨 主持易玥中央美术学院美术馆策划研究部副主任发言嘉宾李颖天津美术馆副馆长《保存美术物品——从天津市立美术馆藏品看严智开的收藏观》丁雅力江苏省美术馆展览策划与研究部文博馆员《基于经典的再叙事：国立美术陈列馆的展陈谱系与当代实践》牛广余苏州美术馆策展人《百年回望——苏州美术馆的早期收藏与陈列》徐梦可中国美术馆副研究馆员《中国美术馆早期陈列与“美术馆”概念的中国化》樊晓春上海美术馆副研究馆员《奠基之路——20世纪早期的上海美术馆收藏与陈列（1986年-2000年）》刘希言中央美术学院美术馆副研究员《馆藏陈列——20世纪我国美术馆发展的一条隐蔽线索》第二场：多维陈列与研究拓展 主持李垚辰中央美术学院美术馆典藏部主任发言嘉宾胡莺湖北美术馆副馆长《湖北美术馆固定陈列展的策划实施及相关学术体系的建构》潘旭辉清华大学艺术博物馆典藏部副主任《人文日新——清华大学艺术博物馆藏品体系与特色》

Wuhan Art Museum  Chen Yongjin「In today's world where digitalization and globalization are intertwined, art museums are facing multiple challenges: the fragmentation of audience needs, the complexity of social issues, and the diversity of cultural identities. This has made the mission of art museums go far beyond the traditional preservation and display of artworks, turning them into platforms for dialogue on social issues and hubs for knowledge production.Artistic innovation in art museums drives social innovation and strengthens cultural confidence and self-improvement.To push China's art museum cause to a new level and contribute Chinese strength to the diversity and innovation of global culture and art, we need to summarize practical experiences in running art museums.Over the years, Wuhan Art Museum has reconstructed the public value of art museums through two core strategies: diversified curation and knowledge renewal. It has transformed from "single display" to "multi-dimensional interaction" and from "preservation of culture" to "empowerment of society". It has always maintained a forward-looking vision and innovative posture, and solidly fulfilled the historical mission of cultural inheritance and innovation.」1.Originality: Diversified Curation and Rich ExperiencesOriginality: Diversified Curation and Rich ExperiencesRooted in the cultural context of central China, Wuhan Art Museum has, through 11 years of development, gradually formed a unique curatorial thread: relying on the city, guided by themes, focusing on the contemporary era, and expanding to an international scope; while paying attention to classics, ink painting, contemporary art, and local works.Wuhan Art Museum demonstrates cultural confidence in its thematic expression. These interwoven and mutually inspiring threads constitute the systematic curatorial framework of Wuhan Art Museum.Curating based on traditional cultural context1、Curating based on traditional cultural contextTradition is the foundation of art museums' cultural practices. Since the opening of the new Wuhan Art Museum in 2008, the museum has been rooted in the context of traditional Chinese painting and implemented the guiding ideology of creative transformation and innovative development. It has created a series of exhibitions featuring masters, successively launching exhibitions of works by 20th-century Chinese painting masters such as Wu Changshuo, Qi Baishi, and Fu Baoshi, presenting classic works in the history of modern and contemporary Chinese art.In 2011, out of considerations on cultural missions and ink-wash language, Wuhan Art Museum initiated the academic project "Ink Writings: Series of Research Exhibitions on Contemporary Ink Art". This project showcases the rich forms of ink-wash art in the contemporary context. Up to now, 8 sessions have been successfully held, making it an exhibition brand that continuously focuses on the development of Chinese contemporary ink art.Curating rooted in local ground2、Curating rooted in local groundThe curation of Wuhan Art Museum has always been rooted in local culture and based on the spiritual context of the city. Adhering to the mission of "Art beautifies a city, and art enlightens beautiful souls", Wuhan Art Museum has curated a series of strategic exhibitions that uniquely embody the spirit of Wuhan. It explores Wuhan's distinctive identity as a thoroughfare connecting nine provinces and its rich cultural context, organizes exhibitions of its collection, persists in activating its collections to serve society, promotes domestic and international tours, and enhances mutual learning about urban humanities and art through sister cities and sister museums.Curation independently planned with concern for youth3、Curation independently planned with concern for youthYoung artists are the future and hope of the art ecosystem. Based on this consideration, Wuhan Art Museum has focused on creating an independently curated brand, "Starlight Project: Research Exhibition of Young Artists". Currently, the ninth edition is being planned to present the latest experimental achievements of artists in multi-category contemporary art creation and conduct discussions. In recent years, Wuhan Art Museum has collected hundreds of works by participating artists.Supporting young artists not only promotes the future development of art but also injects new vitality into the art museum, building a system integrating creation, research, collection, and promotion.Embracing the Future: Diversified Curation4、Embracing the Future: Diversified CurationIn the current context where digital civilization and urban renewal are intertwined, biennales possess irreplaceable cultural attributes. In 2022, the Qintai Branch of Wuhan Art Museum officially opened to the public, transforming the abstract ancient beautiful story of "seeking a soulmate through the melody of high mountains and flowing water" into a tangible art space.Unveiled alongside this art museum was "Art as a Thoroughfare – 2022 Wuhan Biennale". It is an international biennale that integrates an international perspective, Chinese sentiments, and Wuhan characteristics, inviting artists from 24 countries to participate and receiving a total of over 600,000 visitors.The 2024 Wuhan Biennale takes "Urban Fluidity" as its theme, rooted in the Yangtze River civilization and the civilizations of world powers. On the one hand, it uses "fluidity" to imply the water culture characteristics of Wuhan, which is located in the middle and lower reaches of the Yangtze River; on the other hand, it emphasizes the diversity, innovation, and sustainability that Wuhan, as a national central city, presents in culture, science and technology, education, and other fields.2.Innovation: Knowledge Renewal and Future OutlookBuilding a multi-dimensional cooperation systemThe rapid development and extensive application of digital technologies have significantly driven social and cultural progress as well as economic transformation, while also providing brand-new means and vast space for artistic creation. Against this backdrop, Wuhan Art Museum actively promotes the resonant development of regional culture and world art, continuously updates its knowledge production mechanism, and 始终 maintains an open attitude and exploratory spirit towards new ideas, new technologies, and new possibilities.1. Building a multi-dimensional cooperation system and creating an open art communityCarrying out cross-border cooperation is an important way for contemporary art innovation. Wuhan Art Museum has continuously expanded its professional boundaries and social functions through cooperation with universities, research institutions, etc. For example, "Beyond Exhibition Language: Art and Healing" is an attempt of cooperation between Wuhan Art Museum and Wuhan Union Hospital, which not only enriches the exhibition content of the art museum but also provides more diversified interactive experiences for different groups of people. In the future, Wuhan Art Museum will continue to explore the integration of art with other disciplines and further expand the boundaries of the art museum.Creating an Open Art CommunityIn conjunction with the urban renewal plan, Wuhan Art Museum has integrated aesthetic education activities into the renovation of neighborhoods. Meanwhile, it has built Hubei Province's first community art museum, becoming a hub for aesthetic education and community development in the new era. Relying on the museum's collection resources, it has realized the sharing and co-construction of art, making art accessible to the general public.While continuously strengthening services for the grassroots and the public nature of art, Wuhan Art Museum has made full use of modern technology to enhance the sharing of online resources. Through forms such as online exhibitions and lectures, it has broken the limitations of time and space, achieving positive interaction between online and offline platforms.Digital Empowerment for Art Renewal2、Digital Empowerment for Art Renewal, Jointly Painting the Urban Cultural LandscapeThe integration of art and technology is becoming an important force to stimulate human creativity in the era of artificial intelligence. Digital art is increasingly becoming a hot topic in the field of public culture.The "2024 Wuhan Biennale" has actively expanded the definition of art, introducing artistic creations that combine AI technology and ecological concepts into the exhibition with a more open attitude. In terms of promotion, it has utilized digital technologies to build a new field of two-way communication between humanities and science, providing audiences with brand-new viewing perspectives and thinking paths."Urban Fluidity" 2024 Wuhan BiennaleIn recent years, Wuhan Art Museum has deepened the public education concept of "lighting up urban imprints with art" and built a national aesthetic education system in the new era, reaching more than 300,000 people annually. The public education project "Lighting up the Stars' Children with Art – The Decibel of Art" has gathered social public welfare forces. Through diversified methods such as subject assistance and cultural and creative promotion, it helps special groups boost their confidence in the infiltration of aesthetic education projects and innovates effective carriers for cultural education.Wuhan Art Museum has always promoted the in-depth integration of art, culture and tourism, adhered to "promoting tourism with culture and highlighting people through tourism" as a urban hotspot, improved the urban cultural quality, and continuously innovated the implementation plan of public aesthetic education.Culture and tourism jointly paint the urban landscapeThe practices of Wuhan Art Museum have demonstrated that "original creativity and innovative drive" are not only catalysts for artistic innovation, knowledge production, and social participation, but also the code for the renewal of art museums. Through the integration of locality and globality, the interweaving of technology and humanity, and the dialogue between art and the public, art museums are transforming from cultural containers into cultural engines.In the future, this engine will continue to drive the flow and regeneration of urban civilization, becoming a hub connecting history and the future, the local and the global, as well as art and life. In this way, art museums will better play a leading role in serving economic and social development and meeting the people's needs for a high-quality life.Introduction of the Speaker▏Chen YongjinChen Yongjin graduated from Hubei Institute of Fine Arts. He started working at Hubei Academy of Fine Arts in 1994, serving as the director of the Oil Painting and Watercolor Creation Research Office. In 2014, he took up a position at Wuhan Painting Academy as its president. Since 2020, he has been working at Wuhan Art Museum as the curator, holding the title of First-Class Artist (with a professional and technical rank of Level 2). He also serves as the Deputy Secretary-General of the Watercolor Art Committee of the China Artists Association, Vice-Chairman of the Hubei Artists Association, a distinguished professor at Hubei Institute of Fine Arts, and the Exhibition Director of the 2024 Wuhan Biennale. His works have been exhibited at institutions including the Shanghai Museum, National Art Museum of China, Chiba Museum of Art, Guan Shanyue Art Museum, Shanghai Art Museum, and Hubei Museum of Art.∨Chief Editor / He YishaExecutive Editor / Du YinzhuEditor / Wang YifanText Collation / Li Ze

Tang Xin, Artistic Director of Taikang Art Museum「The Taikang Art Museum is committed to being a professional yet welcoming art institution,with a focus on art created in China following the country's entry into modern development.Their primary mission is to utilize art as a means to narrate the artistic story of contemporaryChina to the public, serving both artists and art enthusiasts alike. This vision showcases themuseum's profound understanding and appreciation of the value of art, as well as its emphasis onpublic art education, aiming to bridge the gap between art and the public. In her speech, TangXin, artistic director of the Taikang Art Museum, shares insights into the museum's mission andfuture vision.」1.Building A Knowledge Production FrameworkThe Taikang Art Museum, formerly known as Taikang Space, boasts a 20-year history ofacademic art and collections. The museum systematically explores this tradition and iscommitted to developing its knowledge production system as an evolution of contemporaryChinese art. TangXin emphasizes that a museum's mission essentially revolves around aestheticvalues and value systems and that these values are interconnected with people. Therefore, theprofessionalism and friendliness of the Taikang Art Museum are reflected in both theprofessional construction of its value system and its friendly interaction with the public. Thecurrent framework is based on the timeline "1905-1942-since 1977", focusing on the history ofart in China since its entry into modern development. Within its framework, the museumorganizes its system into three major research questions and working methodologies.1) Three Core QuestionsTaikang Art Museum structures its work around three core questions: medium, ecology, andinstitutionality. These three key issues were gradually distilled and summarized over the courseof twenty years of practice and project development at Taikang Space.In terms of medium, it has been a central focus since 2012. The museum has paid attention toboth traditional media, such as ink painting and printmaking, and new media, includingphotography, video, performance, and installation. Returning to the essence of art, it explores thelocalized development of diverse media within the Chinese localized context. Over the pasttwenty years, 52 projects have been conducted around the topic of the medium, withphotography treated as a special case for dedicated collection and research.In terms of ecology, the museum examines how societal power and factors shape artisticcreations and artist communities within the evolution of China's art ecosystem. The ecologicalquestion was raised in 2013, and 74 projects have been carried out in response to this theme.Lastly, regarding the issue of institutionality, the museum continuously focuses on how localisedlocalized traditionalism—such as local ideology formation, historical events, economicdevelopment, and advancements in science and education—shapes the norms of artisticdevelopment. Since this question was raised in 2015, it has become one of the museum's keyareas of research.2) Working MethodTaikang Art Museum adopts a method of integrating exhibition, collection, and research. Since2005, it has pursued professionalism and systematic collection practices, utilizing its collectionas historical evidence. The museum now holds a rich and substantial collection. This approachhas created a close connection between research, collection, and exhibition, providing aprofound, solid foundation for the acquisition of its knowledge production system.2.Time frame and historical periodsThe Taikang Art Museum created a time frame spanning from 1905 to 1942 and then to 1977,focusing on this structure for further research. In 1905, the elimination of the imperialexamination system marked a turning point in artistic creation, shifting from traditionalism to itscurrent form of modernism. Artists transformed from being traditional literati to modernprofessionals equipped with specialized knowledge systems. The year 1942 is significant as itmarks the time when Mao Zedong delivered his Talks at the Yan'an Forum on Literature and Art.In 1977, the resumption of the college entrance examination shifted focus toward academicspecialization, which later influenced a trend among artists to pay greater attention to theirchosen mediums of expression. These three historical moments are crucial for understanding thedevelopment of modern and contemporary Chinese art.3.Public engagement and FriendlinessTaikang Art Museum not only focuses on professionalism but is also committed to becoming afriendly institution engaged with its audiences. TangXin emphasizes that the institution aims toresonate with the spirit of the times, utilising a shared frequency to connect with the audience'severyday experiences and help the public gain a deeper understanding of contemporary art.To this end, the museum held a series of targeted events. For instance, they connected 15 schoolsand over 170 Beijing middle school students through an AI art competition experience, breakingdown the barriers between Art Museums and academic education. Furthermore, the museumpresented a dynamically balanced combination of Party history education and artistic contexts.Nearly seven events were held across five cities, with over 3,000 Party members participatingboth online and offline. These activities reflect the museum's active exploration and innovationin public engagement. They aim to bring art closer to our everyday lives and to strengthen thepublic's sense of identification with and participation in art.4.Current Exhibition and Future VisionsTangXin notes that the Taikang Art Museum is currently presenting an exhibition focused on artfrom the 1980s and 1990s. The goal is to assist the audience to approach and understand the artof that era through empathy and shared experience. This reflects the museum's emphasis onresonance with the public in its curatorial planning—seeking to awaken collective memory andemotional connection through artworks. For the future, Tang Xin hopes that the museum willbecome a platform that belongs to both creators and art audiences, continuing to seek a balancebetween professionalism and friendliness, advancing the development of modern andcontemporary Chinese art, and offering the public a richer and more diverse artistic experience.5.ConclusionDirector TangXing's speech thoroughly and in-depth explores the mission of the TaiKang ArtMuseum, the knowledge production system, three main research questions and work methods,time frames and historical periods, audience engagement and friendliness, as well as currentexhibitions and future visions. Through this information, we can clearly see the efforts towardsprofessionalism and friendliness that TaiKang Art Museum strives for. Art museums not onlyhold remarkable experience in academic research and collections but have also made activecontributions to public engagement and art education. The Taikang Art Museum's practice offersvaluable references and insights for the development of modern and contemporary Chinese artwhile also establishing a solid bridge for communication between the public and the art.In the future, the Taikang Art Museum will continue to be committed to fostering a connectionbetween art and the public.Introduction of Guest SpeakersTangXinHead of the Art Collection Department at Taikang Insurance Group, Artistic Director of TaikangArt Museum, and Curator. TangXin graduated from Tianjin University of Science andTechnology in 1990 and became an independent curator in 1997. In 2003, she joined TaikangInsurance Group and founded Taikang Space, which has since evolved into today's Taikang ArtMuseum—now one of the most dynamic nonprofit art institutions in China. As the head ofTaikang's Art Collection Department, Tang has led over two decades of research andaccumulation, establishing a leading, large-scale corporate collection that holds significant valuefor art history. Under his leadership, the Taikang Collection has become one of the most visibleand comprehensive collections in China, systematically documenting the history of artisticdevelopment since the country's modernization in the 20th century.主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞文字整理 / 许禧Chief Editor / He YishaExecutive Editor / Du YinzhuOn-site Photos / He YifeiText Compilation / Xu Xi

Isabelle Bertolotti, Director of the Museum of Contemporary Art, Lyon「The director of the Museum of Contemporary Art, Lyon, Isabelle Bertolotti, expresseshow artistic institutions make progress through multidimensional contributions. Usingthe Musée des Beaux-Arts de Lyon as an example, she conveys how open spacedesign breaks the barriers of traditionalism through creation and community partnership,stimulating local culture. For example, this is achieved by combining traditional sewingskills with computer science and programming into one interactive art project.Furthermore, she emphasised the importance of international partnerships, asexemplified by the relationship between CAFA artists, who incidentally give rise tocreative paradigms. Isabelle highlights that museums should become the laboratories ofcultural students, utilizing space, time, and relationships to connect the past and thefuture, both locally and internationally, in order to achieve cultural symbiosis in the era ofglobalization. Her speech offers valuable insights for the academy on innovativeprogress.」1. Open Space and Dynamic PracticeThe physical open space design is the core of The Museum of Contemporary Art inLyon's cultural strategy. Located on the outskirts of Lyon, the museum boasts an open,border-free layout that seamlessly blends into its natural surroundings. As DirectorIsabelle highlights, this "boundaryless" design not only provides a testing backgroundfor large-scale installations but also challenges the traditional enclosure of museumspaces. The collections include several monumental works, many spanning overkilometres, which can not be exhibited permanently due to spatial constraints. As aresult, the museum emphasizes temporal exhibitions and programs, adopting a dynamicapproach to support dynamic forms of artistic expression. Additionally, the museumemphasizes communal engagement through educational and public programs,reinforcing the openness that is at the heart of its mission.The museum's philosophy of "openness" extends beyond its physical design to itsfunctional identity. Through residency programs, artists receive creative support, forminga dynamic triangle of "space, art piece, and audience". As Isabelle points out, thismodel enables the museum to transition from a traditionally static space to a laboratoryfor cultural production, where ongoing artistic practices make the space fluid and alive.Collaborations with local artists and artisans further enrich this strategy, achieving abalanced combination of traditional craftsmanship with contemporary art to produceunique art and enhance the museum's cultural resonance.2. Community participation and the revitalization of traditionAs a key aspect of the Silk Road, Lyon's rich textile serves as a vital sourcefor the museum's efforts to reactivate local cultural memory. A representative example isthe fabric-based project by French Artist Mona Cara. Collaborating with localtechnicians and core members of the local community, the artist created interactivetapestries that merge traditional weaving techniques with digital programming. Theseworks incorporate 18th-century silk patterns alongside contemporary symbols, such ascafé scenery and science fiction motifs, creating a surreal dialogue between historicalmemory and modern everyday life. The project also included workshops and exhibitionactivities that directly included members of the community in the artistic process,deepening their understanding and appreciation of local cultural heritage.Through cross-generational partnership, the program achieved multiple goals: childrenengaging in logo designs, elders in traditional techniques, and core communitymembers in smoothing the progress. As a result, the artwork became a vessel ofcollective memory - preserving the intricate delicacy of traditional craftsmanship whileembedding narratives from contemporary life. Isabelle specifically noted that artistsintroduced computer programming in the factory setting, working alongside factoryworkers to produce digitally enhanced textile pieces while also strengthening communityidentity through the transformative power of artistic reconstruction.3. Residency creation and international collaborationIn the mural program at IKON Gallery in Birmingham, French artist Nieck van de Steegutilized narrative wall paintings to reinforce the public dimension of art education.Similarly, in 2017, we organized a residency for 10 French artists at CAFA. Anunexpected loss of artworks in transition sparked new modes of creation. For instance,French artist Maxime Lamarche adapted to the situation by repurposing a commercialdinosaur as the basis of his work, which CAFA ultimately collected. Isabelle noted thatsuch incidents give rise to new modes of creation, proving that artistic practices providemore spark and livelihood in uncertain circumstances. Through these internationalcollaborations, the museum not only enriches its collection but also offers artistsbroader platforms for visibility, fostering mutual understanding and respectinterculturally.In the mural project of IKON Gallery in Birmingham, French artist Nieck van de Steeg strengthens the public nature of art education through narrative murals. In 2017, we organized 10 French artists to reside at the Central Academy of Fine Arts in China. The accidental loss of artworks during transportation unexpectedly gave birth to new creative paradigms. For example, French artist Maxime Lamarche created a work inspired by commercial dinosaur installations using local materials, which was eventually collected by CAFA. Isabelle pointed out that such incidents have accidentally spawned new creative paradigms, proving that artistic practices may be more vital in the face of uncertainty. Through these international cooperation projects, museums have not only enriched their art collections but also provided broader display platforms for artists, promoting understanding and respect between different cultures.4.Narrative construction and future visionIsabelle articulates a narrative philosophy at the core of the museum's mission: theconstruction of a diverse network of meanings through artistic practice. This approachunfolds across three interconnected narrative dimensions:1. Spatial narrative - The museum's boundaryless architecture symbolises acommitment to cultural democratisation, dissolving both physical andpsychological barriers in the art.2. Temporal narrative - A continuous dialogue is needed to connect the historicalheritage with future imaginings mediated by contemporary art.3. Relational narrative - The museum operates as a symbiotic system comprisinglocal communities, international communities, and the institution itself.Through these narrative strategies, the museum does more than tell a story about artand culture; it builds a platform for dialogue across community, history, and the future. Incollaborations such as the one between French artists and CAFA, the museumhighlights the investment in emerging voices and offers young artists transnationalresidency opportunities while cultivating future audiences. Isabelle envisions deepeninga strategy of "local internationalism" as an artist's practice to explore modes of culturalcollaboration in the context of globalization. At its core, it is the transformation of localspecificity into an open system- one that continuously generates new networks ofmeaning through intercultural dialogue. The museum aspires to serve as a bridgebetween the past and the future, between the local and the global, fostering culturalexchange and integration through the transformative power of art.Introduction to the Guest Speakers-                                                                                           Isabelle BertolottiIsabelle Bertolotti received her academic training in art history at the 2nd University ofLyon and École du Louvre. Since 2018 she has served as director of macLYON (Muséed'Art contemporain de Lyon), and in 2019 she was appointed co-director of the LyonBiennale. Bernalotti is also the co-founder of "Rendez-vous", a platform launched in2002 to spotlight emerging French and International artists. "Rendez-vous" has sincebeen integrated into the Lyon Biennale, reflecting its growing institutional significance, inaddition to her curatorial leadership at MAC Lyon and the Biennale. She works as anindependent curator with a focus on the global emerging art scene. She also serves aspresident of the Le Grand Large Association, further supporting international culturalexchange and the mobility of artists.Chief Editor / He YishaEditor / Du YinzhuPhotography / He YifeiEditor / Feng Kaiziqi 

As the digital wave reshapes the art ecosystem, art museums worldwide are standing at the crossroads of civilizational iteration.After in-depth planning and extensive recruitment, the CAFAM Academic Series brings together forward-looking insights from experts, scholars, curators, and art museum managers of top global art institutions through a series of academic activities. It discusses the development opportunities and challenges faced by art museums against the backdrop of rapid societal and technological changes, delivering a high concentration of information and authoritative insights into the art museum industry.The CAFAM Academic Series Special Issue aims to document the unprecedented intellectual magnetism of knowledge density during the Academic Series.Jin Jun: The Integration Of The Virtual And The Real And Symbiotic Development Of Art Museums In The Post-digital Era | 2025 CAFAM Academic SeriesWang Shaoqiang: The Multidimensional Interaction between Art Museum Construction and Urban Development in the New Era - Reflections Based on a Decade of Practice at the Guangdong Art Museum 2025 CAFAM Academic SeriesXin Youren | Comparison As A Method: Decolonizing Art History In The Global South, Critical Restoration, And Issues Of Representation ｜2025CAFAM Academic SeriesIsabelle Bertolotti: Advancing Local and International Cross-Cultural Collaboration at macLYON | 2025 CAFAM Academic SeriesYukie Kamiya: Artistic Exploration as a Catalyst Connecting Local History and theWorld- Case Studies from Hiroshima and New York | 2025 CAFAM Academic SeriesYingJinFei: Explorations of Art, Education, and Art Museums in the Digital Age | 2025 CAFAM Academic Series孙莉：A4美术馆的在地性与国际性探索 | 2025CAFAM学术季

讲座现场2023年3月21日，“大道丰碑——周令钊、钟涵、邓澍、侯一民、詹建俊、李化吉先生系列学术活动”第五讲由中央美术学院教授谢东明主讲《詹建俊先生的学与教》。讲座由油画系副主任刘商英主持。副院长邱志杰致辞“每听一场都是人格的净化，是艺术的感悟，是充满感动的教育。”副院长邱志杰在致辞时表示，无论我们的身份是艺术家、是教师、亦或是学生，作为听众，我们都能从每一次聆听中汲取巨大的能量。“我们要感谢孙景波先生、丁一林先生、谢东明先生、李辰老师和周博老师，因为他们生动、动情、真挚地讲述，把回忆变成了故事，把故事变成了神话。”邱志杰表示，任何一座学校，乃至一个国家、民族，正是因为有了这些故事，这些神话，才真正地有了灵魂、精气神、基因和谱系。 中央美术学院教授谢东明主讲《詹建俊先生的学与教》谢东明教授围绕詹建俊先生从“怎么学”到“怎么教”的艺术实践与教学历程，通过大量珍贵图片和资料，全面梳理了詹建俊先生一生的艺术主张，以及油画系第三工作室在时代发展中的学术定位、作为和人才培养方式。油画系副主任刘商英主持讲座01  出道即巅峰的艺术人生1948年，詹建俊先生考入中央美术学院前身国立北平艺术专科学校西画科，受教于徐悲鸿、吴作人、董希文等大家，之后历经70余年，詹先生以出众的艺术才华、不懈的求索和高尚的精神品格，成为新中国成立以来中国油画承上启下的“一代宗师”。谢东明教授表示，讲座主题之所以落在“詹建俊先生的学与教”，是因为“学与教”贯穿于詹建俊先生的整个艺术人生，无论是他的求学之路、艺术之路，还是他的艺术教育思想，这三者始终是紧密关联的。1948年十七岁北平艺专入学照1952年中央美术学院学生排球队合影，后排最高者为詹建俊先生1957年詹建俊先生从北大荒回到北京后为创作《起家》搭建帐篷进行写生詹建俊《起家》 布面油画 140cm×348cm 1957年 中央美术学院美术馆藏詹建俊《狼牙山五壮士》 布面油画 186cm×236cm 1959年 中国国家博物馆藏詹建俊《自画像》 纸本、炭笔 37cm×25.3cm 1959年“詹先生从入学到退休去世，一直都没有离开过美院。詹建俊从国画起步开始学画，因看到徐悲鸿的画作而热爱上油画，1948年考入北平艺专西画科，也就是后来的中央美术学院绘画系，1955年从美院彩墨系研究生毕业，26岁通过马克西莫夫训练班的毕业创作《起家》展现出超人的造型能力和浪漫气质，28岁的《狼牙山五壮士》开启了革命英雄主义的纪念碑模式，对后来的主旋律绘画产生了深远影响，可以说他出道即巅峰。詹建俊先生的每一幅画都是自己的精神画像，都寄托了他的绘画理想。”在创作同时，詹建俊先生把大量精力放在第三工作室的教学中，培养了一大批优秀的艺术家，使第三工作室的教学成为美术界一个为人称道的现象。从1995年开始，詹建俊先生通过中国油画学会和大量展览把油画从小众画种推广到全国各地，形成了一个庞大的油画大军，成为一个既有中国特色，又在世界极为罕见的现象。他的一生虽然历尽坎坷沉浮，但都波澜不惊，总是在时代大潮中，在恰当的时间节点做出既顺应时代洪流又符合内心律动的选择，他把自己交予时代成全内心，最大可能地绽放才华成就理想。他把严谨和激情，现实和梦想通过优雅和智慧方式结合起来，成为美术界独一无二的丰厚存在。­1960年，十一国庆，詹建俊先生以记者的身份于天安门写生1955年，马克西莫夫油画训练班师生合影1961年，中央美术学院油画系第三工作室师生合影（站者左起：许幸之、詹建俊、刘秉江、董希文、王路、王霞、高泉，蹲者左起：李秀实、邵伟尧）1963年，中央美术学院油画系第三工作室师生合影（前排右起：詹建俊、董希文、许幸之、梁运清）1963年，詹建俊与夫人王樯在圆明园谈及对詹建俊先生艺术人生的体会，谢东明教授表示，詹建俊先生一生所处的时代经历了很大变化，但在大起大落的时代里面，他画的东西都是光明的，这点希望能给同学们带来思考。一个艺术家的成长学习，如何在风云突变的时代能静下心来追求自己的理想，坚守自己的初心，他的作品给了我们一个很好的答案。詹建俊先生保留了他对生活细致入微的观察体验以及生活最打动自己的时刻，这些感受在其作品中都得以充分展现。例如他在马训班的毕业创作《起家》中，他没画晴天，而是画了大块的乌云，女学生要上山下乡，到一个广阔的天地去开辟新生活，这里面既有兴奋又有担忧，画面往远处看乌云翻滚，还伴着风，但远方已是晴天，可以说画面里充满了情绪，既有理想、浪漫，也有伏笔，这是艺术家内心的体现。画这张画时，詹先生只有26岁，这样的主题贯穿了詹先生的一生。詹建俊《好庄稼》 纸本水彩 1953年詹建俊《毛主席在农民运动讲习所》 布面油画 180cm×260cm 1961年 中国国家博物馆藏詹建俊《满面春风》 布面油画 45cm×39.5cm 1960年詹建俊《戴红项链的少女》 纸本油画 54cm×39.3cm 1961年詹建俊《新疆少女》 布面油画 77.5cm×57cm 1961年詹建俊《外语教师》 布面油画 102cm×50.3cm 1962年02  主持油画系第三工作室谈及第三工作室的教学，谢东明教授认为，詹建俊先生的思路还是沿着董希文先生的教学传统，主张兼容并蓄、顺水推舟，注重严谨的基本功训练。“詹先生在我们上学的时候请了很多工作室之外的老师，像姚钟华、袁运生、妥木斯等等，就是要兼容并蓄，把不同的风格带进来，这是当时第三工作室的一个特点”，谢东明教授同时指出，詹先生讲求的兼容并蓄，是希望打开大家的眼界，什么都看。虽然是学油画，但观念、装置、影像等都要涉猎，学习的时候也要有自主的判断。詹建俊《好得很》 布面油画 190cm×320cm 1975年 中国国家博物馆藏詹建俊《试看天地翻覆》 布面油画 210cm×260cm 1977年 中国国家博物馆藏詹建俊《青年牧民》 纸本油画 77.4cm×53.4cm 1977年詹建俊《小泽波》 纸本油画 77.5×53.5cm  1977年詹建俊《芭蕉树下》 纸本油画 78.8cm×54.2cm 1977年詹建俊《静寂的石林湖》 布面油画 94cm×78cm 1978年詹建俊《回望》 布面油画 155cm×128cm 1979年 中国美术馆藏詹建俊《高原的歌》 布面油画 174cm×200cm 1979年 中国美术馆藏詹建俊《帕米尔的冰山》 布面油画 140cm×158cm 1979年第三工作室的“顺水推舟”指的是詹建俊先生等工作室老师对待学生创作的态度。当学生进入创作阶段，他会很重视学生的个性，尊重个人的艺术取舍和艺术爱好。讲到这里，谢东明教授还与大家特别分享了詹先生作为“音乐发烧友”的故事，“詹先生自学生时期开始，就有很多爱好，他是古典音乐发烧友，在接触了西洋古典音乐之后收藏了大量唱片。他还喜欢听评书、看京剧、跳舞，詹先生的爱人就是一名舞蹈家。他在画画的时候经常听音乐，一边听、一边画。以前工作室招生时有个面试环节，詹先生总是加问几句，你除了画画还有什么别的爱好？如果学生说就喜欢画画，那真不一定考得上。在詹建俊先生看来，那些跟画画表面上无关的东西，才叫爱好，可以丰富人的知识结构”。1960年代初，詹建俊先生收藏唱片1980年詹建俊先生于画前1980年代工作室的教学会1988年88届毕业前在工作室的合影（由左至右：朱加、叶洲、刘小东、谢东明、朱乃正、詹建俊、张路江、喻红、洪凌）1990年第三工作室师生迎接元旦1998年毕业典礼2002年詹建俊先生在课堂2004年油画系第三工作室师生新年聚会2009年詹建俊先生在展览上进行点评2022年工作室的教师们最后一次给詹建俊先生过生日为什么强调基础？詹建俊先生认为“基础就是基础，和个人的风格创作有一定联系，但没有那么紧密，好的基础会给艺术家的长远发展带来很好的养分。基础有点像舞蹈演员训练基本功，没有它，感情再丰富，身体也不听使唤。詹建俊先生把打基础比喻为往银行里存钱，多学会一招就存了一点钱，这样以后用的时候就特别自如，想用的时候取一点，没基础，就像钱花光了似的。”美院造型专业的大素描、石膏像训练，即是对学生的基础训练，通常需要两周甚至五周才能完成。在这样的基础训练里，任课教师都会有一个标准，达到了这个标准，就不需要这么训练了。就像喻红老师，她一年级就画了大家所熟知的那幅“大卫”，达到了标准，她就不用再这么练了。“所以说基础训练特别重要，很多毕业生来找我看画，就会发现出现的问题大部分是基础问题”，谢东明教授表示，作为艺术家，基础是一个重要阶段，要努力练习，尽快地达到那个标准，然后去画自己想画的，主动地创作。詹建俊《高原情》 布面油画 109cm×187cm 1982年詹建俊《潮》 布面油画 177cm×196cm 1983年 中国美术馆藏詹建俊《冬雪》 布面油画 140cm×180.5cm 1986年詹建俊《草地上的天空》 布面油画 120cm×120cm 1986年詹建俊先生的严格也是出了名的。谢东明教授说，“每年三工聚会，詹先生还会把我们每个人都说一遍，只要学生有展览，不管是谁，你请詹先生去，他都是有求必应。不管学生什么年纪，他依然会直爽地指出创作中、画面中的各种问题。但是背着我们时，詹先生也经常夸我们画得不错。”詹建俊《飞雪》 布面油画 100cm×72cm 1988年詹建俊《秋天的树》 布面油画 90.5cm×116cm 1988年詹建俊《升腾的云》 布面油画 203cm×173cm 1994年詹建俊《红云》 布面油画 130cm×120cm 1997年詹建俊《旭日》布面油画 180cm×150cm 2003年詹建俊《天界》 布面油画 180cm×150cm 2008年03  致力中国油画学会建设詹建俊先生从1985年当选中国美术家协会油画艺委会主任后，开始关注全国的油画组织、研讨、研究工作，花费了大量精力。1995年，詹建俊先生和几位老先生一同成立了中国油画学会，策划了许多对中国油画发展影响深远的展览。他还从董希文先生的“油画民族化”理论出发，提出“油画的中国画派”学术主张，通过学术论文、展览等方式，不遗余力地向世界推广中国油画。油画从国人对其比较陌生发展到现在成为大众画种，这与油画学会、与先生们几十年的辛劳密不可分。中国油画学会主席许江在纪念詹先生的文章中指出，詹建俊先生始终思考的都是如何通过油画来展示中国精神，淬砺中国气蕴。正是这种神蕴之大，引领着油画界共同铸炼了几十年来中国油画的锐势发展，铸炼了中国油画始终重学术、重语言、重意蕴的好风气。詹建俊、叶南（助手）《黄河大合唱——流亡 奋起 抗争》（三联） 布面油画   280×435cm 2009年詹建俊《听涛之三——红霞》 布面油画 180cm×300cm 2013年詹建俊《天地行》 布面油画 150cm×180cm 2013年詹建俊《秋情》 布面油画 135cm×195cm 2015年詹建俊先生在去世当天仍在画画，修改那张挂在家中客厅的作品《山泉》。这张画在2017年就完成了，到2023年他去世那一天还在改，他不停地改，哪天看它不顺眼就涂两下。“动这两笔我们外人看不出来这之间的端倪，只是他自己的需要。他情不自禁，觉得动两笔，这一天才会感到满足”，“那天用的调色板，就放在家里。詹先生有个习惯，调色板擦得锃亮，每天画完画，把颜色收拾好，擦得干干净净，跟他穿衣服一样”。詹建俊《山泉》 布面油画 195cm×325cm 2007-2023年詹建俊先生的画板詹建俊先生坚信绘画的精神性和真善美的情感力量，对于艺术与生活他内心充满了美好、浪漫、深沉和博大的爱，这已深入他的骨髓，他用一生践行这些信念，从未放弃过，也从不计较得失。詹先生所获得的成就不仅是中国美术、中国美术教育的一座丰碑，更是詹先生作为他个体，在面对时代浪潮的翻滚中所磨炼和锻造出的高尚灵魂和独立人格的丰碑。讲座综述：宋曼青摄影：宋曼青 黄姜蔹

讲座现场壁画系主任唐晖主持讲座李化吉先生的女儿、壁画系第三工作室主任李辰教授主讲《初心如磐 笃行致远——忆李化吉的艺术与生活》2023年3月16日，“大道丰碑——周令钊、钟涵、邓澍、侯一民、詹建俊、李化吉先生系列学术活动”第三讲由李化吉先生的女儿，中央美术学院壁画系第三工作室主任李辰教授主讲《初心如磐 笃行致远——忆李化吉的艺术与生活》。讲座由壁画系主任唐晖主持。讲座中，李辰以时间为线索，为在场听众细致回忆并梳理了李化吉先生的创作与生活经历，以及他一生对于艺术的笃信与坚持。01  李化吉：“要创造自己的观众”李化吉先生1931年出生于北京，从华北大学毕业后参军，1954年进入中央美术学院，毕业后留校任教，直至1991年离休。李化吉是满族人，成长经历与身份认识让他自幼酷爱中国文史与京剧，从而形成了之后独特的审美观。李化吉先生早年照片李化吉先生高中毕业时正值北平解放，目睹日本人占领北平与两党内战，推动他形成了那一代人所具有的真诚信仰。之后，他进入华北大学学习，毕业后来到报社工作，任第二野战军及西南军区画报社编辑、重庆《新华日报》编辑。在重庆担任编辑期间，他开始收集大量皮影，并绘制了很多针砭时弊的漫画和插图。1954年起，李化吉先生进入中央美术学院调干班，期间受到董希文先生、王逊先生等老师的影响，让学画较晚的李化吉先生感到自己虽然半路出家，却能够得到几位造诣深厚的大师的指引和教诲，实在是他艺术生涯中的幸运，也让他在前辈先生的影响下逐渐确立追求“民族化”的创作方向。毕业后他担任董希文先生的助教，在艺术创作理想与实践方面均深受董先生的影响，当时董希文先生提出了鲜明的装饰化与民族化的艺术主张，大力倡导壁画系同学临摹敦煌壁画，同时向学生们引介、讲授西方现代艺术，这让自小热爱传统艺术的李化吉深受震撼，也让他的艺术图景中将马蒂斯与敦煌相连，更让他坚定了油画民族化的创作道路。1959年，李化吉、权正环在《闯王进京》画作前李化吉与权正环在本科毕业之际，李化吉先生创作的《闯王进京》是他自认在油画民族化与装饰风格探索路上的第一件正式作品，也是他最初的油画民族化启蒙。从此，李化吉先生决定了之后的绘画道路40年没有动摇，让他在探索结合装饰风、民族化与现代感的独特艺术语言同时，拥有了属于自己的受众。1963年，油研班同学毕业合影，后排右三为李化吉 20世纪50年代，正逢中国学习苏联的高潮，罗工柳先生举办的“罗训班”便是这一时代背景下的产物，李化吉先生在“罗训班”进修期间进一步尝试油画民族风的创作。此时，现实主义是更流行和正统的方法，美术界正流行着“我们是要拿到手再变，还是要两条腿走路？”的讨论，李化吉先生在此背景下强调“两条腿走路”——方面夯实写实基础，一方面通过学习中国文化遗产进行民族化探索。也是在中央美术学院学习期间，李化吉先生还围绕启用模特训练问题与闻立鹏先生、王式廓先生共同给毛泽东主席写信，得到毛主席的肯定，使全国重新开放了人体模特写生的教学训练。02  “三部曲”：民族风与装饰化尝试《文成公主》 油画  190×381cm  1963年 中国美术馆藏完成第一件正式探索民族化与装饰化风格的《闯王进京》之后，李化吉先生又一力作《文成公主》创作于中苏关系“蜜月期”，这也是中国大力推崇现实主义题材创作的岁月。《文成公主》既让李化吉先生声名远播，也让他受到了巨大打击。在中国油画史上，《文成公主》是继董希文先生的《哈萨克牧女》之后再一次将敦煌为体写生为用的发展路线推到前台的作品，也让它成为当时油画界乃至文化界所关注的焦点。这件强调装饰性与民族风格的作品在当时被认为是一件“落后”、“用敦煌的办法画油画，完全脱离实际”的作品。但李化吉内心深处将《文成公主》视作自己最为重要的作品之一，并一直渴望能将《文成公主》画成为《八十七神仙卷》式的长卷，遗憾的是未能实现。《白蛇传》 李化吉、权正环  丙烯  首都机场贵宾厅  1979年1972年前后，中央美术学院雕塑系接下重大任务《农奴愤》，李化吉先生因此得以创作《在社会主义大道上前进》。1979年，李化吉先生与夫人权正环合作重要作品《白蛇传》，作品展示在中国首都机场贵宾厅。当时的创作环境是一间只有十平米的小屋，夫妇二人创作时不得不把床板上的被子卷起来才得以作画，夫妇二人决定在《白蛇传》中再续六十年代对于民族化风格的追求，并希望在个人化、现代化以及风格探索上走得更远。美术研究所研究员陶咏白曾评论，《白蛇传》既无古人之“铜锈”，亦无西方之“印痕”，它是李化吉“淋着心血，淋着汗水”数十年的求索，以自己的形，自己的色，画出李化吉心中的世界，从而确立了“李化吉风格”。闻立鹏先生认为，从《闯王进京》到《文成公主》再到《白蛇传》，三部曲创造了一批属于李化吉先生自己的观众，三十年的峥嵘岁月没有摧毁他的艺术信念，而是让他一次次地闯关成功，顽强地走出了自己的路。《狩猎图》 李化吉  丝毯  哈尔滨天鹅饭店大厅  1983年《六艺》 吴作人 、李化吉  壁画  山东曲阜阙里宾舍  1985 年《源远流长》 李化吉  壁画  国家图书馆大厅 1987年1983年，李化吉先生创作了哈尔滨天鹅饭店大厅的丝毯《狩猎图》，1985年创作与吴作人合作的山东曲阜阙里宾舍壁画《六艺》，以及1987年创作的国家图书馆大厅壁画《源远流长》等代表作品。他在创作中显现出重视壁画与建筑结合，协调壁画和建筑之间的关系的特征，在壁画创作中强调从古代神话与戏剧中寻找灵感，寻找独特的审美语言，并将其变作己用的可辨识风格，并强调壁画作品个人风格与审美一定要经得起受众的考验。03  敦煌西藏情结：审美语言之灵魂乘机场壁画引发的“壁画热”东风，在侯一民先生倡议下，央美油画系成立了壁画工作室，工作室聚集了李化吉、袁运生、张世椿、梁运清等诸位先生。李化吉先生自此投身壁画工作室建设工作，开始向壁画教育家转型。恰逢85新潮，壁画系是当时最热门也最难考的系。之后多年，壁画系虽经历起起落落，但一直是全国壁画专业的范本。在艺术教育工作中，李化吉重视创新精神，引介包括包豪斯成员约翰·伊顿的色彩学、康定斯基的《论艺术中的精神》与《点线面》，以及柯布西埃的《走向新建筑》等艺术与教育理论。他也极为重视研究建筑与艺术、建筑与壁画的关系，邀请艺术研究院的萧默先生以及建筑设计院总工布正伟先生在美院开设了建筑史和建筑欣赏课。1980年，第一次壁画座谈会在中央美院举办，前排右二为李化吉教学工作之余，李化吉先生也为成立壁画艺委会和中国壁画学会作出了大量工作。他与侯一民先生共同举办了三届高研班，编辑《中国壁画百年》，召集全国美展壁画展，并组织举办了数届中国壁画大展，通过各种工作与努力试图将全国壁画家凝聚在一起，倾力培养中国壁画事业接班人，一如他在回顾中国壁画发展轨迹时所说：“壁画经过几十年的历史考验，找到了自己的位置”。在个人艺术创作观上，李化吉先生认为民族化是一个过程而非高度，他强调探索油画语言与中国艺术精神与审美的结合。作为艺术家必须走自己的路，艺术中的自我唯其忠实和真诚才愈加可贵。他在艺术中追求象征主义和诗意，在处理空间关系时并不受到自然形象的约束，而是探索如何充分表达艺术家的真实感受。1992年，李化吉、权正环在新疆克孜尔石窟李化吉先生一生创作壁画的观念，都深深受到董希文先生在教学中倡导敦煌艺术的影响，正如吴冠中先生形容的李化吉：沉湎于敦煌，不忘怀马蒂斯。李化吉先生曾五次奔赴敦煌，在敦煌壁画如《舍身饲虎》等艺术瑰宝的独特构图与布局中，思考并提炼何为中国壁画的风格与特征，在敦煌和克孜尔留下了大量临摹作品。李化吉在创作中2015年暑假，李化吉先生与女儿李辰同去敦煌。当时他已经有帕金森病的征兆，敦煌研究所不放心八十多的老人临摹壁画，但他如此热爱敦煌壁画，坚持临摹。最后一次去克孜尔时，仍坚持走两个小时山路去后山观看壁画，体力不支时仍旧躺在地上看画。 《火车要到草原来》 油画  156×156cm 1977年《织女》 油画  150×150cm  1994年《祝福》 麻布油画  100×100.5cm  2006年  西藏美术馆藏《丰收》 麻布油画  100×100.5cm  2006年除去敦煌，对李化吉先生创作影响深远的也包括西藏，他曾多次入藏写生，西藏广阔的高原气象吻合他早年的审美，他对西藏一生无法忘怀，从遇到董希文先生让他如醍醐灌顶般开悟，到认识敦煌引领他走上艺术的“不归路”，最终李化吉先生又在西藏找到了他的审美语言的灵魂。《圣火·雅典·北京》 李化吉、陈晓林  丝毯  奥运场馆国家体育馆贵宾厅  2008年《红楼梦》 李化吉、陈晓林、陈达什  局部漆工艺  北京地铁七号线磁器口站  2014年《红绸舞集》 李化吉、权正环、李辰  玻璃马赛克  北京地铁八号线前门站  2021年李化吉先生一生不愿办展，从不卖画，是因为他认为自己的公共艺术已经来到老百姓身边。走过五六十年代为艺术理想而生出的孤独，经历八十年代民族化装饰风的兴盛与争辩，再到后来面对当代观念等艺术的流行，他从未动摇对艺术的执念与开放的态度。闻立鹏先生在文章中曾说，李化吉的艺术正是突破了当时严厉的观念禁区、形式禁区、题材禁区，闯出了那时单一的“现实主义”艺术模式，以睿智而清醒的理性思考，成为与新中国同命运、共成长的第三代艺术家代表之一。美院老先生们接连离我们远去，那一代先生们在探索个人风格和本民族风格时，既带有个体灵魂对艺术的求索与拷问，也饱含着高尚的精神信仰与强烈的责任感，而这些精神力量将与我们同在。讲座综述：王子洋摄影：李迪