Be Open to New Ideas and Draw on the Strengths of Others | Analyze “Discipline with Master’s Dignity – Teaching & Research Exhibition of No.3 Studio of the Department of Oil Painting, CAFA” CAFA Art Museum

Be Open to New Ideas and Draw on the Strengths of Others | Analyze “Discipline with Master’s Dignity – Teaching & Research Exhibition of No.3 Studio of the Department of Oil Painting, CAFA”

Studio teaching is a crucial feature of the teaching tradition of CAFA. Under various subjects and departments, the basic teaching units that set up according to different teaching ideas, art styles and materials technology, implemented the cooperative work of fixed teachers and the organic linking of profession education, which both embraces the existence of artistic diversity in the general direction and guarantees certain logic and concentration in specific teaching. It began from the 1950s, and has made many impressive achievements in the long-term teaching practices and cultivated many talents for the cause of Chinese arts, becoming an indispensable part of the prosperity of CAFA over the one hundred years.

The series of teaching exhibitions of the studio of different departments are actually combing through the teaching history of CAFA. From art thought to teaching method and to work image, the exhibition “Discipline with Master’s Dignity” presses as close to the historical facts as possible and use historical materials to pursue its reasons and find the contradictions and conflicts behind. It clearly presents the carrying out of the No.3 Studio’s teaching over the time and the wide dimension of its creation from three units as its narrative structure: “national style, Chinese manner”, “construct Chinese school of oil painting” and “base on tradition and face the contemporary”.

Today, the teachers who have followed Dong Xiwen to teach at the Dong Xiwen Studio since its founding, especially reflected on Dong’s proposal that the students of the studio should also learn modern art in addition to Western realistic traditional oil painting, for the purpose to broaden their artistic horizons and study areas.

The teaching of each studio of the Department of Oil Painting is very professional. In the current situation full of various and diverse new conceptual art, new media and new art forms, the studio should pay attention to its students in the serious pursuit of their professions, and enable them to love oil painting and clearly understand that each subject has its own feature, advantage as well as unique artistic charm and value. Students should have their own professional interest, dream and direction.

The No.3 Studio is never conservative or indulgent in teaching, and always adheres to the education idea of “be open to new ideas and remain both strict & tolerant”. Here, “be open to new ideas” emphasizes broadness and openness, which means that students should have broad artistic visions and culture, and dare to practice and explore. While in the class, especially on the basic ability training of oil painting language, it highlights the spirit of strictness. Thus, students’ solid mastery of basic skills is the premise of artistic language expression.

I hope that all the students graduated from the No.3 Studio could become excellent art talents with solid skills, rich artistic culture and creative vitality.

Zhan Jianjun

Former Director of the No.3 Studio of the Department of Oil Painting

Professor of CAFA

September 2018

Exhibition Part

Teaching History: “Dong Wenxi Studio” Period

National spirit, Chinese manner

1959-1967

In September 1959, the Department of Oil Painting set up three studios led by professors, which respectively are Wu Zuoren Studio, Luo Gongliu Studio and Dong Xiwen Studio. Dong Xiwen was appointed as the director of Dong Xiwen Studio, where Xu Xingzhi, Zhan Jianjun and Jin Zhilin assisted him with studio teaching.

In 1960, Dong Xiwen Studio was renamed as the No.3 Studio, also known as the No.3 Atelier and Liang Yunqing was transferred to the studio to teach in 1962.

“Chinese painters should have their own temperament,

their thoughts about life,

their views and expression methods.”

Dong Xiwen

From the Expression method of Chinese painting to the Chinese style of oil painting

Teaching Concept

Dong Xiwen advocated the study of Chinese painting tradition and the exploration of various schools and styles of foreign painting, focusing on extensive study. Also, he proposed that oil painting should work towards Chinese national style, and have the appearance of Chinese oil painting itself, with Chinese style and manner.

In the teaching, take students’ artistic characteristic as the teaching premise and go with the current to value and recognize students’ artistic individuality while offering them guidance.

Morning

Li Xiushi

101×301cm

Oil paint on canvas

1961

Collection of CAFA Art Museum

The Yangtze River

Fei Zheng

120×265cm

Oil paint on canvas

1962

Collection of CAFA Art Museum

The Portrait of Pan Tianshou Copying Popa

Mao Fengde

98×80cm

Oil paint on canvas

1960s

Collection of CAFA Art Museum

A Xinjiang Girl

Zhan Jianjun

77.5×57cm

Oil paint on canvas

1961

Teaching History: “The No.3 Studio” Period

Construct Chinese school of oil painting

1980-1998

In 1980, the Department of Oil Painting restored studio teaching, and Zhan Jianjun took charge of the teaching of the No.3 Studio, along with other teachers who have taught in the studio successively: Zhu Naizheng, Luo Erchun, Ren Zhiyu and Wu Xiaochang.

After 1982, Cao Liwei, Xie Dongming, Hong Ling, Yu Hong, Liu Xiaodong and other graduates from CAFA have stayed and taught at the No.3 Studio.

“Artists all have an idea goal of their own in the pursuit of art,

this goal will change with personal growth,

it always beckons to you from way up high,

making you continually forge ahead towards that direction.”

Zhan Jianjun

The Path of the Artist

Teaching Direction

Under the leadership of Zhan Jianjun, the No.3 Studio carried on the teaching principle of Dong Xiwen period and developed in combination with the changes of culture and art in the new era, emphasizing the stability and academic nature of teaching.

The No.3 Studio adopts the teaching method of combining both strictness and tolerance. On the one hand, it attaches importance to strict modeling foundation in teaching oil painting, and on the other hand, it insists on the creation of a free academic atmosphere. Equal stress is laid on basic research and artistic expression – neither deny drawing on classical tradition nor exclude learning from modern art.

David

Yu Hong

100×73cm

Pencil on paper

Supervisors: Zhu Naizheng, Cao Liwei

1984

Collection of the Department of Oil Painting of CAFA

Red Portrait

Yu Hong

130×97cm

Oil paint on canvas

1989

Crying

Xie Dongming

190×130cm

Oil paint on canvas

1994

The Rising Sun

Zhan Jianjun

180×150cm

Oil paint on canvas

2003

Portrait of a Woman

Zhu Naizheng

95×100cm

1980

Collection of CAFA Art Museum

Meditation II (Hometown)

Ji Yunfei

100X110cm

Supervisors: Zhan Jianjun, Zhu Naizheng

1982

Collection of the Department of Oil Painting of CAFA

Teaching History: “The No.3 Studio” Period

Base on tradition and face the contemporary

1999-2018

As Zhan Jianjun and other older generation of teachers left the studio successively, Xie Dongming took over the director of the No.3 Studio in 1999. There teachers in the No.3 Studio during this period were Hong Ling, Liu Xiaodong, Yu Hong and Liu Shangying and Lu Liang joined the studio teaching in 2004 and 2014 respectively.

In 2016, Yu Hong succeeded to the director of the No.3 Studio, with Liu Xiaodong, Liu Shangying and Lu Liang as teachers. With the teaching reform of the Department of Oil Painting, the teaching arrangement of the studio has also been adjusted: the first semester of each academic year focuses on basic training, mainly on traditional classic courses, while the second semester emphasizes on creative teaching.

“Foundation” has many different meanings and refers to specific abilities.

Creative ability is not just about the mastery of a particular style,

but also means the result of continuous improvement of technology and culture,

which should be included in “foundation” in the macro sense.”

Xie Dongming

The Important Thing is to Paint Well – An Interview with Xie Dongming By Yin Shuangxi

“I think the core of sketch teaching is to train students

to have a pair of sharp eyes with accurate judgment,

only in this way can they insert wings to their future artistic creation,

and fly free in the sky.

Another one is to cultivate their simple and decent artistic attitude and aesthetic pursuit

through sketch teaching.”

Yu Hong

Sketching Class

Teaching Proposal

This stage of teaching continues the tradition of the studio – adhere to rigorous training of realistic foundation and pay equal attention to strict practice and active mind, and go on to explore the independent value and potential spiritual space that generated in the historical evolution of the ontology of oil painting language. On the other side, it advocates using new perspectives and ways to understand the current development of painting, and at the same time to study, explore and resolve emerging problems brought by the changing times to art education.

Two of Us – Yu Hong and Zhao Bo 1

Yu Hong

250×300cm

Acrylic on canvas

2007

Moses

Shang Liang

230×180cm

Acrylic on canvas

Supervisor: Yu Hong

2002

Collection of the Department of Oil Painting of CAFA

The Path to the Sky

Xie Dongming

130×190cm

Oil paint on canvas

2016

Two Women Bodies and Three Legs

Chen Guobao

73×100cm

Oil paint on canvas

Supervisors: Liu Shangying, Lu Liang

2016

Whatever

Zhou Dong

300×200cm

Oil paint on canvas

2009

Populus Diversifolia and Sand No.31

Liu Shangying

160×240cm

Oil paint on canvas

2016

Inheritance and Flexibility

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.

In the new context of global art transformation since coming into the new century, the No.3 Studio cultivated a group of excellent graduates who have made outstanding performance and distinctive artistic achievements in the field of Chinese oil painting, injecting new vitality into Chinese art world.

Discipline with Master’s Dignity – Teaching & Research Exhibition

of No.3 Studio of the Department of Oil Painting, CAFA

Academic Advisor: Zhan Jianjun, Xie Dongming

Academic Support: Yu Hong

Art Director: Ma Lu, Liu Shangying

Curator: Tang Yu

Opening Ceremony: 4:00 PM, October 12, 2018

Exhibition Dates: October 12 – November 4, 2018

Exhibition Venue: Gallery 3A, CAFA Art Museum

Host: Central Academy of Fine Arts

Organizers: School of Fine Art of CAFA, CAFA Art Museum

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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

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CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.