2023年3月17日，“大道丰碑”系列学术讲座第四场“艺术家中的强者——忆侯一民、邓澍先生”在中央美术学院美术馆学术报告厅举行。中央美术学院老教授孙景波先生担任主讲人，中央美术学院副院长邱志杰，侯一民、邓澍先生亲属侯珊瑚、仲伟生等嘉宾出席了本场讲座，讲座由壁画系直属党支部书记王长兴主持。
讲座中，孙景波教授围绕侯一民先生的教导“壁画家应成为艺术家中的强者”，依照时间脉络回顾了侯一民、邓澍先生的艺术生涯，从“艺术创作的强者”、“肉体与精神的强者”和“美术教育的强者”等方面具体阐释了何为艺术家中的强者，以及二位先生如何在自己的人生、创作与教学中践行着“强者精神”。承接前辈先生的艺术追求与精神，孙景波教授进而结合壁画系的教学基础和发展目标对后辈提出了殷切希望。
孙景波先生在讲座现场
副院长邱志杰致辞
壁画系直属党支部书记王长兴主持讲座
讲座伊始，孙景波教授谈到，在美院学习期间，侯一民先生经常强调“从事壁画创作，必须是艺术家中的强者”。这不仅是侯一民先生在壁画创作中领悟的真理，同时也是对美院建立壁画系最基础的要求。
何为强者，如何成为艺术家中的强者？孙景波教授表示，作为壁画创作者，要实现“强者”的境界，需意识到如下几方面并作出相应努力：第一，壁画是命题创作，并不自由，壁画创作者在面对命题时应当有更广阔的思路，需具备揭示命题的能力。壁画区别于油画、版画和其他造型专业，应当使创作材料适应环境，并且应有尝试不同艺术形式表现方式和材料的勇气。第二，壁画家要做设计师，必须拥有带领团队实现设计思想和风格的统筹能力。面对体量巨大的壁画，壁画家应做一名有耐心的匠人，必需具备协调各方面的能力，在不同的风格、表现手段中，令千万人的集体工作如出一人之手。第三，壁画是面向广大受众的公众艺术，创作者应有接受批评的包容性。
艺术家需要成为强者，不仅在艺术修养上达到较高的水平，还应有着强健的体魄、不屈的精神和高瞻远瞩的思维。侯一民先生和邓澍先生在绘画造诣、精神强度和领导能力上都无愧为艺术家中的强者。
01/艺术创作的强者
1950年冬，侯一民先生作为人民日报特邀记者赴抗美援朝前线，回国后创作了《跨过鸭绿江》，其后一直从事中央美术学院教学工作。在此期间，侯一民先生结识邓澍先生，在年画创作过程中形成了合作关系并结下情缘。他们从青年时代开始拥有共同的理想，一路形影不离相伴到晚年。邓澍先生支持侯先生作为领导的繁忙工作，也和侯先生一起投身大型艺术工程，与侯一民先生合作过《六亿神州尽舜尧》《百花齐放》《丝路情》《清水江畔》等大型作品。孙景波教授提出，邓澍先生不是一位助手而是一位合作者，二人在创作过程中相互补充，是一对相得益彰的艺术搭档。由于历史语境的局限，邓澍先生在艺术创作和艺术教育方面的成就没有得到足够的重视和恰当的评价，这是十分遗憾的。
侯一民、邓澍《六亿神州尽舜尧》 1964年
侯一民、邓澍、侯珊瑚《丝路情》毛织壁画 1981年 北京图书馆贵宾厅
侯一民、邓澍 《清水江畔》油彩壁画 1984年
邓澍先生早年参加革命，16岁被日本宪兵队关进监牢，辗转多次来到北京学习绘画。1951年，邓澍先生创作的年画《和平签名》获全国年画一等奖，备受广大群众好评。1955年，邓澍先生被公派前往苏联学习油画，逐步形成了色彩明丽、素描扎实、风格朴素的艺术风格，创作了一系列服务国家和人民、表现时代生活的创作。回国后，邓澍先生以教学工作为主，先后在中央美术学院油画系、壁画系任教，耐心指导学生创作，关心学生身心健康成长，受到同行和学生的由衷敬重与爱戴。除了在素描、油画和壁画创作上的建树，她还参与了第三套、第四套人民币的设计创作，“锦绣中华” “世界之窗”等大型公共艺术项目的设计与建设。
邓澍 《和平签名》 年画（绢本设色） 127cm×189cm 1950年 中央美术学院美术馆藏
邓澍 在列宾美术学院留学时的课堂作业 油画 1957年
邓澍 《母与女》 布面油彩 167cm×92cm 1959年 中央美术学院美术馆藏
邓澍 《盛装的藏女》 60cm×70cm 布面油彩 1985年
邓澍《挑粮路上》 油画 1976年
侯一民先生的创作同样受到了苏联现实主义的影响，其可追溯至1954年至1957年在马克西莫夫油画训练班的学习。在此期间，侯先生每天晚上借着微弱的火光坚持创作作品，《青年地下工作者》就是代表作之一，此画表现了侯先生自己的亲身经历，描绘了昏暗灯火下，青年地下工作者一边收听电台，一边印刷传单的场景，画面左侧的女性就是著名艺术家周思聪。孙景波教授称赞这幅作品开创了油画现实主义先河，画面中下笔利落、色彩强烈、布置轻巧，是艺术家真情投入之作，所以造就经典。此后侯一民先生创作的《毛主席与安源矿工》《刘少奇与安源矿工》等都是声名遐迩的杰作，艺术家遍访煤城屡下矿井，查资料、搜素材、精构思、细刻画，历时三年艰辛最终完成了“矿工”系列艺术创作。
侯一民 《地下工作者》 布面油彩 210cm×176cm 1957年 中央美术学院美术馆藏
侯一民 《刘少奇与安源矿工》（在原作复制品基础上于2011年重画） 原作信息：布面油彩 160cm×322cm 1961年 中国国家博物馆藏
1981年，侯一民先生承接北京图书馆贵宾厅的墙面美化工作，大型毛织壁画《丝路情》获得了外宾的高度评价。1987年，侯一民先生又承担了深圳“锦绣中华”“民族文化村”“世界之窗”等项目的雕塑创作工作，其呈现了东西方各国的雕塑艺术风格，其中巴黎圣母院微缩景观制作精细，每一个陶塑小人皆出自艺术家之手。此外，侯一民先生和李林琢先生合作的大型浮雕《东方文明》展现了新时代的恢宏大度和中国气魄，将商业项目上升至经典艺术的水平。
深圳锦绣中华与世界之窗微缩景区 总策划：侯一民 人物设计：邓澍 塑造：侯一民、周德发
02/肉体与精神的强者
侯一民先生的强者精神不仅体现在能够经受外界的劫难，还表现在能够战胜自身的疾病。2008年汶川地震后，侯一民先生目睹震后重建的场景，立即决定要创作能够反映震后现场的大型壁画《抗震壮歌》。《抗震壮歌》高3.3米，长近200米，塑造人物577位，面积达429平方米，画作展现了地震爆发、群众自救、官兵救援、众志成城、灾后重建过程，用一幅幅经典的画面塑造了汶川特大地震后，军民万众一心、英勇无畏的群像。在创作过程中，侯一民先生突然跌倒在画面前昏迷不醒，送医后确诊直肠癌晚期，术后感染高烧，足有七天七夜没有进食，几乎所有人都觉得侯先生无法度过这道难关，而侯先生却在面对亲友探望时，仍然强调要对《抗震壮歌》进行修改，还讲述了梦中见证两岸统一的故事，足以见得侯先生是一位心怀国家、高瞻远瞩的人。
侯一民《湖南老农》 油画 1975年
侯一民《苗族姑娘刘东妹》 76cm×53cm 布面油彩 1978年
侯一民先生晚年时，囿于病痛几近无法起身，只能半躺着进行创作。由于行动不便，繁多的作画工具全堆在身边，在拥挤的小房间几乎没法走动。邓澍先生同样无法站立，甚至无法入眠，只能倚靠着椅子作画打发时间，时常废寝忘食，在此阶段，她绘制了大量亲朋好友的肖像，所作徐悲鸿、吴作人、董希文等先生的肖像，充分表现了先辈们的风范和性格。此外，邓澍先生画的最多的还有花卉、水果和静物，画面中呈现和煦的光照和温暖的色彩，表现了生命的本真。作为亲历者，孙景波从中感悟到了一条关于成为强者的道理——“只要活着就要画画，只要画画，就有活下去的理由”。
邓澍先生在逸园工作室创作的照片
邓澍 《李苦禅像》，油画，1998年
邓澍 《吴作人像》，油画，1998年
03/美术教育的强者
北平解放前夕，年仅20岁的侯先生担任国立北平艺术专科学校地下党支部书记。因当年的环境，地下党考虑南移北京高校，安排党员教师冯法祀带领秘密进城的田汉，到徐宅面见徐悲鸿和吴作人，传达了领导人“在任何情况下都不要离平”的嘱托，鼓舞徐、吴二人团结广大师生，阻止了北平解放之前国民党教育部南迁艺专的图谋。
中央美术学院壁画系的成立和建设同样离不开侯一民先生的积极推动。1976年以后，当时还在油画系任职的侯先生已经设置了大型绘画工作室。1978年改革开放初期，侯先生敏锐地察觉到了城乡建设中壁画蓬勃发展的机会，这一时期应运而生了一大批广受赞誉的壁画精品，如北京图书馆贵宾厅、人民日报社礼堂、首都机场、北京饭店、黄鹤楼等数十幅作品，掀起了“新壁画运动”的热潮。1979年初，在侯一民先生主持下，由李化吉、周令钊、梁运清、张世椿、王文彬、邓澍等人参与筹建了壁画研究室。
侯一民、邓澍《百花齐放》 壁画高温陶板花釉 1979年 人民日报礼堂
侯一民、李林琢《东方文明》红砂岩浮雕墙（局部） 1990年 深圳世界之窗
侯一民 《血肉长城》陶瓷壁雕 1983-1989年 中国国家博物馆
身为中国当代壁画创作的先锋，当代壁画范畴不再限于传统的重彩、浮雕等形式，侯一民先生不断尝试新的艺术尝试，将水墨、织毯、金属、陶瓷等引入壁画。为把传统高温窑变花釉引入大型壁画制作，侯一民先生和邓澍先生前后投入了九年时间，经过反复试制才最终成功。当壁画系成立后，两位先生将个人探索的经验毫无保留地教给学生，并鼓励学生进行个人创作和探索。
自强不息的艺术精神在美院代代相传，壁画系教师团队一直保持着较高水平，注重培养学生扎实的素描造型能力，这是壁画创作最基础，也是最重要的部分。讲座尾声，孙景波教授进一步强调，前辈们抛下的种子，扎下的根，不仅体现在树立高水平的专业标准，还在于他们的精神和思想中。当代学子应致力于传承中国壁画历史传统，汲取当代各国壁画与公共艺术的长处，勇于进行各类材料和观念结合的实验。
讲座综述：马嘉懿
摄影：李迪
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The fees for images bearing Party A’s likeness will be undertaken by Party B.
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CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
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.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(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
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(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.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
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.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(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
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(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.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
