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
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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.
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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.
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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.
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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.
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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.
