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
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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.
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.
