2023年12月15日，“为时代持笔——韦启美百年诞辰纪念展”系列学术活动的名家对谈“韦启美先生的艺术创作与教学实践”于美术馆学术报告厅举行。对谈由油画系教授袁元教授主持，孙为民教授、丁一林教授、高天雄教授、金日龙教授、马刚教授和喻红教授共六位对谈人回顾了韦先生教学和创作中点滴的细节，为我们勾勒了一位博览善思、关爱后辈的油画家形象。
袁元教授发言
袁元教授首先回顾了韦启美先生的人生历程与艺术成就，并介绍到场嘉宾，随后对谈正式开始。
孙为民教授发言
第一位发言的是孙为民教授，他曾历任中央美术学院油画系主任，中央美术学院副院长。回顾往日岁月，他曾于1984年入学油画系硕士研究生班，毕业后一直在油画系任教，与韦启美先生保持了多年的师生与同事关系。孙为民教授先回顾了韦启美先生在求学阶段对他的影响。孙为民教授在研究生班时曾直接受教于林岗、李天祥、韦启美、詹建俊、靳尚谊五位先生，在学习中他感受到了两种并存的教学力量。一种是以詹建俊先生、靳尚谊先生为代表，讲求体积塑造、讲究色彩丰富、讲究变化，取材现实生活，表现当下的时代性；一种是以韦启美先生为代表，讲究求新、求变，在探索中追求油画艺术的发展。
《讲座》，韦启美，布面油彩，1985年，90×90cm
韦先生对事物观察敏感、敏锐，善于发现新的东西、新的思想、新的感受。他的创作，不仅在油画系的教员里独树一帜，对学生的影响也很大。韦先生教学的特点是，在长时间的观察后以提问的方式启发同学进一步深入创作。他的教学主要侧重于：一、讲求意味，就像他在创作中展现的清新与朝气一样，韦启美先生以言传身教的方式将对“意味”的追求贯穿在绘画与教学工作当中；二、贯气，尽管长期作业讲求一定的步骤与秩序，但在落笔之前一定要有构思，完成之后才能给人以一气呵成之感。韦先生这两个教学侧重点给孙为民教授留下了鲜明印象，并让他在以后的磨练和创作中反复体会、反复感悟、反复凝练并深受其益。
丁一林教授发言
丁一林教授细致地叙述了韦启美先生对他的启发。丁教授曾任中央美术学院油画系常务副主任、第二工作室主任。他回忆道自己第一次认识韦启美先生是在1977年时于军事博物馆看到了韦启美先生创作《青纱帐里游击健儿逞英豪》，后来非常幸运成为了韦老师的学生。
《青纱帐里游击队员逞英豪》，韦启美，布面油彩，1977年，244×444cm，中国人民革命军事博物馆藏
丁一林教授是央美恢复招生后油画系的第三届也是唯一一位研究生，当时由靳尚谊、詹建俊、林岗、韦启美四位先生指导他的学习。丁一林教授笑称这段经历非常特殊，四位先生的教导是福气、动力，同时也带来了不小的压力。1988年毕业时，油画系中厅只展出他一个人的作品，而这件毕业作品就是在韦启美先生的指导下完成的。最初韦启美先生并没有提出太多要求，而是侧重看这位学生在构思的宽度上都涉及了哪些内容。在确定研究课题是罗马尼亚国家画家科尔内留·巴巴，并计划根据巴巴的绘画语言创作出《大提琴手》后，韦启美先生鼓励他去中央音乐学院写生，并沿着音乐题材继续创作。在韦启美先生的影响和鼓励下，丁一林教授的毕业创作并没有按照舞台的效果，而是侧重于正在学习演奏的音乐学院附中学生形象，尽管这张作品的尺幅并不大，但他却展现出了时代和国家的朝气。
丁一林教授回忆道，韦启美先生是一个幽默诙谐的人，他用轻松的漫画语言展现内心的童趣，并且将这种轻松延续到油画创作之中，甚至在生前身处病榻的最后几天依然向人们展现出他乐观、开朗的人生态度。他还指出，韦启美先生始终是一个与时代同步的人，在与学生的交往中，不止是他指导学生，反过来，韦启美先生也在从学生身上学习时代的变化与发展，这些也都体现在韦先生的创作之中。这样一位谦逊、幽默且始终对于新鲜事物保持敏感的老先生，给我们留下了一笔十分宝贵的精神财富。
高天雄教授发言
高天雄教授侧重谈了韦先生对未来美术人才的培养。高天雄教授曾历任中央美院附中校长、中央美术学院造型学院基础部主任。在发言伊始，他先替油画家孙浩转达了对于韦启美先生的缅怀，孙浩老师说：“韦先生永远是我心中的一座高山。每每读先生的作品，他那颗永远年轻的心总在激励我不停地进取。”
高天雄教授认为韦启美先生这颗年轻的心体现在他和学生的教学相长之中，之所以能够始终保持初心，是因为韦先生时刻都在警惕懈怠，不断地洗涤身上的尘埃。他始终保持初心，秉承着为时代持笔的创作观，并进行了大量、广泛的阅读。韦启美先生读书有两个特点：一是哲学类较多，从中汲取油画家宝贵的思辨能力；二是读书广博，他读书的范围涉及报刊、杂志、自然科学、国内外文学等。正如韦先生自己所说：“坚持自己的艺术，但应有危机感。敞开接纳一切信息，但不是作为知识与学问存储，而是吸收他们参加艺术生命的肌体运行。”实际上，他是在通过阅读的方式借鉴别人观察和感受现实的方法与途径。
《在108路电车起点站》，韦启美，布面油彩，1998年，118×140cm
韦先生也十分关注青年艺术家的创作，他喜欢观看国内各类艺术家的展览，他曾真诚的说到：“我什么都看，我总觉得从他们的画里，每个人都有好的地方。我就要看他们这个好的地方，对我有启发。”因此他对于青年创作者的优点从来都不吝于赞扬，十分关注附中学生的学习创作。尽管韦先生并不是附中的领导，但附中学生的速写创作和毕业创作展，韦先生从不缺席。他认为附中同学们的速写和创作都蕴含着青年人对于世界宝贵的锐气和朝气。正如油画《在108路电车起点站》，韦先生坐在电车的一端，怀抱着装着金鱼玻璃钢的小姑娘坐在电车的另一端，他们都在看着这盆金鱼。小姑娘脸上是为新鲜事物而感到惊喜的表情，韦启美先生则是看到了小姑娘那颗晶莹、透亮、真诚的心，这是韦先生对于青年人的爱与理解。我们的责任就是像韦先生和美院所有先生一样关注青年的身心健康发展，对青年艺术创造力发展的扶植和培育尽自己所有的力量。
最后，高天雄教授指出，他始终觉得韦启美先生就像范仲淹所写的：“不以物喜，不以己悲。荣辱若素，处变不惊。”他在用自己的思考和实践，开拓中国美术和中国油画发展的道路，来回答历史之问、时代之问。
金日龙教授发言
金日龙教授曾是我院人事处处长、教师工作部部长。据金教授回忆，当年入学中央美院，受益于中央美院面向边疆地区的招生计划，他是这一批入学的七人之一，韦启美先生曾担任过他们本科四年级的班主任。当时正处在八十年代，大量的新思潮、新观念和新的艺术形式开始涌进国内，韦先生面对这种大量的信息涌入，通过阅读的方式来充实自己。这种对于社会时事的关注也反映在了韦先生的漫画创作之中，他创作了大量以讽刺和幽默为主的作品，在漫画界是一位了不得的、值得尊敬的艺术家。金日龙在毕业班时曾前往敦煌写生，当他将大量的写生作品拿给韦启美先生看时，韦先生并未从技术层面提出太多要求，而是以鼓励和引导的方式启发他继续创作。
1986年金日龙在本科毕业创作答辩时的照片
韦先生于1987年在《美术杂志》上发表的文章《他们在浪潮中》提出的思考方向与见解在今天仍然具有极大的现实意义。他从不将自己的绘画语言强加给学生，而是引导学生们从艺术实践的思考中引出问题，又返回到艺术实践中寻找答案。这种开放包容的教学风格，韦先生学生们的艺术风格呈现出百花齐放的状态。美是什么？艺术是什么？绘画是什么？金日龙教授感慨，自己现在已经到了和老师当年一样大的年纪，仍然需要沿着老师曾经思考的道路继续前行，非常荣幸能够将老师的故事讲述出来。
金日龙教授表示，自己如今也已退休，美院的又一代人已经翻篇，韦先生曾经教过自己，也教过靳尚谊先生，美院精神就是这样一代代的传承下去。
马刚教授发言
马刚教授回忆了韦先生在八、九十年代的艺术创作。他曾任中央美术学院附中校长，中央美术学院国家主题创作研究中心主任，现任中国美术家协会油画艺委会重大主题创作艺委会委员。他在求学时期见证了韦启美先生绘画语言的现代转向。
马刚教授先回忆了学生时代的温情时刻，他在1979年考入附中，1983年进入油画系第二工作室学习，又转入第四工作室学习，毕业后留校至今。因为韦先生没有直接在二画室授课，平时又很喜欢和学生接触，所以他平常见到韦先生并不紧张，特别喜欢和韦先生在一起交流。
马刚教授以“共同情境”为起点展开对韦先生艺术创作的讲述。在韦先生的艺术创作中，可以看到他们那一代人，如冯法祀、戴泽等先生身上所拥有的共性，这是属于他们的“共同情景”。但与此同时，韦启美先生又从“共同情景”中走出，发展了属于自己的“个性情景”。马刚教授认为，正是因为韦启美先生对生活的热爱与独特观察视角的运用才让他的艺术能够融入每一个历史的特殊节点。
韦启美先生的艺术主要体现在：一、将自己对生活的敏锐感受以漫画的形式表达了出来；二、满含热情；三、对于画面情节有着自己的特殊把握。马刚教授印象最深的是《附中的走廊》中的女孩在楼道中奔跑的景象，给附中毕业的他一种熟悉又陌生的感受。这种情景的转合和连接是韦启美先生所特有的。
《附中的走廊》，韦启美，布面油彩，1990年，148×140cm，中央美术学院美术馆藏
韦先生一直是一个不断求变的人。马刚教授以他对农民形象的不断探索为例，《飞往北京的班机上》正是韦先生在新时代中对于表现新农民形象的一次尝试。韦先生在变化中也有始终保持稳定的地方，韦启美先生始终在把握生活的独特视角，这一点从《模范饲养员》《附中的走廊》到《在108路电车起点站》中都有所体现。
《飞往北京的班机上》，韦启美，布面油彩，1982年，104×92cm
在绘画手法上，韦先生克服了油画惯有的表达笔触和色彩的方式。在新时期的绘画中，画面总是刻意抹平笔触、提高亮度并且紧扣着主题进行表达。从专业角度看，韦启美先生的创作，特别是改革开放以后的作品，有着绘画语言和形式上的独特性，这些都是基于他对于生活充分的、合适的表达！
喻红教授发言
喻红教授现为油画系第三工作室主任，她在发言中也提及了韦启美先生艺术创作中的人性之光。喻红教授虽然与韦启美先生交集并不如在座其他老师们那么多，但韦先生在她的心中非常特别。他总是像婴儿一样睁开双眼看世界，不带着先入为主的观念和诉求。展览中让喻红教授印象最深的一件作品是创作于上世纪五十年代《中山公园》，画面中的小女孩因为同伴的惊呼，探出头来好奇地打量着这个世界。从这件在他艺术风格形成的初期阶段的作品中，我们己经能够看到贯穿他一生的创作特点：没有过多的评判，始终充满人性与诗意地注视着这个世界。
《中山公园》，韦启美，布面油彩，1955年，95.5×129cm
喻红教授回忆，在美院从王府井搬迁到花家地后，还是总能看到退休的韦先生坐着班车来到美院阅览室读书、翻看新到的画册。韦先生总是关注着青年艺术家的成长，2003年曾为年轻的喻红老师的个展“目击成长”写过展评。留校不久的年轻教师不可能请这么大的艺术家给自己的展览写文章，当时的确是韦先生自己看完展览，认真地写了一篇文章。其实不止是喻红教授一人，韦先生还为多个年轻艺术家写文章，他在从中寻找新的方向与可能性。
这种对世界的好奇，对后辈的提携与帮助和朴素的创作与爽朗的笑声始终留在喻红教授的心中。
袁元教授发言
在对谈的最后，袁元教授做了总结。今天对谈的主题是韦启美先生，背后的线索其实是学院的传承。台上的老师和台下的青年后辈加起来一共是四代人，台上的老师也都在他求学时期给予过教导和帮助。今天大家齐聚一堂，是真真正正的学院力量与传承，这种力量靠着代代人薪火相传。希望我们能够继续疏理中央美院的学术文脉，能够赓续中央美院“尽精微，致广大”的精神，共同创造中央美院的未来，创造属于自己的伟大的未来！
综述整理 / 马煜蘅
韦启美油画创作研究工作坊学员
图片来源 / 油画系 美术馆
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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.
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.
