2025年11月19日下午2点，在中央美术学院美术馆学术报告厅举办了“图示新探：延安文艺座谈会讲话与现实主义艺术”系列学术讲座第二期第一讲，由中央美术学院国家主题性美术创作研究中心曾小凤副教授讲述“《血衣》内外：王式廓的革命历史画研究”。
中央美术学院美术馆直属党支部书记韩文超主持了此次讲座
此次讲座由中央美术学院美术馆直属党支部、油画系党总支、研究生院党总支和王式廓艺术基金会、今日美术馆联合主办，是“温故王式廓‘生命刻痕’项目特别策划” 系列活动之一。讲座由中央美术学院美术馆直属党支部书记韩文超主持，同时出席的有王式廓艺术基金会秘书长李蕾、今日美术馆执行馆长晏燕以及中央美术学院研究生院院长葛玉君、美术馆副馆长海军、副馆长高高、油画系直属党支部副书记夏理斌等。此次讲座的对谈环节邀请到了北京工商大学设计与艺术学院副教授、“王式廓艺术扶持计划暨当代青年艺术家提名展”入围艺术家张沐辰。
中央美术学院国家主题性美术创作研究中心曾小凤副教授在讲座现场
在这次讲座中，曾小凤老师以王式廓历经二十年不断构思和创作的巨作《血衣》为线索，结合中央美术学院内部档案勾勒王式廓的革命历史画创作脉络，认为《血衣》不仅是一件独立作品，更连接着时代、作者生命历程与接受史的多重维度。在“内”和“外”相结合的语境中，讲座重温王式廓，试图去读懂王式廓——不仅是作为一个画家，更作为一个真实的人，一个在历史中思考、在时代中挣扎、在艺术中追求理想的整体的人。
王式廓（1911.6-1973.5），是我国20世纪具有独特艺术品格的绘画大师和卓越的美术教育家，解放后任中央美术学院建院领导小组成员之一，历任中央美术学院教授、研究部主任等职，他的《血衣》系列作品开创了新中国社会主义现实主义美术创作的范式。徐悲鸿先生曾高度评价他，称其为‘卓尔不群、成熟之天才’，这不仅是对王式廓艺术才华的肯定，更是对他独特艺术追求和坚定革命信念的赞誉。
讲座伊始，曾小凤老师先是为听众简要介绍了王式廓1950至1973年二十余年间相继创作的革命历史画，《血衣》从构思到习作、草图到素描稿、油画稿的创作几乎贯穿了王式廓进行革命历史画创作的始终。提问：我们如何理解王式廓的革命历史画创作？为什么《血衣》至死也画不完？为什么王式廓要不断地修改乃至重画他的那些革命历史题材作品？王式廓倾其生命，在革命历史画中到底探索了什么？
1953年，徐悲鸿与同事们最后的合影。第一排：江丰（左一）、王式廓（左二）、徐悲鸿（右二）、戴泽（右一）；后排：李宗津，倪贻德，冯法祀，庄子曼，曹思明 （摄影戴泽）
1950年王式廓创作油画《参军》
王式廓《参军》布面油画 60x92cm 1950年 中国美术馆藏
王式廓《井冈山会师》布面油画 1951年（原作已佚）
中央美术学院内部档案：《中央美术学院绘画系一九五四年上半年教员及研究生创作计划》，1954年
结合中央美术学院内部档案，曾小凤老师细致勾勒出王式廓在徐悲鸿先生去世后的创作状态。指出从1953至1957年，在中央美院“受排斥”的这五年，正是王式廓构思和完成《血衣》第一批素描草图、习作的关键时期。“土改”题材的“血衣（草稿）”是王式廓1954年在中央美术学院绘画系报的个人创作计划，同时报的还有一件“工业模范”题材，主题是“张明山画像”。
1956年王式廓在家门口画《血衣》稿子
在找到“血衣”这把钥匙后，王式廓并没有一下子打开绘制革命历史画《血衣》的创作之门，这期间他画了一系列现实题材的主题创作《张明山设计反围盘》（油画）、《劝父入社》（素描）、《农业合作社全体会议》（素描），还给很多革命文学读物如《把一切献给党》、《地下的战斗》、《渡乌江》等绘制素描封面和插图，同时重画《井冈山会师》参加1957年建军三十周年美展，探索如何在革命历史画中构思形成耐人寻味的意境和形象，以至表达具有重大意义的主题。
王式廓《井冈山会师》布面油画 142×210cm 1957年 中央档案馆藏
随后，曾小凤老师讲述了在《血衣》构思和草图阶段，王式廓完成的两件具有代表性的作品——从《张明山设计反围盘》到重画《井冈山会师》。1955年王式廓完成油画《张明山设计反围盘》参加了第二届全国美展，这幅画以“夜晚”作为构思的切入点，表现了工业模范张明山深夜在家中设计反围盘的情景。通过合乎绘画逻辑的光的处理，王式廓完成了基于历史真实的艺术形象塑造。而重画的《井冈山会师》则是王式廓在1957年为建军三十周年美展创作的。相较于之前的版本，这次重画在构图的深度、色彩、环境和对人物形象刻画上都有了很大的提升，王式廓通过这一系列的重画实践，深入探索了如何将革命历史题材转化为艺术作品中的主题，以及如何在生活的真实与艺术的形象之间找到恰当的平衡点，这为他最终创作《血衣》奠定了重要的方法论基础。
高焰《更高地举起社会主义现实主义的旗帜——读王式廓同志尚未完成的油画“血衣”有感》，《美术》1957年第2期
王式廓《血衣》素描 192×345cm 1959年 中国国家博物馆藏
在接下来的讲述中，曾小凤老师回到作为“旗帜”的素描《血衣》研究中，指出王式廓1959年完成的素描《血衣》在形象的典型性和人物心灵的探索上达到了新的高峰，它代表着土改斗争图像在语言叙述层面上已完全实体化，形成赋予历史实在以存在形式的“叙述实体”。概括起来，就是如何恰如其分地表现“悲痛——仇恨——胜利”的视觉叙事关系。通过这一将政治思想艺术化的“叙述实体”，王式廓确切地表达出对土改历史的整体性观照和判断，从而实现他“想通过一个独幅的画面，概括这样一个复杂的具有重大历史意义的群众性的革命运动”的艺术叙事空间。
中央美术学院内部档案：《王式廓小传》1959年
王式廓《“血衣”创作过程中接触到的几个问题》
《美术研究》1960年第1期
然而，在接下来的十多年时间里，王式廓并没有完成从素描《血衣》迈向油画创作的飞跃，他一直到生命的最后一刻都在不断地进行修改、绘制习作和草图，他在探寻什么？面对这一问题，曾小凤老师从“革命画”和“革命人”这两个维度展开了深入分析。结合首次对外公开的王式廓“地主”出身的内部档案资料，曾老师深入剖析了王式廓作为一个家庭成分为“地主”的艺术家，创作出《血衣》这一歌颂农民反抗地主压迫的经典之作，这背后不仅蕴含着复杂而深刻的社会因素，还包含了他个人情感的驱动和转变。
毛主席和延安文艺工作者在一九四二年五月延安文艺座谈会开会期间的合影
简平主编《王朝闻全集 第8卷 美学概论》，青岛出版社，2019年
第148页
王式廓《转战陕北》布面油画 66×113cm 1972-1973年 中国美术馆藏
王式廓《血衣》油画稿 100×150.5cm 1972-1973年 中国美术馆藏
讲座的最后，曾小凤老师援引詹姆逊（Fredric Jameson）的“寓言”理论阐释王式廓创作《血衣》过程中自我革命化的情感驱动及其深刻的社会历史内涵。詹姆逊认为，个人的文本和叙事往往是社会的寓言，反映着更深层次的社会和历史意义。在王式廓的自我革命化过程中，他的情感驱动并非孤立的个人情感，而是与当时的社会历史紧密相连。从社会层面来看，土改运动是一场深刻的社会变革，它打破了旧有的封建土地制度和阶级结构，让广大农民获得了土地和自由。王式廓通过《血衣》表达出对这一伟大历史变革的支持和歌颂，他的情感驱动是对广大农民苦难的同情和对他们革命精神的赞美。从个人层面来说，特殊的出身背景使王式廓对土改运动有着更为复杂和深刻的体验。他需要克服内心的矛盾和挣扎，完成自我身份的重新定位和价值观念的转变。在这个过程中，他的情感驱动是对自身阶级成分的自省和批判，是对新的社会理想和价值的认同和追求。
通过詹姆逊的“寓言”理论，曾小凤老师揭示了王式廓自我革命化过程中情感驱动的双重性，即个人情感与社会历史的相互交织和相互影响。这种情感驱动不仅塑造了王式廓革命历史画的艺术创作风格和主题，也反映了那个时代知识分子画家的精神追求和历史使命。在这个意义上，曾老师提出我们可以将《血衣》的创作，看作是王式廓对作为革命艺术家的“我”的自我实现过程。这幅画贯穿画家后半生的艺术创作，直到去世也没有最终完成。究竟如何才能创造艺术家的“我”？如何践行一个革命艺术家的信仰和职责？这个关于“我”的故事，几乎像是一则寓言，述说了许多像王式廓一样的革命的艺术家的共同命运。
北京工商大学设计与艺术学院副教授、“王式廓艺术扶持计划暨当代青年艺术家提名展”入围艺术家张沐辰谈《王式廓精神与当代艺术创作》
在讲座环节结束后，紧接着进入了一个充满思想碰撞的“对谈”环节。本次对谈以“共振·共生·赓续——王式廓精神与当代艺术的隔空对话”为主题，邀请了来自北京工商大学设计与艺术学院副教授张沐辰老师上台，与曾小凤老师围绕王式廓的艺术精神和当代艺术的发展趋势展开了深入的交流和探讨。在对谈过程中，现场的听众们也积极参与，提出了许多关于王式廓研究的相关问题。随着对谈环节的结束，中央美术学院美术馆副馆长海军教授作总结发言，对整个活动进行了精辟的总结，为本次讲座画上了一个圆满的句号。
讲座合影（右起：中央美院美术馆典藏部主任李垚辰、今日美术馆展览部主任李悠然、中央美院美术馆副馆长海军、中央美院副教授曾小凤、北京工商大学副教授张沐辰、王式廓艺术基金会秘书长李蕾、今日美术馆展览部王一凡）
《血衣》内外——王式廓的革命历史画研究
时间：2025年11月19日14：00
地点：中央美术学院美术馆学术报告厅
主办：中央美术学院美术馆直属党支部
本期联合主办：
中央美术学院油画系党总支、中央美术学院研究生院党总支、王式廓艺术基金会、今日美术馆
主编 / 何一沙
责编 / 杜隐珠
编辑 / 晏宇希
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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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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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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.
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(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.
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(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.
