趙翊添

之江藝術(shù)長(zhǎng)廊連接著浙江省最具特色的文化景觀，構(gòu)筑成了一幅嶄新的時(shí)代畫卷，而中國(guó)美術(shù)學(xué)院三大校區(qū)無疑是其中的亮麗風(fēng)景。

“整理中國(guó)藝術(shù)，介紹西洋藝術(shù)，調(diào)和中西藝術(shù)，創(chuàng)造時(shí)代藝術(shù)?！边@是中國(guó)美術(shù)學(xué)院的辦學(xué)宗旨，自建校起就塑造著這所學(xué)校的精神面貌和學(xué)術(shù)氣質(zhì)。它自孤山景致之中走出，從西子湖畔到象山山麓，再到良渚校區(qū)，作為擁有深厚底蘊(yùn)的藝術(shù)院校，中國(guó)美術(shù)學(xué)院的學(xué)脈深深扎根于浙江的文化土壤之中，源源不斷地輸送著美學(xué)的養(yǎng)分，也是整個(gè)浙江省乃至全中國(guó)當(dāng)代美術(shù)發(fā)展的引領(lǐng)者和開創(chuàng)者，塑造著人們的審美趣味、文化品位，為建設(shè)浙江人民的高質(zhì)量生活作出卓越的貢獻(xiàn)。

中國(guó)美術(shù)學(xué)院的發(fā)展道路始于西子湖畔，由蔡元培先生親自選址創(chuàng)立，其前身為國(guó)立藝術(shù)院。作為中國(guó)歷史上的第一所綜合性的國(guó)立高等藝術(shù)學(xué)府，中國(guó)美院在首任校長(zhǎng)林風(fēng)眠的帶領(lǐng)下，于1928年開啟了“美育代宗教”的實(shí)踐，倡導(dǎo)并引領(lǐng)了新藝術(shù)運(yùn)動(dòng)。中國(guó)的高等美術(shù)教育便從此開始進(jìn)入了一個(gè)全新的階段。在90多年的辦學(xué)歷程中，中國(guó)美術(shù)學(xué)院歷經(jīng)學(xué)科拓展、學(xué)院改組，在中國(guó)藝術(shù)界依舊有著廣泛的影響力。中國(guó)美院于2015年成功入選浙江省第一批重點(diǎn)建設(shè)高校，2016年獲批成為浙江省人民政府與教育部、文化部共建高校，2017年學(xué)院入選國(guó)家“雙一流”一流學(xué)科建設(shè)高校，美術(shù)學(xué)學(xué)科入選國(guó)家一流學(xué)科建設(shè)名單。

在中國(guó)美術(shù)學(xué)院90余年的發(fā)展歷史中，歷經(jīng)風(fēng)雨滄桑，但是，這一美育的實(shí)踐一直在繼續(xù)延伸著，其精神也被不斷地傳承和發(fā)展。中國(guó)美術(shù)學(xué)院的發(fā)展，始終交疊著兩條明晰的學(xué)術(shù)脈絡(luò)，一條是以首任校長(zhǎng)林風(fēng)眠先生為代表的“兼容并蓄”的思想，一條是以潘天壽為代表的“傳統(tǒng)出新”的思想，他們的學(xué)術(shù)思想在中國(guó)美術(shù)學(xué)院營(yíng)造出了有利于藝術(shù)人才銳意出新、人文思想健康發(fā)展的環(huán)境，也成為中國(guó)美術(shù)學(xué)院最重要的傳統(tǒng)和特征，為一代又一代國(guó)美人所繼承和發(fā)揚(yáng)。也正是在這種學(xué)術(shù)思想的鼓舞和激勵(lì)下，中國(guó)美術(shù)學(xué)院始終能走在藝術(shù)屆的最前列，一直引領(lǐng)著中國(guó)藝術(shù)的發(fā)展潮流。

秉持著“整理中國(guó)藝術(shù)，介紹西洋藝術(shù)，調(diào)和中西藝術(shù)，創(chuàng)造時(shí)代藝術(shù)”的辦學(xué)宗旨，中國(guó)美術(shù)學(xué)院辦學(xué)成就卓著、蜚聲宇內(nèi)，聚集和造就了大批優(yōu)秀的藝術(shù)人才?；赝袊?guó)美術(shù)學(xué)院的教學(xué)歷史，任教者既有引領(lǐng)中國(guó)傳統(tǒng)繪畫發(fā)展的黃賓虹、潘天壽、沙孟海等藝術(shù)名家，學(xué)貫古今，融會(huì)貫通，在博采百家之長(zhǎng)的同時(shí)又能自成一體的藝術(shù)大家;又有如林風(fēng)眠、龐薰琹等中國(guó)現(xiàn)代藝術(shù)教育的開創(chuàng)者、先驅(qū)者，介紹西方藝術(shù)，改良中國(guó)藝術(shù)，為中國(guó)藝術(shù)注入了新的活力，開辟了中國(guó)美術(shù)學(xué)院美術(shù)教育的新道路。

此外，杰出的國(guó)美校友，如艾青、吳冠中、全山石、王卓予、李可染、趙無極、羅工柳等老一輩藝術(shù)家如同群星璀璨，熠熠生輝，為中國(guó)現(xiàn)代美術(shù)發(fā)展添上了亮麗的色彩，他們不僅在中國(guó)，也在世界發(fā)揮著自己的影響力，一代又一代杰出的藝術(shù)家們?cè)谶@里辛勤耕耘、嘔心瀝血，創(chuàng)造了一個(gè)又一個(gè)藝術(shù)的高峰。

時(shí)至今日，中國(guó)美術(shù)學(xué)院依舊散發(fā)著它獨(dú)特的藝術(shù)魅力。在90多年的辦學(xué)歷程中，國(guó)美為社會(huì)培養(yǎng)了大量藝術(shù)人才，在歷屆全國(guó)美展中斬獲頗豐，在中國(guó)現(xiàn)當(dāng)代藝術(shù)的舞臺(tái)中發(fā)光發(fā)熱。與此同時(shí)，許多優(yōu)秀的人才也深入?yún)⑴c到了浙江省乃至全國(guó)的建設(shè)之中，例如2016年G20杭州峰會(huì)以及2022年杭州亞運(yùn)會(huì)的logo由袁由敏教授團(tuán)隊(duì)設(shè)計(jì)，既蘊(yùn)含了豐富的江南人文意蘊(yùn)，又表達(dá)了面向新時(shí)代勇立潮頭的浙江精神。

現(xiàn)任中國(guó)美術(shù)學(xué)院建筑藝術(shù)學(xué)院院長(zhǎng)王澍教授設(shè)計(jì)的象山校區(qū)，創(chuàng)新性地設(shè)計(jì)了簡(jiǎn)潔優(yōu)美但又不失傳統(tǒng)特色的校園建筑群，既有對(duì)中華文化的深入見解，也蘊(yùn)含著對(duì)現(xiàn)代建筑的獨(dú)到把握，使得這一校區(qū)建筑群成為飽含傳統(tǒng)記憶而又簡(jiǎn)潔優(yōu)美的經(jīng)典代表作品，也孕生了藝術(shù)家園的望境塑造。2012年，王澍榮獲世界建筑學(xué)最高獎(jiǎng)項(xiàng)普利茲克獎(jiǎng)，這是國(guó)際學(xué)術(shù)界對(duì)其本人以及其作品中所融入的建筑思想和理念的充分認(rèn)可。2021年8月，中國(guó)美術(shù)學(xué)院象山校區(qū)入選《紐約時(shí)報(bào)》“二戰(zhàn)以來最重要的25個(gè)建筑”，成為本次唯一入選的中國(guó)建筑。

作為頂尖的中國(guó)藝術(shù)類高等學(xué)府，中國(guó)美術(shù)學(xué)院不僅在國(guó)內(nèi)藝術(shù)界有相當(dāng)?shù)挠绊懥吞?hào)召力，在國(guó)際舞臺(tái)上也散發(fā)著耀眼的光芒。在國(guó)際藝術(shù)院校的排行榜上，中國(guó)美術(shù)學(xué)院長(zhǎng)期居世界前列，其中，中國(guó)畫與書法藝術(shù)學(xué)院以深厚的歷史底蘊(yùn)和學(xué)術(shù)根基、優(yōu)秀的師資力量和學(xué)術(shù)水平，以及目前國(guó)內(nèi)最為完善的民族書畫藝術(shù)的教學(xué)體系和專業(yè)構(gòu)架，在國(guó)內(nèi)外高等書畫教育領(lǐng)域有著極為廣泛的影響力。

2015年起，中國(guó)美術(shù)學(xué)院已經(jīng)成功舉辦了六年的中國(guó)設(shè)計(jì)智造大獎(jiǎng)賽，作為我國(guó)工業(yè)設(shè)計(jì)領(lǐng)域的首個(gè)國(guó)際化獎(jiǎng)項(xiàng)，它搭建起了國(guó)際創(chuàng)新設(shè)計(jì)的交流平臺(tái)，60個(gè)國(guó)家和地區(qū)的機(jī)構(gòu)、團(tuán)體以及個(gè)人參賽，成功與全球百余家設(shè)計(jì)機(jī)構(gòu)共同搭建了合作生態(tài)圈，該大獎(jiǎng)躋身國(guó)際知名工業(yè)設(shè)計(jì)獎(jiǎng)項(xiàng)之列。除此之外，2003年起于中國(guó)美術(shù)學(xué)院舉辦的中國(guó)國(guó)際海報(bào)雙年展，迄今為止已經(jīng)吸引了來自全球40多個(gè)國(guó)家和地區(qū)的參賽者，是中國(guó)最高規(guī)格的海報(bào)設(shè)計(jì)競(jìng)賽，也在國(guó)際平面設(shè)計(jì)領(lǐng)域備受關(guān)注。

作為杭州這座歷史文化名城的一張金名片，中國(guó)美術(shù)學(xué)院既是民族藝術(shù)教育的核心場(chǎng)，也是當(dāng)代生活美學(xué)的創(chuàng)新者。作為擔(dān)負(fù)中國(guó)美學(xué)的傳播者以及擔(dān)負(fù)傳承使命與創(chuàng)造使命的藝術(shù)共同體，學(xué)院以引領(lǐng)中國(guó)當(dāng)代美術(shù)發(fā)展方向?yàn)榧喝?，不僅向全省，也向全國(guó)乃至全世界散發(fā)著耀眼的藝術(shù)之光，如同已經(jīng)開花結(jié)果但依舊茁壯成長(zhǎng)的參天大樹，扎根于杭州這片經(jīng)由人文氣息長(zhǎng)期滋養(yǎng)的肥沃土地中，它與浙江音樂學(xué)院、浙江電影學(xué)院相呼應(yīng)，構(gòu)成了之江藝術(shù)走廊最具活力、最具吸引力的的文化創(chuàng)意陣地，成為之江藝術(shù)走廊的寶冠上最耀眼的明珠之一。

China Academy of Art： Between East and West

By ?Zhao Yitian

In the most distinctive artistic and cultural landscape along Zhejiang provinces Zhijiang Art Corridor， lie some of the best-known cultural landmarks and sceneries， and the China Academy of Art is undoubtedly one of them.

“Organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times.” Thus states the academic slogan of the China Academy of Art. Proposed by Lin Fengmian （1900-1991）， renowned Chinese artist and the founding president of the academy， this mission statement has guided its development since its establishment. From the first campus near the Solitary Hill to the campus on the Xiangshan Mountain and the campus in Liangzhu that is still under construction， the China Academy of Art has firmly planted its roots into the rich soil of Zhejiang culture， continuously producing artistic talents. A leader and pioneer in the development of contemporary art not only in Zhejiang province but all over China， the academy has been instrumental in shaping the publics aesthetic and cultural tastes， making outstanding contributions to Zhejiang peoples pursuit of a high-quality life.

In 1928， the National Academy of Art， predecessor of the China Academy of Art， was founded in China on the bank of the West Lake in Hangzhou by the famed educator Cai Yuanpei （1868-1940）. In fact， the site was specially selected by Cai himself. Under the leadership of the first president， Lin Fengmian， the academy embarked on a journey of “substituting aesthetic education for religion”， and called for and led the modern art movement， marking the beginning of China higher education in art.

Indeed， in the course of its 90-odd-year history， the China Academy of Art has never wavered in its imparting aesthetic education to its students， and such spirit has also been inherited and developed from one generation to another. Throughout the years， the development of the academy has always followed two clearly articulated concepts. One， raised by Lin Fengmian is “inclusiveness”. The other， principally advocated by renowned painter Pan Tianshou， is “innovation based on tradition”. These ideas have helped create a heathy humanistic environment that is most conducive to the cultivation of talents and the generation of new ideas. They have also become the most important hallmarks and traditions of the China Academy of Art. Indeed， precisely under the inspiration and encouragement of these thoughts that the China Academy of Art has been able to be at the forefront of the area of arts and to lead the development of modern and contemporary Chinese art without fail.

Upholding its motto to “organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times”， the China Academy of Art has made remarkable achievements and become a recognized art institution both at home and abroad. As well as Lin Fengmian and Pan Tianshou， among the some of the most celebrated names who either taught or studied at the academy are Huang Binhong （1865-1955）， Sha Menghai （1900-1992）， Pang Xunqin （1906-1985）， Wu Guanzhong （1919-2010）， Li Keran （1907-1989）， Zhao Wuji （1920-2013）， and many others. These masters of arts， most of whom are also pioneers and explorers of arts and aesthetic education， have consistently invigorated the development of Chinese arts with their teachings， their knowledge， their ideas and their works.

It is no surprise that the academy has been witnessing the outstanding talents it has produced actively engaged in various artistic endeavors. For example， the official logos for both the 2016 G20 Hangzhou Summit and the 2022 Hangzhou Asian Games were designed by Professor Yuan Youmin and his team， which are full of humanistic subtleties of the Jiangnan （south of the Yangtze River） area， and show the Zhejiang spirit to boldly take the lead in the era. Meanwhile， professors， students and graduates from the academy have won multiple awards at Chinas quintennial National Exhibition of Fine Arts.

The Xiangshan campus of the China Academy of Art， designed by Professor Wang Shu， dean of the academys School of Architecture， creatively applied a style that has reconciled modernity and tradition for the 20 plus buildings spreading over the verdant mountains and hills. As the first Chinese citizen to have won the Pritzker Prize， the worlds top architecture prize， Wang， his works and his conception of architecture have been widely recognized domestically and internationally. In August 2021， the Xiangshan campus was listed as one of the “25 Most Significant Works of Postwar Architecture” by the New York Times， the only Chinese architecture on the list.

Over the past 90 years and more， the China Academy of Art has built and maintained widespread influence in Chinas literary and art circles. In 2015， it was selected as one of the key universities in Zhejiang province， and in 2017， the academy and its arts discipline were included in the nations “double first-class program”， i.e. world first-class universities and first-class academic disciplines. A prestigious art school in China， now， the China Academy of Art has also ranked among the worlds top art institutions. The School of Chinese Painting and Calligraphy， in particular， is one of the best and the most influential in the education of Chinese painting and calligraphy.

Since 2015， the China Academy of Art has successfully hosted several editions of the Design Intelligence Award. Chinas first international academic award in industrial design， the award has been turned into an international exchange platform for innovation design， and attracted 60 countries and regions， institutions， organizations and individuals to enter into the competition. In addition， the China International Poster Biennale， launched by the China Academy of Art in 2003 and regarded as Chinas top poster design competition， has seen participants from more than 40 countries and regions around the world taking part.