Chapter 6 Part Four Naughty and Clever

Three students, Yang Xu, Wang Yifan, and Cui Yingjie, are the first batch of undergraduates in the Department of Painting after the merger of Tsinghua University and the Academy of Arts and Crafts. They entered at the end of the century and graduated this year.Unfortunately, SARS was raging this spring, they were sent home, and they didn't get the opportunity to exhibit their graduation report in this school.Now the exhibition hall of the Central Academy of Fine Arts generously hosts their and several other young people's art exhibitions. They must be very grateful and very happy. These students and I are not considered teacher-student relationship, because I "enrolled" at about the same year as them: in today's art education system full of dogma, they learn how to draw, and I learn how to mix - ashamed to say, in their During the four-year undergraduate study, according to the quantitative course arrangement method, I only taught these students for four weeks.Their painting courses are pitifully small, and their time is full of so-called "cultural compulsory courses" such as foreign languages, politics, computers, and papers. If it were me, I would definitely skip school.But these naughty and smart guys actually drew graduation creations in the chaotic classwork, and the number was quite a lot. I was surprised and very happy.

They are about the same age as my daughter, and they grew up in the image age. They don't mind my creations before going abroad, but they are sensitive to my recent use of images.I don’t remember explaining the reasoning to them, but for some reason, they each had a strange idea, found a bunch of images or photos, and painted them on the canvas——Yang Xuzhi asked famous Chinese and foreign actresses to each hold a A picture of smirking makes popular culture serious in a comical way in the creation of paintings; Wang Yifan painted a dozen sad faces that are crying bitterly, and only images can capture and express this real moment of human nature.Cui Yingjie simply gave up easel painting for a while, and combined too complicated contemporary image information in a gesture similar to multimedia art. These messages are both dreams and confessions, both public and private.They are all obsessed with oil painting, but they intuitively find the material of painting in non-painting images, the pleasure of creation.No matter how far these works can guide them, the good news is that they no longer follow and repeat the single painting thinking of previous generations of oil painters.

But the three of them only have a bachelor's degree.Today, when art has become an industry, and the industry only depends on academic qualifications, the talent, sensitivity, vitality, and nature of an artistic youth are worthless.When these paintings are removed from the walls, the problem they face when they go home is not art, but their jobs, and the problem of jobs depends on their education background.If the "postgraduate entrance examination" and "postgraduate entrance examination" go all the way, it is very likely that at the age of 30, or even at the age of 40, they will be wasted in the exams, failing the rankings, re-applying for exams, and endless academic games.

Are these three classmates geniuses? I don't know, but they are by no means dumb.There is no doubt that they are very young. You can see that they have just found their own ideas and are painting very happily. What art school did you go to.I only pin my poor hope on their mischievousness and cleverness for the time being.As far as I know, there is such a class of mischievous and intelligent young people who, after walking on the right path, will have a solemn expression on their faces and gradually cultivate their own beliefs and courage. December 8, 2003 Comrade Yang Yijiang is one of the two doctoral students recruited for the first time after I taught.This summer, his doctoral dissertation was approved after many examinations and defenses, and he was allowed to graduate.

Yang Yijiang is from Yunnan, and the title of the thesis is also about Yunnan.The seven reviewing professors of the paper gave considerable marks, saying that the material is rich and the arguments are novel, and the more reserved opinions are that the "theoretical" seems to be insufficient.I am the undeniable "mentor" of this paper, and I should avoid it during the review process and do not intend to argue.Now, the publication of this paper is no longer for review or reporting, but to face the readers directly, and begins the fate of the paper itself.I would like to make some comments on other issues involved in this.

My so-called "problem" is very simple: what is a doctoral student in fine arts?What are the convincing criteria for considering and testing PhD students in fine arts?How to distinguish the similarities and differences between doctoral students of fine arts and doctoral students of history theory?Who will divide?Finally, who is qualified to be a doctoral tutor in fine arts? I thought I didn't have the qualifications.Four years ago, when I was appointed as a doctoral supervisor, I knew nothing about the above questions, and I didn't even understand what "fine arts" meant.As for the academic qualifications, foreign language proficiency, and the need to complete a thesis that is said to be no less than 80,000 words for doctoral students, it is stipulated by the Ministry of Education-for several years, no one told me that I should

How to "guidance" doctoral students in fine arts, I can not ask, consult any relevant authority or information - if there is such an authority or information - so far, I still know nothing about the above issues. As the saying goes, "People are in the rivers and lakes, and they can't help themselves." I have been in the rivers and lakes for a long time, and I think the situation is just the opposite: "People are in the system, and they can't help themselves."——Yang Yijiang is only a few years younger than me, and he was originally a student who came to Beijing to study in 1978. Cultural Revolution" art student.Over the past three years, I found that he and I are nothing more than peers chatting in the same classroom. Our knowledge and ignorance are almost equal.Of course, I have to pretend to be a "mentor" and walk in and out, but once I really want to give him a "Ph. I don't know, and have no way of knowing, whether the highest requirements such as "academic" and "theoretical" fit.

Therefore, if Yang Yijiang’s thesis really lacks “theoretical quality”, the responsibility does not lie with him, but entirely with me: it is my serious “advice”—or “misleading”—that I gave him at the beginning of writing his thesis. Truthfully quote the words that I filled in the column of "Supervisor's Comments" on the graduate form, so as to affirm my responsibility for this thesis: I only require three points for my doctoral dissertation in fine arts: 1. Study case studies. 2. Sufficient information. 3. The writing is clear and clear. In addition, try to match your own growth background and creative practice as much as possible.Try to write papers with the identity and thinking of art practitioners rather than professional theorists.

In view of the long-term and common customs of theoretical texts in middle schools: cumbersome, dogmatic, vague, meaningless, stagnant and swollen, and extremely lack of cases and in-depth investigations of cases, my requirements and standards for papers are "rather low than high." , "Better fact than fiction", rather take the "partial" and "small" of "individual cases", do not seek "big" and "complete" "theories", emphasize facts, despise opinions, problems, and conclusions, and prefer prudence Accurately "present the facts" and avoid large and unreasonable "theoretical expositions".If the case is set up properly, the "theoretical value" will be in it, and if the materials are carefully adjusted, the "theoretical viewpoint" will be in it.

There is no "highest standard" for doctoral dissertations majoring in fine arts.Judging from what I call the "minimum standard", Comrade Yang Yijiang's papers are mediocre and impressive, meeting and exceeding my expectations. The filling of the above written words is also an example of "involuntary". In fact, when translated into vernacular, the meaning is very simple: Comrade!Don’t be intimidated by theories—articulate and honest, it’s a good essay.As for whether it is a "doctoral dissertation" or not, that is a major national matter and the state manages it. I can't control it, and Yang Yijiang can't control it.

For three years, I hardly ever asked him about this paper.During the period, he gave me some of the chapters several times and asked me to check them out. Now I can tell him the truth and apologize: I didn’t read it at all—I have always advocated that students’ graduation works should not be disturbed.The painting is my own painting, and the article is written by myself. Is there anyone who knows better than me?As for checking typos, it is inevitable to consider a few words and discuss related or irrelevant books and literary theories, but I don't think this is a guide, it is just a chat among colleagues in the studio, dinner table or on the road. When the whole paper was finished and was about to be reported, there was no excuse, I had to read it, so I spent three whole days reading this paper word by word—Cheng Yang Yijiang was honest and obedient, but unfortunately he believed me Personal and amateurish advice: case studies, substantial materials, clear writing, and "emphasize facts over opinions, problems, and conclusions, and prefer to present facts carefully and accurately, and avoid large and unreasonable theoretical expositions." Yes, I really don’t see much “theory” in this thesis, but I followed the thesis on a trip to remote Yunnan, traveled through decades of local art history, and learned many things that I didn’t know before. One year, compared with the "land outside the central government's literature and art policy", we re-understand the "literary and artistic territory" of our country for decades-for example, Yunnan was allowed to be exempted from implementing land reform policies in the interior, such as the influence of Soviet oil paintings In Yunnan, it is lacking. For example, the concussions of previous literary and artistic movements have weakened in remote areas, and Yunnan artists always want to trace the "central" traces, but they can't find it... So there is a gap between the relatively wanton "Shenshe" back then. So there is the so-called "psychic consciousness" or "local color" that accompany Yunnan paintings like a shadow, and so on. This is what I call "facts" and "facts": I discovered that, with respect to Yunnan painting issues—rather than theories—Yang Yijiang was my mentor. Are there any shortcomings in this paper?Some: I think it is still too much like an academic paper, and I dare not deviate from the line, let alone talk about it.However, there are reasons and extenuating circumstances.As you all know, it is the state that requires painters to become "doctors". "Theory" has nothing to do with it, but an out-and-out fact and fact in the academy's officialdom.Faced with this non-negotiable and unquestionable administrative dogma, Yang Yijiang, like all doctoral students today, besides seeing the facts clearly and facing the facts, how dare they make their own claims—this text explains in detail why Yunnan painting "why At the same time, like a mirror, it also faithfully reflects today's doctoral dissertation "Why is it so". What about the so-called "theoretical"?As mentioned above, there is no way to find someone to reason about it, and there is nowhere to go about it. I sincerely thank all the reviewing professors, both named and anonymous, and the highest evaluation institution of Tsinghua University: when they held their hands high, they not only passed Yang Yijiang's dissertation, but also passed the pseudo-supervisor of this thesis-I saw that in " Under the lofty name of "Doctoral Thesis in Fine Arts", all professors and students have earnestly confirmed various facts and facts about art education in today's art education. July 23, 2004 Great lessons from the leaders of the academy: My renewed contract to teach at the school (2002-2005) will expire on January 15 next year.According to the contract, if one party has a change intention, it should notify the other party 90 days before the expiration date.After careful consideration, I have decided to end my teaching in this institute when the contract expires. Here's an explanation of the decision: My resignation is not related to the issue of remuneration, nor is it a problem in getting along with personnel. It is because I cannot agree with the current humanities and art education system so far.When I have a deeper understanding of the national conditions behind the system, the most appropriate way is to withdraw voluntarily. During the five years, my teaching was passive and reluctant everywhere, and the time was ruthless, and the business was deserted. I was eager to return to work alone at the easel and continue to be an individual artist. I know very well that this decision stems from my incompatibility with the system and my unwillingness to adapt.The progress of the nation lies in the fact that individuals can take different positions on a certain matter.My departure will stop the waste of teaching. At present, two 2001 doctoral students in the fourth laboratory have just graduated, and there are 2002 and 2003 doctoral students who graduated in 2005 and 2006 respectively.In addition, this year, the first batch of graduate students recruited into the laboratory, a total of four, graduated in 2007.My resignation, and whether these six reports should be included here, is a matter of hesitation, especially for this institute and Tsinghua University, I feel deeply inappropriate, and I feel sorry for the three teachers Yuan Yunfu, Liu Jude, and Du Dakai who invited me to teach—— However, the outside world likes to speculate and discuss people's fate, so that rumors are not appropriate in public or private. It is better to understand what has happened——After the report was submitted in October, the school and the school immediately interviewed and persuaded them to stay , Sincere words, and the six students in this laboratory have yet to study for more than two years, and they will all graduate in 2007. My teaching title and procedures should not be left in vain.After negotiation, he recently renewed his teaching contract with the school for another two years. During this period, he will continue to undertake the teaching in the laboratory and the major courses of various departments in the spring and autumn.I just take off my hat and thank the school for their understanding and sincerity. There is a conflict in the studies of 10 students, how to solve it, I am willing to negotiate with the leader on a feasible way under the premise of my withdrawal, and fulfill my responsibility. Attached is one of the attachments, which is the work report that the Beijing Foreign Affairs Office requested me to write last year. It has already been submitted. Since this year is not involved, it is slightly supplemented.The second attachment, "Doctrine and Utilities", was written at the request of the Educational Reform Conference of the Research Institute of the Academy the year before last. Because it was written during the vacation in New York, the deadline for the manuscript was returned after returning to China, and it has not yet been submitted. The original manuscript is attached here.Attachment 3 "My Opinions on the 'Academic Evaluation System Report' of the School" - These three attachments frankly state my doubts about the education system and the teaching of the School. I hope you can understand the reasons for my resignation.There are also appendix 4 (a rough report on academic activities in the past five years) and appendix 5 (remaining issues), please take note of them. This report will be submitted to Tsinghua University, the Foreign Affairs Office, and the Personnel Office at the same time.My title, work, residence and medical certificates will be handed in when the contract expires for cancellation.The nature of the residence in the teaching and staff dormitory in Tuanjiehu Lake, which is currently being rented, has not been explained (see Annex 5). When to move out, we are waiting for instructions. Once again, I sincerely thank the college for its reuse and trust in me.It is really difficult for me to match my title, and I am deeply ashamed.Five years of teaching is my precious life experience. Although I ended up resigning, I am afraid that my feelings for this institute and teaching are deeper than what you can understand. Thanks in advance to school leaders for their approval. Sincerely, salute! Chen Danqing October 15, 2004 (2000-2004) The Fourth Research Office of the Academy of Arts and Design, Tsinghua University origin At the end of 1999, Mr. Yuan Yunfu and Mr. Liu Jude called me overseas to tell me that the Academy of Arts and Design had merged with Tsinghua University, and on behalf of the leaders of the academy, they sincerely invited me to return to China to join the Academy of Arts and Design of Tsinghua University, and at the same time passed on to Mr. Zhang Ding and Mr. Wu Guanzhong, the seniors. welcome. I officially registered in February 2000. Secretary Chen of Tsinghua Garden, Dean Wang and Secretary Zhang of the Academy of Fine Arts, and the vice presidents warmly received me. Teacher Chen Hong from the Tsinghua Foreign Affairs Office, Director Zhang and Miao from the Foreign Affairs Office took me to complete the foreign registration within a week. Procedures for personnel stationed in Beijing.From then on, the personnel relations belonged to the Foreign Affairs Office and the Personnel Department, with an annual salary of 50,000 yuan and a teaching start-up fee of 300,000 yuan. At the same time, the college signed a contract with me for a two-year term from 2000 to 2002 in the Foreign Affairs Office. The contract expired in the spring of 2002, and the contract from 2002 to 2005 was renewed for three years. Teaching status The amalgamation of colleges and universities is an important measure taken by Tsinghua University to fully restore the humanities and arts disciplines since the “adjustment of colleges and departments” in 1952.The establishment of the Academy of Fine Arts of Tsinghua University attracted the attention of the Eight Higher Academy of Fine Arts for a while. Not long after he took office, the college announced the establishment of a doctoral program in fine arts, which is not only the first in domestic art education, but also rare in similar majors worldwide.For this reason, the college established four pure art teaching and research rooms in March, led by veterans Wu Guanzhong, Zhang Ding, and Yuan Yunfu respectively, and I presided over the fourth research room.Mr. Wu, Zhang and Yuan are highly respected and have educated countless people.I have just started teaching, and I haven't made an inch of merit yet, but the college has broken the rules and entrusted me with this important task, but I am ashamed to accept the order and take it seriously. The research direction of this research room is initially "Research on Contemporary Easel Painting", which was changed to "Comparative Research on Contemporary Easel Painting and Image Culture" the year before last. In May, the first national admissions for doctoral students of art colleges was held in our college, which was my first admissions experience.Among the twenty-four candidates from all over the world, five were shortlisted, but they were shelved due to their foreign language proficiency.In order to support my first enrollment plan, with the approval of Dean Chen of the Graduate School, five students were recruited in the name of visiting scholars for the doctoral program. In 2001, five visiting scholars completed their doctoral dissertation topic selection. In order to become official doctoral students, they failed the foreign language test again and left school after graduation. This year's second doctoral examination, a total of 22 candidates across the country, officially admitted two doctoral students and two visiting scholars.In the same year, for the first time to accept postgraduate applications, about eight people, none of them passed the two-course exam. In 2002, the third doctoral examination, 20 candidates, officially admitted one, and three visiting scholars.The second postgraduate application, about 19 people, one was shortlisted with the highest score in business (90 points), but due to the difference of one point in foreign language and politics, the application for accommodation was invalid, and he was not admitted. In 2003, the fourth doctoral examination, 18 candidates, officially admitted one.The third postgraduate application, 19 candidates from all over the country, the same candidate was shortlisted with the highest score in the previous year, and was not admitted again because the foreign language score was not enough. Up to now, two doctoral students have graduated and two doctoral students are studying in this laboratory. In 2004, four graduate students were recruited for the first time. For undergraduate teaching, I am in charge of the sketch class and the oil painting human body class of each session of the painting department for four weeks each.In addition, the Office of Academic Affairs arranges four major lectures per semester, each of which is four hours long. Students from all departments and majors can choose to listen, and each lecture is full. From 2001 to 2004, the lecture topics were as follows: "Comparison of European and American Contemporary Art" "Painting, Video and the Western Tradition of Viewing" "The relationship between easel painting and design art" "Worldwide Anti-Modernization Thought and Cultural Conservatism" "The relationship between the history of art and the history of communication" "History of Art Patronage and Art Function" teaching method The existing academic administration of humanities and art disciplines has become stricter and stricter, and the teaching quality has become more and more suspicious. Although this system is easy to manage, it has sharp and profound conflicts with "people" and "culture". I don't believe in the current examination system, the syllabus, the current way of arranging courses, and the quality of art students can be calculated by "class hours" and "credits"—but I have to obey the rules—release my personality, return to the To intuition, reject dogma, and follow the laws of art, was once the historical experience of the remarkable achievements of art education in the period of the Republic of China, before the "Cultural Revolution", and the early stage of reform and opening up.However, it is obvious to all that these traditions and experiences have been completely lost in today's art teaching. I personally cannot change this fact. Only in the teaching of this laboratory, with the principle of "case processing", according to the sum and subtle performance of each student's personal situation, in the teaching, the knowledge should be expanded as much as possible. Be as specific as possible. This kind of teaching is difficult to reflect in the text of the teaching plan, and it is difficult to express it in the work summary. In all the forms I was ordered to fill out, it was completely impossible to reflect my teaching ideas and teaching results. Art teaching is non-utilitarian and non-procedural. It is specific and subtle, and seeks current communication, reference, and comprehension in each student, each stage, and even each work anytime, anywhere.This random process—rather than a predetermined program—emphasizes experience and experience, problems and possibilities, stimulates curiosity and enthusiasm, and tests students' intelligence and character: it is open to the unknown and implemented as individuals. College education is not responsible for upwards, but for art and individual students.Unfortunately, the general rule and nature of today's academic education is to be responsible upwards. Strictly speaking, the relationship between me and each student is not a teacher-student relationship, not a superior-subordinate relationship, not a relationship between knowledge and ignorance, but two parties who face art as truthfully as possible.These "both sides" explore various issues on canvas, concept, feeling, and even psychology with an endless spirit of questioning.It is an interactive process of mutual practice and mutual debate. It is embodied in constant conversations, seeking inspiration, asking questions, and not seeking conclusions. It is like a Zen master's koan, the details of practice. It is definitely not quantified.Scores, awards, regulations, forms, not its purpose.It varies from person to person, from situation to situation, from problem to problem.It pursues the authenticity of teaching, not procedure, and it implements the improvement of personal quality, not test scores.As such, it is difficult, isolating, unflattering in the current teaching system, untenable by dogma, and difficult to embody in comparable outcomes. Going back to the conflict between Socratic education and Sophist education in the Greek period, the former values ​​knowledge and character, while the latter values ​​power and practicality.Sadly, the current policy restrictions on liberal arts education have determined the naked formalism and utilitarianism of humanities and arts teaching. I have profound differences with the current education system.In the disciplines of humanities and arts, talents cannot be cultivated. No one can boast and guarantee that real artists will be cultivated in the academy, but the education of the academy should and can meet such a minimum requirement, that is, to establish an art student who will preserve his life for a lifetime. This character is the famous sentence written by Chen Yinke, a former master of the Academy of Chinese Studies of Tsinghua University, seventy years ago: "Independent personality, free thought." Admissions and Teaching Impressions Since I started teaching in 2000, my teaching practice and social activities generally have two types of feelings, positive and negative. I hereby state the facts as follows: Positive - Tsinghua's "Yangtze River Plan" is one of the measures of China's education reform in the new century, with great courage, heavy investment and high expectations.Most of the specially-appointed professors are foreign Chinese. They are middle-aged and middle-aged professionals who went abroad after the reform and opening up. The effect of the State Investment Institute goes back to the tide of studying abroad 20 years ago, and it has recently received the effect of reform and opening up. It is now time to think about this move. The merger of Tsinghua University and Gongmei reflects the country's good intentions in supporting the development of humanities and arts in colleges and universities, and looking forward to the general trend of international culture. As far as I am concerned, I have been to China for nearly 20 years, and the cultural situation and cultural environment in China are completely different from the past.In artistic creation and academic research, the past political constraints, narrow aesthetics, and unit creation patterns have changed drastically.The school will not interfere with my teaching, and will provide timely support when possible.The full respect and tolerance among colleagues, peers, and different majors, as well as the common enthusiasm for the teaching plan of the new school, all made me truly feel the profound changes in the field of literature and art and the school of art caused by the reform and opening up. Negative—In teaching practice, my troubles and helplessness come from the country's current education system and various dogmas.The crux of it is roughly as follows: The profound and long-standing disadvantages of the test-taking culture have already been recognized by the society for a long time, so I won't say much.In the examination system, especially the foreign language examinations and political examinations in the humanities and arts, it seriously hinders and distorts the quality and nature of art education.The former ignores the laws of education and success of the humanities and art disciplines. It is only a formality, and it effectively weakens the minimum Chinese level of art students. Looking at the examination papers of the doctoral and master candidates who have failed in the past, this has in fact continued to cause a straight line in the cultural quality of the candidates. decline.The latter blatantly violates Marxism and Deng Xiaoping’s thoughts, and is a profound satire on the two major traditions of Tsinghua University, namely, “actions speak louder than words” and Chen Yinke’s “independent personality, free thought.” I have expressed the above opinions frankly to the leaders of the institute, the secretary and the president of Tsinghua University in written and oral form several times.Taking the scores of the "two subjects" as the primary criterion for selection, academic dignity is gone, and it is impossible to have the minimum prerequisites for humanities and arts and its education, and it is nonsense to create a world-class university. Due to the long-term implementation of this policy, humanities and arts education has prospered on the surface (such as expanding enrollment, generating income, increasing academic subjects, emphasizing papers, etc.) but actually regressed (such as the continuous decline in the quality of teachers and students, and the continuous depreciation of teaching quality and college reputation), " "Knowledge but no culture", "skills but no common sense", "majority but no thought" are the common situation of art students at present. In fact, the overall level of art students in the new century is not even as good as during the "Cultural Revolution". The quantitative management of humanities and art education reflects the troubles brought about by academic administration.This is also the general background behind Peking University’s recent decision to implement reforms. However, it is not a cure for the symptoms: if it is not implemented, it will be difficult to break through the status quo. If it is implemented, it will inevitably repeat previous reforms that only treat the symptoms but not the root cause, forming a more entangled and deformed educational structure. I am not an expert in pedagogy. The above feelings come from the practice of the front line of teaching, and my colleagues in the school share the same feeling.In view of China's national conditions, population base and social reality, the current policy has its own reasons, but humanities and art will suffer from it for a long time.I only know that I can't change the status quo just in case, so I just talk about it on paper. In my teaching work, I try my best to maintain the status quo. Summarize My teaching in the college is valuable, so I realize the new situation and new problems of the country after the reform and opening up.My continuous criticism of the educational system stems from my concern for the human condition.I don't want to make a living, and I don't know how to go against my own character. I feel gracious about this college.I love the school kids born in the 70's who are even younger than my kids.I firmly believe that they are the generation that will shape the future, because youth should trump institutions. I still use the word "ashamed" for my teaching.A lot of my extracurricular time is open to students from this laboratory, this department, and other majors without reservation, and I have benefited a lot from it. As a teacher of this college, I am fortunate to express my understanding of culture in a wider range of fields than majors. I know that the outside world recognizes me because of the employment of the college.The reason for this employment may be because of my vision outside the region, but I am sure that this reason is also because although I am not a Chinese citizen, I am Chinese. The Chinese value sophistication.My sophistication is limited to the level of politeness, but I have not yet learned to state "grades" on forms, or in the manner prescribed by dogma: that is a confirmation of the system, not of academic morality and its laws.The value of my service to this college today, and my meager service itself, is far less than the value of this college choosing me: this choice confirms the benign change of the country. A small specimen that was temporarily used. Written in October 2003, revised in October 2004 After returning to China to teach for three years, the hospital and my peers have been kind and supportive. Although I am not competent, I can get along happily.Today's country is prosperous and strong, and the general environment is unprecedentedly good, but the current situation of education is very different from the general environment.Visiting various schools in the north and the south, and teaching for four periods, I first learned about the contemporary art education routines of junior middle schools. Serious and urgent, the school is generous and listens to it with courtesy.Now I will discuss the teaching process in writing according to the instructions, try to use the "examination policy" as the face, and "the teaching of this school" as the point, and state the unprecedented "utilitarianism" and "dogmatism" in the education industry-I know that the following opinions are nothing more than empty talk, so It's just called "feeling". At the turn of spring and summer, Mr. Yongshan and I were called to a school meeting. It was Ms. He, the former secretary of Tsinghua University, who earnestly listened to the opinions of the School of Humanities and Arts.I just want to mention one thing: the "two-course" examination system has greatly harmed the education of humanities and arts, and it will not be abolished or reformed.I said to Secretary He: Tsinghua’s tradition and spirit, on the one hand, is the "Actions Speak Louder Than Words" monument on the central lawn, and on the other hand, it is "Independent Personality, Free Thoughts" written by Chen Yinke after Wang Guowei's self-sinking monument.The so-called "political examination" that every college student in the country must pass is a great irony and betrayal of Tsinghua's history. The "political examination" disregards personality and morality, and its consequences are only described in extreme cases, that is, the strange case of a Tsinghua University student attacking a zoo bear with chemical potions.Although this case is an exception, it has never happened in the 90s of Tsinghua University.The student is excellent in his studies and must pass the "political examination", but he doesn't know how to "be a man" - "education". According to the "Beijing Youth Daily", the state decided to use the primary school in Xicheng District as a pilot to abolish the "politics" class (according to this, even primary school students have to learn "politics"), and instead use "moral character" as an experimental teaching. , There is nothing good about it.What about university exams?specific comments, I have already expounded on it in the speech draft of the "Teaching Foresight" conference in our college.In short, it is common sense that a university is a place that preserves humanistic traditions and inherits the lifeline of culture.Therefore, if the political examination is not abolished, Chinese humanities and arts education is nothing more than decoration, and it is impossible to become a world-class university. Then there is the foreign language examination system for the subjects of humanities and arts.Last year, I wrote an article for the Shanghai Art World, and stated the disadvantages. If the academy agrees, I would like to publish it again.To sum it up: 1. It is a myth that art students who master foreign languages ​​are beneficial to international communication.2. Today's college students' Chinese standards are deteriorating. It's shocking to think about it. If you want to save it now, it's too late to catch up.Those who cover the national language are the lifeblood of the country's culture. If the national language is not understood, the students' knowledge level, cultural accomplishment, and personality quality will be chaotic and faded. If the national language is not good, the foreign language will also be bad. This is just common sense. But I am well aware of the origin of the "national conditions", otherwise it is difficult to maintain the situation, so the essence of the "two lessons" curse is "power", not "knowledge", let alone "education".Hereby cut down all the superficial articles and strict measures of today’s education system, but four sentences: Treat children like adults, and adults like children. Simple things are complicated, and complex things are simplified. In the past three years, I, like all the students, have only succumbed to it. I am not the so-called "responsible professor" because I have no responsibility for education. I only care about one sentence for all candidates: prepare well for "politics" and "foreign language". secondary.As for "revitalizing the humanistic tradition", "exploiting the knowledge structure", "connecting with the international community", and "cultivating talents in an eclectic manner", these are really nonsense, and I don't believe it. Another strange circle of examinations originates from the dogmatism in the history of contemporary Chinese art education, which is the "sketch examination" that is unique to everyone.Because the "forward-looking" conference speech has already been discussed in detail, so I won't repeat it.Fortunately, the leaders of the hospital seem to have thought about it, but wait for the trial of the new examination method. Teaching in this college The Academy of Arts and Crafts has its own glorious history.Merging and transforming, the school has worked hard, and there are many difficulties, because the leadership is also subject to the rules and regulations of the Ministry of Education, and has to deal with many problems brought about by social changes. Today, I will only discuss the teaching status quo that the school is concerned about. Points: teaching quality, college atmosphere, future of the painting department. Teaching quality - Before the "Cultural Revolution" and in the 1980s, there were a large number of artisans, which is obvious to all. Since the 1990s, the teaching quality of art colleges across the country has continued to decline. This is obvious to all. It is not the case of Gongmei. The following reasons may be discussed: 1. Art students always choose the level of their talents, and if they fail to recruit students, they will be passive.Over the past ten years, social values ​​have changed drastically, and the quality of students has become more and more chaotic. Recently, dogma has prevailed, and the enrollment process has become a trend of "eliminating the best". 2. Art and crafts are restricted by history, and teaching must be "practical". Judging from the new requirements for running a school after the merger, there is a risk of narrow and lagging teaching quality. 3. The teaching of art and design was coerced by the commodity economy consciousness of the whole society in the 1990s. The general mentality of the students was to seek real profits and seek careers, and the style of study became vulgar and practical. 4. The wider and faster the opening up to the outside world, the influx of Western information, the skills, concepts, materials, and functions are not what they used to be. However, the historical burden of art education cannot be unloaded for a while, and the old and new are intertwined. The overall knowledge structure will also be unbalanced. 5. The general trend in the world is that the pragmatism of science and technology suppresses the idealism of humanism. China is a "developing" country, and the national utilitarianism of "science and technology first" is particularly urgent, biased, and even worse.In today's national conditions, humanities, arts and their education are merely window dressing, with no real substance at all. This situation has only been seen in the May 4th Movement for nearly a hundred years. Sixth, the utilitarian mentality has become the mainstream, and academic corruption and fraud are the norm.The consequence is to effectively distort the educational function, continue to corrupt academic morality, and shake the aloof position of the college. 7. The industrialization of education will lead to the corporatization of colleges.This is the general trend, understandable.However, there must be profound conflicts between the purpose of education and the management of the college, between humanistic ideals and economic benefits. As far as the current situation is concerned, there are many problems and the consequences are threatening. 8. Perhaps because of the above reasons, various government orders and dogmas came out to manage and evaluate educators and educated people. They are complicated and strict, and they do not pretend to be humane. The "syndrome" is the same, and the cycle is fueled, almost becoming a trend of "the height of the road is one foot, and the height of the devil is one foot".This paradox and vicious circle can also be seen in art education, because the law has been surreptitiously changed between "medicine and disease" and twisted and forced. The above-mentioned "foreign language test" seems to be high-sounding, but in fact it brutally infringes on humanities and art education One, that is, one end. 以上，仅第二点受限于本院历史，合并后理应乐观，徐图改善，而一、三、四、五、六、七点，悉因社会大势使然，第八点自上而下，莫可奈何也。 要之，当今学院是产业，教职是饭碗，凡此种种，均与学问之道无涉，人文状况魂魄离失，伪学术当道，乃属必然，所谓“教学品质”，说句实话：要保持工美原有水准于不坠，诚属不易，想要更好，短期内既不可能，也不现实。 近期教改种种“药方”，如聘用制、学分制、废除画种专业、增添选修课目等等，均移自西方先进经验。然实行易，见效难，因西方体制背后的深层结构——学术自主、教育私立、市场机制等——中国无一具备，仅片面引进“教条”，一相情愿强求，遂不免效颦画虎，两皆不似。而国中前五十年文化断层、教育滞后、行政结构尾大不掉、知识储备浅薄寡陋等历史包袱，并无本质改换，兼以前述“药、症”同体之效，诸般教条如急火猛药，过犹不及，尤添病源，以致原本针对现实的政策，严重脱离现实，甚至恶化现实，连国中艺术教育本来那点可怜的经验亦告涸竭见底，就我所知，自然科学教育现状同样弊端百出，其内情，诚不足为外人道也。 对照国家大势，以上状况或许是转型期必须付出的痛苦代价。是故，当代艺术学院承受着学院本身难以承受的难局，要维系教育宗旨及文化艺术的双重纯度，本院自身的操守与挣扎，其效甚微， 实有待于全社会的转型过程，逐步改良，逐渐完善——平心而论，本院未见公然的腐败混乱，可谓气象澄清。而合并后本应占尽优势，然教学局面何以迄今滞闷难开？ 就本院现状看，校内与社会的整体文化资源，两皆窘迫——我们究竟侧重“专业技艺”的传授？还是更新观念、拓展视野、使学生更其博识？观今之教学，以上二者，无论是有所兼顾还是有所偏重，均不得要领——此题甚大，故长话不能短说。要之：教条与教改所期望者，悬之过高，既迫于文化大势，又昧于文化大势。此亦非工美一家为然。新世纪艺术教学的大是非大方向，各校主事者均难出以鲜明的阐发，宏观的把握，唯竞相改善硬件，扩招创收，取其表面繁华与经济实效而已——故清华校长梅先生名言“大学之谓非大楼也，乃有大师之谓也”，而今日大学唯大楼竞起，“建设”遥遥领先于“教学”，其品质的“今不如昔”、“一代不如一代”，早已是公认的事态。 鉴于此，唯一可资点缀门面的权宜之计，即抓紧“尖子”的培养。然进入21世纪的中国艺术学院，艺术的地位却易主为宾，不伦不类：本院规矩，是“两课”成绩差之一分也必拒绝，表格则公然以“两课”分数居首，业务为最次要。本末倒置一至于此，岂非咄咄怪事？教学则以填表与量化为指归，罔顾学术，形同儿戏，而询之周围，见怪不怪——反观人文艺术教育百年历史，感慨多端：文化得势，即乱世也人才辈出（如军阀时期之北大清华，抗战时期之西南联大，甚至院校关闭的“文革”期间），若教条横行，则盛世也学风荡然（如90年代迄今）。昔“国学研究院”梁王陈赵诸先贤，昔创建中美浙美徐悲鸿、林风眠诸大师，若其亲临视看，谅必啼笑皆非。 无奈今日是急功近利的时代，是推行量化不问品质的时代。学分便于划一，管理是为实用，教学核算利润，学府等同公司。凡此种种虽与文化艺术皆反其道，但确乎适应人口众多素质低下等教育国情。故每须提醒自己：认清现实，体念当局苦衷——职称、换届、住房、薪资、解聘、查岗等等才是切实的校务，成绩便于上报、关系必须平衡、学生不能出事、教育不能出格，方为办学的底线。至于培养人才之谓，纯属叶公好龙，殊不可当真是也。 此所以当今艺术学院不再激扬文化，带动风潮——后“文革”之初，诚工美黄金时段，人才遍于全国，影响延十数年之久。90年代以来，中国有活力的艺术均在体制之外，偶出人才，其模式也必墙内开花，墙外结果：校园教条捆绑，岂可与校外生机社会大势相较量。文化规律者，柔弱而刚强，教条可使艺术憔悴，而形势可使教条黯然——奈何形者势者，今不在学院矣。 学院气氛——教学品质与学院气氛互为因果，以上诸因，必致艺术气氛欲振乏力。仍以本院为例，尚可从理工与艺术，行政与教学，学院与学生三组关系扼要议论之： 一、“艺术教学”与“理工模式”的深刻冲突，全国同业恐怕以本院为最尖锐，其状甚多，兹不一一。昔有“秀才遇见兵，有理说不清”之叹，今则文科“秀才”面对理科“秀才”，学术地位久居其下，“理屈”而“辞卑”，彼一“内行”支配此一“内行”，其状，犹较“外行领导内行”更其乖谬荒诞，诚“教育国情”一大奇观也。然前有清华“国学研究院”的卓然独立，足可缅怀，今有清华园体育教学的另类政策，足资借鉴——今日体育健儿的体能与政治价值，远远高于艺术家的心灵与精神价值——然据我所知，清华园领导始终理解并呼唤艺术教学的特殊性规律性，关键看本院决策。本院与清华固然是上下级行政关系，然理工与艺术是领导被领导关系还是平行的文化关系？此二者不清不明，何“气氛”之有？ 二、为贯彻前述教条，各校“管理”重于“专业”，“行政”支配“教学”，如此主从易位，则“行政管理”井然有序，“教学气氛”自亦低抑徘徊——我的教学体验，是“艺术主张”未遇任何干涉，尚称主动，“教学程序”则处处听命于指令，步步被动——教师尚且被动，学生可想而知，何“气氛”之有？ 三、学校的主人，学生也。学生活跃，则气氛活跃，反之亦然。就我所见，本院学生在教学中始终是缺席者，沉默者，唯考试交钱，顺应教条而已。如前述，社会的功利观，应试文化的恶性循环，加上管理教条节节收紧，已长期磨损大学生的朝气、锐气、志气与青春活力，当今艺术学生精神、心理，乃至智能，普遍压抑被动，而其集体性格是实用主义与机会主义。本院因实用美术的长期历史，艺术氛围原已匮乏，今受制于前述劣势，所谓“气氛”者，更是何从谈起。 平心而论，本院上下对此均有认识，决意起衰振弊，开会不断，然莫不止于书面与桌面。时代不同了。五六十年代深植人心的理想主义与献身精神，80年代全国上下的思考热潮与知识渴求，均使艺术院校教学气氛兴盛于一时。以文化形态学论，相对“疯狂”的“革命”时代，有惠于艺术，相对“理性”的“秩序”时代，有损于艺术。此中得失，或在国家转型与人文艺术之间难以兼顾，难以平衡。我对此现象，远程内抱以有限乐观，其近程与现状，则十二分悲观。 绘画系前途——工美易名，乃“纯艺术教学”在本院开新纪元之始。此亦远程内可持有限乐观之举。然观以近程，合并后的纯艺术教学远不及预期。具体说来，也有三点可资议论： 其一，易名易，易性难。本院绘画系师生占全院极少数，而工美办学思维惯性，一时难易，兼以本院教程单方面模拟“清华模式”，绘画系尚属草创，即为种种教条抑制阻难，进退失据，莫知所从。去年制定人体课程唯准许一周两天，为全国绘画教学史所无，各校诧怪而传为笑谈，虽即改动，然前述思维惯性宛然俱在。是故，绘画系之开辟仅属添一科目，对外有“清华”大牌，看似强项，对内则名不副实，十足弱项，与其他科系、其他学院相较，差异显著。 其二，上述情形犹在情理之中，有待渐变，而被强行纳入“清华模式”的纯绘画教学自必先天不良后天失调，更兼中美、国美等名校优势，高品质生源原已稀缺难求，即便来者有意，十九为“清华模式”俨然拒绝，令人望而却步。而院校双方唯以核对“两课”分数为能事，诚不知所期者何？盖清华向以不拘一格拔取“专才”为能事，何以新纳美院，本意乃扶持纯艺术教学，而竟出此下策？如此，追赶“世界一流”纯属说梦，即敬陪京都艺术院校之末座，也难上加难。 其三，归根结底，所谓“纯艺术”者，从概念到形态，日新月异，变化剧烈，在今日世界文化大局中正处于空前融会交叉的暧昧状态。“艺术教育”更无现成固定的指归与标高，兹事体大，不及详说，可说者，是应赶紧全方位解放思想，放手教学，以“无为而治”治之，始为上上策。而本院虚拟之“清华模式”，皆反其道，所订教学大纲及课程设置，挂学术之名，行行政之实，徒以名目繁多为快事，诚“伪学术”伎俩是也。 要之，绘画系教学是本院最为脆弱而扭曲的一环，假以年月，或许有所改观，然而大势不等人，教条不饶人，吾等教学，目前唯和尚敲钟而已。 epilogue 说破其事：工美之于清华，摆设也；绘画系之于工美，犹摆设之摆设也。清华美意，本院苦心，众人固然领会，本人理应沉默，上焉者超然，下焉者混事。唯无功受禄，中心惭愧，兼受理想年代教育，耿介成性，实在不会敷衍。今决意不做应景之谈，专从问题处着笔。三年来违心听从教条摆布，无异做戏。目前心情，适可以两句话作结，谨供上下左右一笑： 敬功利远之，恪尽己能。 与教条共舞，维持现状。 2002年9月20