Seasons Like a Song: Sculpture Department of the Repin Institute of Arts, Russia: Sculpture Department of the Repin Institute of Arts, Russia

Author: Zhang Wei
Publisher:
Publish Date: 2004-06-01
Features: The influence of Russian art on China can be said to be quite profound. One significant impact occurred after the liberation, due to the political "leanings to one side," where the entire art education system and the principles and methods of socialist realism became the mainstream of the Chinese art world at the time. It was truly "single-minded" and "undivided," from top to bottom, the entire nation was united. During this period, of course, some good works did emerge, but in terms of overall artistic development, it led to an overly singular path. Additionally, the beginning of the learning process often led to superficial and mechanical problems, so this learning, while indeed laying a solid foundation in realistic skills, also had negative effects. This "unity" was soon met with its consequences. With the reform and opening-up, the trends of Western countries surged in, and various schools of thought rushed in with entirely fresh faces. In just over two decades, we have almost learned all the diverse schools of thought from Europe in the past century, and the Central Academy of Fine Arts is no exception. However, it is fair to say that the former Soviet Union was not discriminated against either, and a group of students was sent to study there. These students had been tempered by the "school fever" and were top professionals in their fields. They no longer had the political constraints of the "leanings to one side." In their eyes, Russia is an important part of the world's excellent art, and they have transformed the fanatical and exclusive mindset of the 1950s and 1960s into a more calm and comprehensive "everyday mindset." They are learning through comparisons with world art, so it can be said that they are learning more freely, more broadly, more vibrantly, and more consciously. Moreover, Russia itself has also moved beyond political constraints, placing greater emphasis on the inherent charm of Russian art. What I also want to see is that these new-generation students spent seven years of their most beautiful lives in Russia, growing up in its black soil. They not only studied art but also deeply appreciated the sincere and profound beauty of Russia. Now they have compiled these experiences into a collection titled "Four Seasons Sing," which I believe is appropriate. The insights and reflections here are genuine, sincere, vivid, and highly interesting, so they will undoubtedly have a lasting appeal. This series of books, while focusing on foreign art education and teaching, maintains a clear stance and academic perspective. The author approaches foreign art education with a background and selective in Chinese art teaching, both actively "adopting" and incorporating reflections and thoughts while navigating the differences between Chinese and foreign educational methods and cultural contexts. In a sense, this series can be considered a summary of the achievements from the past 20 years of art study and visits abroad since the reform and opening-up.