韦尔申 WEI ERSHEN （1956-） 黑龙江哈尔滨人。1977年考入鲁迅美术学院油画系，毕业后留校任教。1985年考取本院研讨 生，毕业获硕士学位，此后不断 从事教学工作。现为鲁迅美术学院院长、教授，辽宁省美术家协会副主席、中国油画展学会常务理事。

作品曾多次参加国内外重要展览，曾在第6届全国美展中获铜奖、第7届全国美展获金奖、第8届全国美展获油画艺术奖、首届中国油画展展获大奖、吴作人国际美术基金会颁发的“青年奖”。1993年参加中国美术批评家提名展。1993年获得有突出贡献奖，享用 国务院专家特殊津贴。油画《我的冬天》、 <吉祥蒙古>为中国美术馆收藏。作品曾在香港、新加坡、日本、美国和 欧洲等国家和地区展出。

韦尔申喜欢赋予物件以1 种永世 与坚实的品格，不仅让人感到有1 种宗教般的宏伟与严肃 ，还让人产生1 种沉稳、凝固，乃至永久 之感。与重生 代的视角完全不同，他以严肃的“正剧”手法，以纪念碑式的构图来表现这1 代人和 他们的上1 代。这里已不存在调侃、戏谑、挖苦、嘲讽，已从那种情绪化的精神痛苦中走出来，字正腔圆地阐述他对人生的理解、对生活的判断。

韦尔申把今天的中国具象绘画引入1 种非具象化的的哲理性思考当中 ，把理想 生活中的不确定性及游离感融入其作品的内层，因此 极大地拓宽了中国具象绘画的疆界。……他带给我们的是对当代知识份子的关注，是当下生存形态 中人间的冷暖与悲喜。

 1976年5月到1978年03月，在黑龙江省哈尔滨第1 轻工机械厂工人；

1978年3月到1982年1月，在鲁迅美术学院油画系先生 ；

1982年1月到1985年1月，在鲁迅美术学院油画系助教；

1985年3月到1988年7月，在鲁迅美术学院油画系研讨 生；

1988年7月到1992年11月，在鲁迅美术学院油画系讲师；

1992年11月到1993年11月，在鲁迅美术学院副教授；

1993年11月到1995年9月，在鲁迅美术学院院长助理；

1995年9月到1997年4月，在鲁迅美术学院副院长、教授；

1997年4月到2000年9月，在鲁迅美术学院院长、教授；

2000年9至今，鲁迅美术学院院长、辽宁省文联副主席、省美协副主席。

 童年时代的韦尔申每次漫无目的地翻开这些画册，总是对长着奇怪面孔的肖像画感到好奇。那时候他还不晓得 去理会列宾、克拉姆斯柯依这些人的名字，只是在脑海中留下苦难的纤夫、果敢无畏的哥萨克，还有几个表情生动的俄罗斯少女的朦胧影象 。寒冷的冬天，图画中的雪地风景令他着迷。父母上班时，他呆在家中，时常对着窗玻璃上的霜花出神。翻够了家中的这些画册，他开始尝试着描画1 些连环画上的人物。

上小学的时候，韦尔申经常参加少年宫主办的美术活动。他悟性极好，老师十分爱好 这个“1 点就透”的孩子。他的画，经常出如今 少年宫的儿童画展上。

1969年3月，韦尔申随父亲迁到四川省重庆市的北碚区。就学画而言，具有扎实美术功底的郭克是韦尔申真正意义上的启蒙老师。在随后的四年间，韦尔申开始零碎 地跟郭老师学画。有数 个天气闷热的下午，他和另外几个喜欢美术的孩子呆在郭老师家中。他们1 遍又1 遍地画着石膏、静物。

1974年夏，随着父母单位的回迁，18岁的韦尔申返回了哈尔滨。韦尔申的内心深处，涌动着创作激情。这1 年，他成为本来 的哈尔滨第1 轻工机械厂的一位 工人，这在当时是件十分令人羡慕的事情。作为工人阶级的1 分子，他可以堂而皇之地作画，也能够 把作品拿去公开参展了。

在四川的时候，通过老师的讲授和翻阅大量画册，他已具备了必然 的艺术目光 。他曾用家中的那架老相机，拍下了1 幅幅国外的美术作品。有1 些画，他还把它们临摹上去 。韦尔申的视野扩大了，不仅仅是家中所藏有的列宾、苏里柯夫、列维坦，他还看到了达·芬奇、拉斐尔、安格尔、米勒、库尔贝等人的作品，那些风格迥异的传世名画中所传递出来的艺术气息让他对美术产生了新的认识。在正面表现工农兵的同时，他不满足于宣扬 口号式的图解人物，他模糊 地认识到，只要 深入到人物内心深处，才会创造出更好的作品。

如何更精确地把握众多群像，画出不同人物的精神面貌，当美术成为生命的1 个组成部分，变成了盲目 的寻求 时，人生的目标也渐渐变得明确。不足两年的工人生涯，让韦尔申获得了诸多人生的经验，也体味着绘画过程的辛劳 与快乐。

1977年，高考恢复了，这1 年地方 美院没有招生，韦尔申怀着激动的表情 ，报考了鲁迅美术学院。韦尔申热爱油画，他觉得在富有变化、表现力丰富的油彩中，可以找到表达内在体验的无力 方式。在接到录取通知书时，他拆封的手轻轻 有些颤抖：如果不是被油画系录取，就等来年再考。

本科学习阶段，韦尔申曾与同学胡建成合作了1 本连环画<夏明翰> 。利用专业 时间，两个人画了1 年多。随后，这本连环画参加了第三届全国连环画评比，获了1 个三等奖。对于1 个大先生 来说，成就来之不易。他的毕业创作画是1 套历史画。为了有更多的感性认识，更好地在画面中塑造人物、体现出当时的历史氛围，他每天都钻进图书馆查阅史料、图片。他完成了《剪辫子》、《放了足的女人》等组画。毕业时他留校任教。

韦尔申的大学本科阶段，正值社会上开展“真谛 标准大辩论”、“伤痕文学”引发 轰动。在他入学的第二年，这样1 则旧事 引发 了美院先生 的关注———在新建成的首都机场候机大厅里，大型壁画《泼水节———生命的赞歌》中出现了正面女人裸体。有关人士将画面遮起来，说是怕吓着女人和观看者。艺术的解放，首先在于观念的开禁，对韦尔申等1 大批在那个特定历史时期步入画坛的年轻画家来说，他们是1 段历史的承载者，他们也注定了要逐步 获得艺术上的自立，并以本身 的声音发出呐喊。正是从那时起，韦尔申内心有了1 种使命感，他要从探索人的精神世界入手，体现艺术价值，实现本身 的抱负。

 对中国的文明 形状 可以保持本身 的独立性。韦尔申观点有以下几个方面，1 是中国作为1 个大国有十三亿的人口，那么作为有着5 千年文明史的古国，我们完全有理由保持住它的独立性，由于 文明 的形状 和经济的形状 有很大不同，经济的形状 是不能离开过去大的背景和规则，就像我们要入世1 样，否则也很难融入到我们的经济1 体化的环境里，不管你情愿 不情愿 ，如今 正在逐渐 的构成 。作为文明 艺术和经济的不同点，带有它的独立性。我们是1 个大国，和小的国家有很大的区别，比如说韩国日本，尽管他们也有他们本身 民族的传统和保留着他们本身 的文明 ，但是就整体 而言，和中国比拟 它缺少这类 独立自主的这类 文明 体态，和韩国的官员在交谈的时候，他说我们必必要 跟着美国后面走，否则的话没人保护我们，我们明晓得 这样不对不公正，但是没有办法，中国就不1 样，中国完全可以对老大说不，可以完全可以违犯 它的意志去做我们本身 的事情。

文明 在这1 点上就可以这样做，但是这类 独立性不是绝对的，它需求 在大的国际文明 背景下加以关照。所以，第二点独立性不等于封闭性。中国的当代文明 不都是先进文明 ，东方 的当代文明 也不都是腐朽的文明 ，所以保持住我们本身 的独立性，并不拒绝我们吸收东方 当代文明 优秀部分的养分 也是非常重要的。这个独立性积极的和开放性的姿势 出现，而不是以1 种保守的封闭的姿势 出现，那么中国的油画发展也是如此的，所以油画有1 个东方 化的过程，这个东方 化的过程也是不可避免的，就像东方 的歌剧在中国的归纳 1 样。

经常可以看到中国的艺术家在表演 东方 的歌剧，那么你表演 东方 的歌剧就要按照东方 的规则来表演，1 张口就必必要 洋，不洋就不是东方 的。我们中国本身 的民族歌剧，尽管起步比较晚但是认识 形状 色彩比较重，听到这样的歌剧我们又不会想到“蝴蝶夫人”等等这样1 些东方 经典的歌剧，由于 他们的曲调、内容表达的方式是我们中国的，所以在这1 点上和我们中国的油画处境是完全1 样的。中国油画1 边在东方 化1 边在中国化，的确是1 事实，它们是互维的。不论你意想到 还是没无意识 到，这类 自律性是不可抗拒的。事实发展到今天油画的概念已 成为1 种工具，我们不再思考它的出身是不可抗拒的，我们只是用它来画中国的事情，表达中国人的情感。

中国的艺术家特别 是中青年艺术家应当 具有1 种知识分子的情怀。有1 些同学谈到我们失去了什么，我们失去了很多东西我们也得到了很多东西。在今天在当下我们失去最重要的1 点，就是有知识分子的情怀，由于 这类 情怀与品格最重要的1 点是表如今 1 个是他是1 个爱国者，第二点他必须具有必然 的责任感。

 在当代艺术领域，韦尔申的贡献在于以其绘画言语 和外型 观念的特殊性，深化了艺术抽象 的精神内涵。作为一位 艺术的忠实守望者，他在风格不断的蜕变中，执着地应用 新的修辞方法，传递着对于崇高而理想的精神境界的不懈寻求 。

韦尔申1981年毕业于鲁迅美术学院油画系，1985年考取本校研讨 生，毕业获硕士学位。现任鲁迅美术学院院长、教授。作为一位 受过严厉 学院教育的画家，他有着深厚的绘画功底，并熟悉东方 许多大师的作品及其画面外型 风格。在深入学习东方 油画传统的同时，表现出对这类 学习的成功超越。在其创作的1 系列蒙古题材绘画中，脱离了风景题材的限制，创造出1 种具有庄严、沉稳、质朴、凝固视觉特点、并带有崇高感和宗教气氛的画面。其中《吉祥蒙古》荣获全国第七届美展金奖。

1991年以后 ，韦尔申停止蒙古系列的创作，并尝试新的表现途径。《守望者》系列、《温顺 之乡》都是这1 时期的作品。画面中表现的人物和景物都是非典型性的，作者偏重的只是某个阶层中某1 类人内在精神性的东西，尽可能剔除真实生活的痕迹，进1 步加强画面中符号性的要素 ，以求得更大的联想空间。《守望者二号》表现的手拿望远镜、身骑稻草驴，深情严肃 的中年人，其虚拟性跃然画上。在<温顺 之乡>里呈现给我们1 种非确定性时空的体验，画面中1 个知识分子模样的人被虚拟在山峦的怀抱中，守望着1 个幻想中的清新世界。横卧的人体被拉长，服饰的表面被处理成金属的感觉。作品中舍弃了许多真实的客观要素 ，1 切都在虚幻中构成 ，从而加强 了表现言语 的不确定性和超越时空性。

From May 1976 to March 1978, workers in Harbin No. 1 Light Industrial Machinery Factory, Heilongjiang Province;

From March 1978 to January 1982, he was a student of Oil Painting Department of Luxun Academy of Fine Arts.

From January 1982 to January 1985, he was an assistant professor in the Oil Painting Department of Luxun Academy of Fine Arts.

From March 1985 to July 1988, he was a graduate student in the Department of Oil Painting, Luxun Academy of Fine Arts.

From July 1988 to November 1992, he was a lecturer in the Oil Painting Department of Luxun Academy of Fine Arts.

From November 1992 to November 1993, he was an associate professor at Lu Xun Academy of Fine Arts.

From November 1993 to September 1995, he was assistant dean of Lu Xun Academy of Fine Arts.

From September 1995 to April 1997, he was vice president and professor of Luxun Academy of Fine Arts.

From April 1997 to September 2000, he was the dean and professor of Lu Xun Academy of Fine Arts.

Since September 2000, President of Lu Xun Academy of Fine Arts, Vice-Chairman of Liaoning Provincial Arts Federation and Vice-Chairman of Provincial Art Association.

Whenever Welshen opened these albums aimlessly in his childhood, he was always curious about portraits with strange faces. At that time, he didn't know to pay attention to the names of Liebin and Kramskoy, but left in his mind the miserable tracker, the brave Cossack, and the dim images of several vivid Russian girls. In the cold winter, he was fascinated by the snow scenery in the picture. When his parents were at work, he stayed at home, often preoccupied with frosts on the window panes. Enough of the family albums, he began to try to describe some comic characters.

In elementary school, Welshen often participated in art activities sponsored by the Children's Palace. He has an excellent understanding, and the teacher loves this "one-size-fits-all" child very much. His paintings often appear in children's art exhibitions in the Children's Palace.

In March 1969, Welshen moved with his father to Beibei District, Chongqing City, Sichuan Province. As far as learning painting is concerned, Guo Ke, who has a solid foundation in fine arts, is the real enlightening teacher of Welshen. In the next four years, Welshen began to learn painting systematically with Mr. Guo. Countless sultry afternoons, he stayed at Mr. Guo's home with several other children who liked art. They painted plaster and still life over and over again.

In the summer of 1974, with the return of his parents'unit, 18-year-old Welshen returned to Harbin. Welshen's creative passion surges deep in his heart. This year, he became a worker in the former Harbin No. 1 Light Industry Machinery Factory, which was a very enviable thing at that time. As a member of the working class, he can paint magnificently or take his works to public exhibition.

When he was in Sichuan, he had a certain artistic vision through his teacher's teaching and reading a large number of picture albums. He used his old camera at home to take pictures of foreign works of art. There were some paintings, and he copied them. Welshen's vision has expanded. Not only are there Libin, Surikov and Levitan in his family, but he has also seen the works of Leonardo Da Vinci, Rafael, Angle, Miller and Kulby. The artistic atmosphere conveyed in the famous paintings of different styles has given him a new understanding of art. While expressing the workers, peasants and soldiers positively, he was not satisfied with propaganda slogans of graphic characters. He implicitly realized that only when he went deep into the heart of the characters, could he create better works.

How to more accurately grasp the numerous groups of portraits and draw the spiritual outlook of different characters? When art becomes an integral part of life and becomes a conscious pursuit, the goal of life gradually becomes clear. In less than two years of working life, Welshen has gained a lot of life experience, but also appreciated the painstaking and happy process of painting.

In 1977, the College Entrance Examination was restored. In that year, the Central Academy of Fine Arts did not recruit students. Welshen entered Luxun Academy of Fine Arts with excitement. Welshen loves oil painting. He feels that in the varied and expressive paints, he can find a powerful way to express his inner experience. When he received the acceptance notice, his hand trembled slightly: if he was not accepted by the Department of Oil Painting, he would wait for the next year.

During the undergraduate study period, Welshen and his classmate Hu Jiancheng cooperated in a comic book "Summermingham". In their spare time, the two painted for more than a year. Subsequently, the comic book participated in the third national comic book evaluation and won a third prize. For a college student, achievement is hard won. His graduation paintings are a set of historical paintings. In order to have more perceptual knowledge, better shape characters in the picture and reflect the historical atmosphere at that time, he went into the library every day to consult historical materials and pictures. He has completed such paintings as "Cutting Braids" and "Women with Feet" and so on. He stayed at school to teach when he graduated.

Welshen's undergraduate education is just at the time when the "truth standard debate" and "scar literature" have caused a sensation in the society. In his second year of school, such a news has attracted the attention of the students of the Academy of Fine Arts. In the newly built airport terminal hall of the Capital Airport, a large fresco "Water Sprinkling Festival - A Hymn of Life" shows a positive woman naked. Relevant people hide the picture, saying they are afraid to frighten women and viewers. The liberation of art, first of all, lies in the opening of concepts. For a large number of young painters such as Welshen who entered the painting world in that particular historical period, they are the bearers of a period of history, and they are also destined to gradually gain artistic independence and shout with their own voices. It is from then on that Welshen has a sense of mission in his heart. He should start from exploring the spiritual world of human beings, embody artistic value and realize his ambition.

China's cultural form can maintain its independence. Welshen's views are as follows: First, as a big country with a population of 1.3 billion, as an ancient country with a history of 5,000 years of civilization, we have every reason to maintain its independence, because the cultural and economic forms are very different, and the economic forms can not be separated from the great background and the past. Rules, like our entry into the WTO, would otherwise be difficult to integrate into the environment of our economic integration. Whether you like it or not, they are gradually taking shape. As the difference between culture, art and economy, it has its independence. We are a big country, which is quite different from a small one. For example, Korea and Japan, although they also have their own national traditions and preserve their own culture, generally speaking, compared with China, they lack this kind of independent cultural posture. When talking with Korean officials, they do not have this kind of cultural posture. Say we must follow the United States, otherwise no one will protect us. We know that this is not fair, but there is no way, China is different. China can say no to the boss, it can do our own thing against its will.

Culture can do this at this point, but this independence is not absolute, it needs to be taken care of in the context of a large international culture. Therefore, the second point of independence is not equal to closeness. Chinese contemporary culture is not all advanced culture, and western contemporary culture is not all decadent culture, so it is very important to maintain our own independence and not refuse to absorb the nutrition of the excellent part of western contemporary culture. This independent, positive and open attitude, rather than a conservative, closed attitude, then the development of Chinese oil painting is the same, so oil painting has a Westernization process, this Westernization process is inevitable, just like the interpretation of Western operas in China.

You can often see Chinese artists performing Western operas, then you perform Western operas according to Western rules, a mouth must be foreign, not western. China's own national opera, although started relatively late, has a heavy ideological color. When we hear such opera, we will not think of such Western classical operas as "Mrs. Butterfly" and so on, because their tunes and content are expressed in a way that is our own China, so at this point and our China. Oil painting is in exactly the same situation. It is a fact that Chinese oil paintings are both westernized and sinicized. They are interdimensional. Whether you realize it or not, this self-discipline is irresistible. The fact that today the concept of oil painting has become a tool, we no longer think that its origin is irresistible, we only use it to paint things in China, to express the feelings of the Chinese people.

Chinese artists, especially young and middle-aged artists, should have an intellectual sentiment. Some students talked about what we had lost, what we had lost and what we had gained. At present, the most important thing we have lost is the feeling of intellectuals, because the most important point of this feeling and character is that he is a patriot, and the second point is that he must have a certain sense of responsibility.

In the field of contemporary art, Welshen's contribution lies in deepening the spiritual connotation of artistic image with the particularity of his painting language and modelling concept. As a faithful watcher of art, he persisted in using new rhetoric methods in the constant transformation of his style, conveying the unremitting pursuit of lofty and ideal spiritual realm.

Welshen graduated from the Oil Painting Department of Luxun Academy of Fine Arts in 1981, and graduated from Luxun Academy of Fine Arts in 1985 with a master's degree. He is currently the president and professor of Lu Xun Academy of Fine Arts. As a painter with strict College education, he has profound painting skills, and is familiar with the works of many Western masters and their pictorial style. In-depth study of Western oil painting tradition, at the same time, show the success of this kind of learning beyond. In his creation of a series of Mongolian theme paintings, breaking away from the limitation of landscape theme, he created a picture with solemn, calm, simple, solidified visual characteristics, and with lofty feeling and religious atmosphere. Among them, "Auspicious Mongolia" won the gold medal of the 7th National Art Exhibition.

After 1991, Welshen stopped the creation of Mongolian series and tried new ways of expression. The Watcher series and the Town of Gentleness are all works of this period. The characters and scenery in the picture are atypical. The author emphasizes only the inner spiritual things of a certain class of people. He tries to eliminate the traces of real life as far as possible, and further strengthen the symbolic factors in the picture in order to achieve greater association space. "Watcher 2" shows the middle-aged people with telescopes and straw donkeys, who are affectionate and solemn, and their virtual nature is vividly painted. In "The Land of Gentleness", we present an experience of uncertain time and space, in which an intellectual-like person is virtual in the arms of mountains, watching a fantastic fresh world. The horizontal human body is stretched, and the surface of the clothing is treated to feel like metal. In the works, many real objective factors are abandoned and everything is formed in illusion, which enhances the indeterminacy of expression language and transcends time and space.