在北京艺术家扎堆的望京，据说流行着一句笑话：听不懂四川话，就不要搞当代艺术。这笑话不但其来有自于望京本来就有一大批川籍艺术家形成的“川帮”，更因为川籍的艺术家在今天重要的国内外中国当代艺术的展览和有关出版中，无不占有三分之一甚至半壁河山的“量化指数”，不知不觉中，“川帮”已然是蔚为壮观的川军军团，而川军军团的人马，又大多出自于四川美术学院。

　　四川美术学院落身在重庆的黄桷坪，一条各色居民混杂的市郊街道，前后多有工业化时代的工厂、火车站、码头、仓库，附近军工厂生产的坦克不时会从街上轰鸣而过，紧邻学校的火力发电厂，耸立着两个永远冒着黑烟或白烟的高大烟囱，成为黄桷坪挥之不去的风景。在中国社会大转型的十几年间，黄桷坪附近稀疏尚存的农田也变成了楼房，农转非多出了更多的居民，风光不再的企业多出了下岗工人，还多出了从附近郊县涌来的“棒棒”——重庆人对从农村到城市、手持木棒或竹棒在街上找下力活的贫下中农兄弟们的形象称呼，加上贫下中农姐妹们在街上卖菜擦皮鞋，再加上扩大招生后美术学院多出的好几千学生……凡此种种，配合着街上热气腾腾的火锅店、大排档，以及美术学院大门进进出出的各色私家车，城乡结合部脏乱差的黄桷坪总是熙熙攘攘、车水马龙，混乱与嘈杂中却透着生机与活力。

　　也许正是这样的环境与氛围，造就了四川美术学院人才辈出的生机与活力。反思**、舔拭伤痕，成为**后恢复高考招生以来最先进入美术学院学习的77级、78级学生们的自觉意识，他们的作品在全国引起了巨大的反响，从此“四川画派”成为中国美术的一支主力。在激进西化的“85新潮”来临之前，四川美术学院的创作还在继续关怀乡土、讲究形式。但现代艺术已经是难以回避的课题，也没有随着“中国现代艺术展”被关闭而终结。90年代以来，在 “与国际接轨”的口号下，中国当代艺术风起云涌，四川美术学院又产生了一批应运弄潮的艺术家，其势头一直持续到国内艺术市场也风生水起的现在。四川美术学院前后几辈艺术家你追我赶前赴后继，在中国美术近30年来的演绎变迁中，几乎在每一个重要阶段都产生过代表性的作品和代表性的艺术家，从而浓缩了中国当代美术史的完整线索，这在全国的美术学院中也是独一无二的。而一所美术学院能有如此重要的地位，是因为中国大多优秀艺术家都出身或身在美术学院。所以美术学院在中国不但担当了艺术教育的职责，同时也成为文化思想的策源地，潮流演化的实验场，因而波及广泛影响深远。

　　从77级、78级开始，四川美术学院似乎就积累了一个新的“传统”：出人头地、功成名就不问资历，作学生的创作出一鸣惊人的作品，也可以成为“英雄”。典型的莫过于前有罗中立、后有张晓刚。“榜样的力量是无穷的”，他们成为后来者的参照和目标。相较于好多地方的论资排辈和学统森严，年轻人在四川美术学院却可以在一种近乎“野生”的生态中生长，没有权威的过多干涉，“成”了就被宽容地承认和接纳，不论是学院、老师、学长，都把提携新人、推出新人作为当尽之责，这也是一拨又一拨的人才破茧而出，使四川美术学院生生不息的内因。在黄桷坪这个几乎无关“文化”之地，四川美术学院造就的人、以及这些人创造的艺术，却与社会和文化、全国和世界相关联，不知是反是正地应了“一方水土一方人”的老话?

2006年6月

为策展的“重庆辣椒：2006四川美术学院当代艺术作品展”展览画册所写的前言

发表于“雅昌艺术网”、“美术同盟”网（2006年7月）

http://arts.tom.com/1001/2006711-27443.html

http://exhibit.artron.net/zl.php?zlid=1484

《中国艺术》2006年第四期P94-P97

　　Sichuan Party Sichuan Army Sichuan Fine Arts Institute

　　In Wangjing of Beijing, a joke goes that you’d better quit contemporary art if you don’t understand Sichuan dialect. This is partly because there is a big bunch of artists from Sichuan in Wangjing. But more importantly, it is because Sichuan artists take up one third, or even half of the force in exhibitions and publications of contemporary Chinese art at national and international levels. Sichuan artists have grown from a party to an army, and most of them were educated in Sichuan Fine Arts Institute.

　　Sichuan Fine Arts Institute locates in Huang Jueping Street in Chongqing. Chongqing was separated from Sichuan Province and became the fourth municipal city in China in 1997, though its population ranks number one: more than 30 million. Huang Jueping Street is a suburban street with a big variety of residents. Around the school there are factories of pre-industrial time, a train station, a harbor and a number of warehouses. Tanks made in military factories nearby roar through the street in front of the school from time to time. Two tall chimneys that belong to the thermal power station next to the school give off white or black smoke day and night. They are the landmarks of Huang Jueping Street. In the past two decades when Chinese society has been transforming, Huang Jueping has turned its farming lands into high buildings. Farmers who lost their land became city residents. Workers could no more reply on the once profitable state-owned enterprises. The street is clustered with these farmers or laid-off workers making a new living. And still others, the farmers who swarm into the city from the country area of Chongqing. They are called “stickers”, working as cheap laborers carrying heavy goods for people in the street with their wooden or bamboo sticks, plus their wives and sisters who sell vegetables or polish shoes. And plus thousands of students in the art school after the expanding of enrollment in Chinese universities and colleges. With all the people bustling about, coupled with incessant stream of traffic, steaming hotpot restaurants, roadside food stalls, and various private cars in and out of the school gate, Huang Jueping presents a typical picture of an urban-rural section: dirty, chaotic, busy. However, vigor and life hide in all the chaos.

　　Yet it is this environment and atmosphere that keep Sichuan Fine Arts Institute lively and vigorous and productive with talented artists. In 1977, universities and colleges began to re-enroll students after a ten-year suspension during the Cultural Revolution. The first students who entered Sichuan Fine Arts Institute in 1977 and 1978 consciously reflected the catastrophe of the Cultural Revolution and tried to heal the spiritual wounds. Their works caused enormous responses in the country and they were named “Sichuan School”, which later became a major force of Chinese art. Before the ’85 New Wave, the radical western modern art movement, the creation of Sichuan Fine Arts Institute still focused on country life and discussions dwelled on form. But modern art was not to be evaded. It would neither be stopped by the close of China/Avant-Garde Exhibition in 1989. When time came to the 1990s, with the slogan of internationalization, Chinese contemporary art bloomed. The artists in Sichuan Fine Arts Institute caught up with this trend and brought themselves into prominence. Now, their achievements are also brought to light in the heated domestic art market. For generations, the artists in Sichuan Fine Arts Institute have made every endeavor in their artistic pursuit. In the development and transformation of Chinese art in the recent 30 years, Sichuan Fine Arts Institute has contributed representative works and artists at almost every principal phase, therefore, fully outlined the history of contemporary Chinese art. This is unique in art academies in China. Chinese art academies are regarded with great importance as they accommodate most outstanding artists who were educated or are working there. Art academies are not merely responsible for art education. They are the sources of cultural thoughts and the experimenting labs of new trends. Henceforth, they have far-reaching and profound influence on Chinese art.

　　Sichuan Fine Arts Institute has developed a new “tradition” starting from the students in 1977 and 1978: to achieve success and fame, you do not have to be qualified with records of service. You can be a hero as long as you have convincing works, even if you are a student. Typical examples are Luo Zhongli and Zhang Xiaogang. “The power of examples is boundless”. Luo and Zhang are the reference and aim of the younger generations. Comparing with places where ranks and records of service are the first consideration, young artists in Sichuan Fine Arts Institute are able to grow in an almost “wild” ecology, without too much interference from the authorities. No matter the school, the teachers or the elder classmates, they all take their responsibility to promote young innovative artists. Whatever the youngsters do, they are tolerated. If something is ever “done”, it is acknowledged. And this is perhaps the true reason why Sichuan Fine Arts Institute is never worried about new blood. In Huang Jueping, a street without any tie with the word “culture”, Sichuan Fine Arts Institute has been fostering groups of people who have created the art that associates with the society and culture, the country and the world.

作者：斌,冯