■吴为山（全国政协常委、中国美术馆馆长、中国美协副主席）

邵先生——邵大箴先生是一位德高望重、有口皆碑的学界长者。所谓有口皆碑，是在着书立说、教书育人、艺术创作诸多方面的成就皆得到公认，受到赞誉。中国文化中对人的评价尤重人品与学问，以及德与才相互融渗与映辉所呈现的人格气象。87岁高龄的邵先生在从艺从教60年的生涯中，书写了许多平凡而富有光芒的人生诗篇。中国美术馆早有为邵先生举办展览的计划，原因在于他是一位能与新中国美术发展脉搏息息相关且与时代时时共振的思想者、学者、教授、艺术家。他的成就不仅在于自身丰硕的学术与艺术成果，更在于他的艺术史论及艺术评论直接促进了中国现代美术的健康发展。

纵览邵先生的学术与艺术成就，可以提炼为七个关键字，即“教”“编”“译”“着”“评”“绘”“书”。

1955年，邵先生被国家公派前往苏联列宾美术学院美术史论系学习，1960年学成归国，在中央美术学院史论系从事美术史教学工作。在美院数十年的教学生涯，他先后指导过上百名本科生、硕士生、博士生。令人敬佩的是每篇毕业论文都留下了邵先生修改的密密麻麻的笔迹，这些文字既反映了邵先生治学严谨的为师风范，更倾注了其耕耘于杏坛的一片苦心。所谓薪火相传，这些学生毕业后，成为优秀的学者、画家、教师，以文而化，德润心田，桃李不言，下自成蹊。是为“教”。

邵先生先后担任国内美术界三本重要学术期刊的主编。他长期担任《美术研究》杂志主编，并在1978年参与《世界美术》杂志的创办，担任编辑部负责人（《美术研究》《世界美术》均为中央美术学院学报）。1985年又被任命为《美术》杂志主编。他始终站在中国现代美术之路该如何前行、西方现代艺术该如何借鉴的学术高度，去编刊撰文、推荐学者、扶持新人，并以新的理论指导艺术实践，为守正创新、稳中求进的美术发展而不遗余力，包括编辑重要的美术教材，在客观、全面、公正的编辑过程中，勾画出中国现代美术与中国当代学术的形态。是为“编”。

邵先生是较早翻译西方重要艺术史着作的学者，由他所翻译的“艺术史之父”温克尔曼的《论希腊人的艺术》一书，早已成为艺术史研究中的经典之作，时至今日，也依然是艺术界莘莘学子的必读作品。他的翻译“信、达、雅”，“静穆的伟大，高贵的单纯”，如此诗意浪漫却又大气磅礴的语言，体现了他对原着精神的深悟。其对直译与意译分寸的把握，使得译作富有恒久的学术魅力。是为“译”。

邵先生在教书育人、编辑杂志之余，依旧勤于着述，先后出版了《现代派美术浅议》《传统美术与现代派》《欧洲绘画简史》（与夫人奚静之合着）、《西方现代美术思潮》《雾里看花——当代中国美术问题》等重要着作。在这些着作中，我们看到了一位思考者、解答者、探索者对于中西美术之间纷繁复杂的艺术问题的专注、热情与赤子之心。其理论的生发根植他对古今中外史料所掌握的第一手资料；生发于对不同地域、不同时期艺术的比较；结论于对历史成因、发展规律及现实之现象与本质的深刻认识。是为“着”。

毋庸置疑，邵先生的艺术理论与艺术评论对中国当代美术产生了重要影响。尤其在改革开放以后，面对西方艺术的强势冲击，中国当代美术泥沙俱下，有关艺术、有关美、有关传统与现代的评判标准与价值建构，似乎纷纷失去了评价准绳，乱花渐欲迷人眼。邵先生对于传统及当代画家，多有高屋建瓴、独抒己见的精辟评述，不偏不倚、入木三分，中肯、贴切，令人在信服中感受到理论的高度、深度、温度。我更愿意将这些评论文章称为“灯塔”，吸引并指引着百舸争流的艺术之舟不会偏离航道。诚如他自己所言：“我深信，美术的历程是有规律可循的，美术的历史中藏有人们难以违拗的规律和原理。我关注中国美术的健康发展和未来走向，并愿意为之‘鼓噪’和‘呐喊’。”是为“评”。

文如其人，画如其人。邵先生为人谦谦君子，温润如玉。他的绘画同样淡泊纯净，天趣盎然。百万字精彩理论着述的光芒背后，是一位风格鲜明的优秀艺术家的身份。他出生于人文氛围浓郁的江苏镇江，曾入江苏师范学院中文系学习，后赴苏联列宾美术学院留学，期间系统学习过素描、速写、水彩、雕塑等，且成绩优良。由此，绘画成了他一生的挚爱。他的学术研究严谨、理性，其绘画却一任情绪恣肆，充满感性的个人情趣与细腻的人文关怀。阅尽丹青春色，心会画事沉浮，意通古今墨韵，在理与情之间获得平衡。是为“绘”。

邵先生爱好书法，偶有闲暇即读帖、临池。他的书法风格也极为独特，简淡自然，含蓄内敛，如羚羊挂角，无迹可寻。我们很难在他的书法作品里找到具体学某家或仿某家的书风渊源。这是在理论思维、笔耕不辍之外，以书法字象、字意、笔性、墨韵所作的审美散步，是学术与艺术在心灵层面的对话，人、书在此构成精神与形式的合一。是为“书”。

邵先生待人随和、为人真诚。他在《学术自述》中说：“我从事美术史论学习和研究也有五十多年的历史了，但惭愧得很，没有做出什么成绩来。”这是一位来自中国美术界泰斗的谦逊自陈，其虚怀若谷的品性，是其学养深厚，经纶满腹，人文日新的根本所在。正是这样为人、为师、为艺的态度，令人仰之弥高。

我们希望通过这个展览，系统展示邵先生“教”“编”“译”“着”“评”“绘”“书”七个领域的不凡成就，同时也藉由这个展览，让这位学术艺术之树长青的长者之文心与墨韵成为我们精神的滋养。

编辑：韩丹 责任编辑：

■ Mr. Wu Weishan (member of the Standing Committee of the National Committee of the Chinese people's Political Consultative Conference, curator of the China Art Museum and vice chairman of the China Artists Association) Shao & mdash& mdash; Mr. Shao Dazhen is a respected and well-known academic elder. The so-called word-of-mouth means that the achievements in many aspects such as writing books, teaching and educating people, and artistic creation have been recognized and praised. The evaluation of people in Chinese culture attaches particular importance to character and knowledge, as well as the personality atmosphere presented by the mutual infiltration and reflection of virtue and talent. Mr. Shao, 87, has written many ordinary and brilliant life poems in his 60 year career of art and teaching. The China Art Museum has long planned to hold an exhibition for Mr. Shao because he is a thinker, scholar, professor and artist who is closely related to the development pulse of art in New China and resonates with the times. His achievements lie not only in his rich academic and artistic achievements, but also in his theory of art history and art criticism, which directly promoted the healthy development of modern Chinese art. An overview of Mr. Shao's academic and artistic achievements can be summarized into seven keywords, namely & ldquo; Teach & rdquo& ldquo; Edit & rdquo& ldquo; Translation & rdquo& ldquo; & rdquo& ldquo; Comment & rdquo& ldquo; Draw & rdquo& ldquo; Book & rdquo;. In 1955, Mr. Shao was sent by the state to study in the Department of art history and theory of Liebin Academy of fine arts of the Soviet Union. He returned home in 1960 and engaged in the teaching of art history in the Department of history and theory of the Central Academy of fine arts. In his decades of teaching career in the Academy of fine arts, he has guided hundreds of undergraduate, master and doctoral students. It is admirable that Mr. Shao's revised handwriting is left in each graduation thesis. These words not only reflect Mr. Shao's rigorous style of learning as a teacher, but also devote his painstaking efforts to cultivating the apricot altar. As the saying goes, these students become excellent scholars, painters and teachers after graduation. They are educated, virtuous and self-evident. Yes for & ldquo; Teach & rdquo;. Mr. Shao has successively served as the editor in chief of three important academic journals in the domestic art circle. He has been the editor in chief of art research magazine for a long time. In 1978, he participated in the establishment of world art magazine and served as the head of the editorial department (both art research and world art are the journals of the Central Academy of Fine Arts). In 1985, he was appointed editor in chief of the magazine of fine arts. He has always stood at the academic height of how to move forward on the road of Chinese modern art and how to learn from western modern art. He has compiled and published articles, recommended scholars, supported new people, guided art practice with new theories, and spared no effort for the development of art that is upright, innovative and stable, including editing important art teaching materials. In the process of objective, comprehensive and fair editing, Outline the form of Chinese modern art and Chinese contemporary academy. Yes for & ldquo; Edit & rdquo;. Mr. Shao is an early scholar who translated important western art history works; The father of Art History & rdquo; Winckelmann's "on Greek art" has long become a classic in the study of art history. Today, it is still a must read work for a large number of students in the art circle. His translation & ldquo; Faithfulness, expressiveness and elegance& ldquo; Quiet greatness, noble simplicity & rdquo;, Such poetic, romantic and majestic language reflects his deep understanding of the original spirit. His proper grasp of literal translation and free translation makes the translation full of lasting academic charm. Yes for & ldquo; Translate & rdquo;. In addition to teaching and educating people and editing magazines, Mr. Shao is still diligent in writing. He has successively published important works such as a brief discussion on modernist art, traditional art and modernist school, a brief history of European painting (co authored with his wife Xi Jingzhi), western modern art trend, looking at flowers in the fog & mdash; & mdash; contemporary Chinese art issues, etc. In these works, we see a thinker, solver and explorer's focus, enthusiasm and childlike heart on the complex artistic problems between Chinese and Western art. The birth of his theory is rooted in his first-hand information on historical materials at all times, at home and abroad; Originated from the comparison of art in different regions and different periods; The conclusion is based on a deep understanding of the historical causes, the law of development and the phenomenon and essence of reality. Yes for & ldquo; & rdquo;. There is no doubt that Mr. Shao's art theory and art criticism have had an important impact on Chinese contemporary art. Especially after the reform and opening up, in the face of the strong impact of Western art, Chinese contemporary art is full of mud and sand. The evaluation criteria and value construction of art, beauty, tradition and modernity seem to have lost the evaluation criteria one after another, and the flowers are becoming more and more charming. Mr. Shao's insightful comments on traditional and contemporary painters, which are impartial, penetrating, pertinent and appropriate, make people feel the height, depth and temperature of the theory in a convincing way. I prefer to call these review articles & ldquo; Lighthouse & rdquo;, The boat of art that attracts and guides all boats competing for the best will not deviate from its course. As he said: & ldquo; I firmly believe that there are laws to follow in the course of art, and there are laws and principles that people can't break in the history of art. I am concerned about the healthy development and future trend of Chinese art and am willing to & lsquo; Clamor & rsquo; And & lsquo; Shout & rsquo& rdquo; Yes for & ldquo; Comment & rdquo;. Writing is like a man and painting is like a man. Mr. Shao is a modest gentleman, gentle as jade. His paintings are also indifferent, pure and full of natural interest. Behind the light of the wonderful theory of one million words is the identity of an excellent artist with distinctive style. He was born in Zhenjiang, Jiangsu Province with a strong humanistic atmosphere. He studied in the Chinese Department of Jiangsu Normal University and then went to the Liebin Academy of fine arts of the Soviet Union. During this period, he systematically studied sketch, sketch, watercolor, sculpture and so on, and achieved excellent results. Thus, painting became the love of his life. His academic research is rigorous and rational, but his painting is free of emotion, full of perceptual personal interest and exquisite humanistic care. After reading all the red and green spring scenery, the heart will draw ups and downs, and the meaning will connect the ancient and modern ink rhyme, so as to achieve a balance between reason and emotion. Yes for & ldquo; Draw & rdquo;. Mr. Shao is fond of calligraphy and occasionally reads calligraphy in his spare time. His calligraphy style is also very unique, simple and natural, implicit and introverted, such as antelope hanging horns, without trace. It is difficult for us to find the source of calligraphy style in his calligraphy works. In addition to theoretical thinking and continuous writing, this is an aesthetic walk with calligraphy image, meaning, brushwork and ink rhyme. It is a dialogue between academia and art at the spiritual level, where people and books form the unity of spirit and form. Yes for & ldquo; Book & rdquo;. Mr. Shao is easy-going and sincere. He said in academic readme: & ldquo; I've been engaged in history research for more than 50 years, but I'm ashamed of my achievements in history and art& rdquo; This is a humble self-report from a leading figure in Chinese art circles. His open-minded character is the root of his profound education, full of experience and new humanities. It is this attitude of being a person, a teacher and an artist that makes people look up to. We hope that through this exhibition, Mr. Shao & ldquo; Teach & rdquo& ldquo; Edit & rdquo& ldquo; Translation & rdquo& ldquo; & rdquo& ldquo; Comment & rdquo& ldquo; Draw & rdquo& ldquo; Book & rdquo; At the same time, through this exhibition, let the literary heart and ink rhyme of the elder, who is the evergreen tree of academic art, become the nourishment of our spirit. Editor: Han Dan responsible editor: