人亡业显影响广泛的陈子庄说:“名家门下不会产生有成就的弟子,……因为名家风标独特,容易限制学生的创造性。”(《石壶论画语要》)这段议论,有一定道理,但也失之片面。它对于只知依傍门户守法不变甚至动辄以某某传人自居的后学来说,不啻当头棒喝,确可振聋发聩,可是忽视了名家门下也还有一些因转益多师而自立门户的“透网之鳞”。其实,自从实行以艺术院校为中心的现代美术教育以来,出自名师而自成一家者已不乏先例。改革开放以后,莘莘学子眼界大开,不但广取博收,而且融通中西,走出老师门墙而自具手眼者大有日益增多的趋势。即以李可染晚年的研究生而论,姜宝林、龙瑞、王镛和徐义生还有哪一位的创造性被老师的风格所局限 Chen Zizhuang said: “Famous disciplines will not produce successful disciples, ... ... because of the unique style of famous artists, easy to limit the creativity of students.” (“Ishikawa talkative language”) This argument, There is some truth, but also lost one-sided. It is known only to rely on the same principle of lawlessness or even at any one of the descendants of a certain successor, not a shoddy, really deafening, but ignored the famous door there are still some due to multiple teachers and self-reliant “Transparent The scales. ” In fact, since the implementation of modern art education centered on art colleges and universities, there has been a precedent for being a self-made teacher from a teacher. After the reform and opening up, our students’ eyes widened. This not only widened their income but also benefited both Chinese and western people. That is to say, the postgraduates of Li Keran’s later years, the creative style of Jiang Baolin, Long Rui, Wang Zhen and Xu Yisheng is limited by the style of the teacher