范迪安，1955年10月生于福建，浙江人，擅长美术史论。

1980年毕业于福建师范大学美术系；

1985年在中央美术学院读研究生，获硕士学位，后留校任教。

曾任中央美术学院院长助理，中央美院副院长，研究部主任。

从事20世纪中国美术研究、当代艺术批评与展览策划、艺术博物馆学研究。艺术管理实践者，现为中国美术馆馆长，中国美术家协会理论委员会副主任，教授。

油画《引得春风进山来》参加第二届全国青年 美展；著有《当代油画十家风格与技法研究》(合作)、《当代文化情境中的水墨本色》，主编《世界美术院校教育》等丛书。

发表有《学院的当代使命》、《美术学院：跨世纪的思考》、《西北风仪——西北师大美术系教师作品展观后》等画册撰著评论文。

策划“水墨本色”、“第25届巴西圣保罗双年展”中国馆等展览。

担任“都市营造――2002上海双年展”主策展人，第五十届、五十一届“威尼斯双年展”中国国家馆策展人、总策展人，中法文化年“20世纪中国绘画展”、巴黎蓬皮杜艺术中心“中国当代艺术展”策展人，“艺术之巅”系列艺术推广活动艺术总顾问。

2005年12月调任中国美术馆馆长。在他的支持下，2008年北京中国美术馆举办的“盛世和光——敦煌艺术大展”吸引了许多观众的目光。每天近2万、最多时达2.8万人的观众数量。

自上世纪80年代以来，范迪安一直奔波于全世界各国的文化界，积极推动中国当代艺术运动与国际艺术交流。担任中国美术馆馆长一职之后，他策略性地将这一方式和资源带入美术馆，使得原本以展示经典艺术为主的国家级美术馆逐渐承担起当代艺术传播和普及功能，让当代艺术从地下半地下状态走入官方和大众面前。

2008年，借北京奥运的大好时机，范迪安在中国美术馆开展一系列大型的中外艺术展，包括与德累斯顿美术馆合作的“灵动的风景：穿越德意志艺术时空”；“格哈德•里希特艺术展”等等，都成为年度大展中的亮点；另外为著名当代艺术家举办的个展，如“马诺罗•瓦尔代斯艺术展”、“园林乌托邦——展望艺术展”开拓了美术馆与画廊机构合作的范例；同时，范迪安积极地将最新的艺术形式通过展览介绍给大众，比如“合成时代：媒体中国2008”国际新媒体艺术展的开幕(虽然展览质量评价褒贬不一，但毕竟在美术馆举行的此类展览尚属首例)。而“我想要相信——蔡国强个展”的举办，无疑在奥运期间为美术馆树立良好的口碑和国际形象。

不管是展览的策划组织，还是美术馆公共职能的推广，范迪安的目标是让中国当代艺术正面出场，争取其在中国主流艺术中的地位，并与西方主流对接。他提出“美术馆要实现基础功能，必须从以艺术家为中心转向以公众为中心”的这一思路，把中国美术馆的作用天平倾斜到公众这方面来。
2008年，中国美术馆继续坚持举办美术馆学术讲座，让公众了解美术发展的特征。范迪安还带领中国美术馆将国内外展览在全国各地轮回展出，以在普通群众普及艺术。在他的努力下，2008年年末，政府相关部门已经批准了中国美术馆新馆的建设申请，将在“鸟巢”附近建立一个全新的中国美术馆，从而将鸟巢周边逐步发展成为一个21世纪新的文化中心。范迪安的这些行动产生巨大的社会效益，被认为是迄今最好地将中国当代艺术介绍给普通群众的馆长。

“书法是一个生命耗能过程，此终将生命的印记落在笔端。”范迪安说。他在《中国美术馆当代名家系列作品集·书法卷》中，对于书法界重要的活动和当代书法家的作品以及创作现象做深入的剖析与研究，他坚持对当代优秀艺术家及其作品进行文艺批评，不但给艺术家以指导，也使自己的研究不断深入。他还通过研究古今艺术家的技艺和风格，启发着自己，使自己的创作更有依据。同时，他的创作又反过来使他的理论得到实践的验证。
范迪安十分推崇王冬龄的书法，称其“笔墨完全被精神化，精神从具体的书写中抽象出来，它们带来的视觉体验，已经不是观看，而是体验到了一种情境、一种情怀。”其实，作为书法家的范迪安，他同样注重精神的超越。他的作品古朴而浑厚的魅力令人倾倒，笔法流畅，遒劲有力，那种磅礴大气，将他那中国当代艺术领军人物的气质和胸怀表现得淋漓尽致。
艺术品的价值最终都是由作品的艺术含量所决定的。而艺术是不断发展的，不是一成不变的。墨守成规一味摹古，最终既赶不上古人，又被今人所抛弃。特别是书法艺术，最容易走上摹古的误区，有些书法家从年轻体壮直到晚年，除了功力慢慢深厚，没有大的变化，这是一大损失。因此，书法艺术也要创新，但创新并不是标新立异。范迪安说，紧跟时代，把握时代的审美特点进行创作，与一味迎合市场是两回事，因为二者的目的不同，前者是为了在艺术上保持先进和被人们认可，而后者则表现出对艺术的不尊重。只要弄清这一界线，创作就既能保持前卫，又不会脱离艺术发展的轨道。因此，范迪安的创作，能够坚持时代感与传统文化的融合。在创作技巧的创新上，他从一个评论家的角度，综合各家之所长，将之与传统手法相结合，作品既不失古朴，又另有一番韵味，在古往今来的各大书家中自成一体，风格独特。
在范迪安看来，书法创作既是一种创作行为，更是一种修身养性之道。他的创作，既是对自己艺术理论的实践，又是对内心精神的陶冶。他不图名利，只为一种精神的追求，同时对自己所研究的理论作一些实践。而正是这一创作理念和实践目的相结合，使他的书法作品既有章法，又超越章法，既神采不凡，又避免了狂放不羁。每一笔墨，都有严谨的章法和理论基础，却又能在一种独特的创作心境下升华为一种精神、一种情怀、一种意境。

为“国际当代素描展”画册做的序
2000年，中央美术学院和澳大利亚新南威尔士大学美术学院、英国格拉斯哥美术学院形成了一个“国际素描交流项目”。几年来，三方互派教员，举行短期讲习班，举办小型作品观摩展，也召开互动的素描教学研讨会。这个被我们称为“三角交流”的项目使三所院校都得到补益。项目运行一轮后．我们构想在中国举行一次较大规模的学术活动．经与西安美术学院、广州美术学院的同仁们一起商议，加上各大美术学院的参与支持，决定举办一个“国际当代素描展”，展览将在西安、北京、广州等地相继展出．于是有了来自三个国家十多所美术学院组织的素描作品，其中绝大部分出自这些参加院校的教师之手——这是这本画册的由来。
在改革开放进一步深化和高等教育快速发展的条件下，中国的各个美术学院都在扩展对外交流，在各种交流项目中，也更多朝向深入的学术层面。但是总起来说，这些年来，在设计艺术专业领域里的交流相对比较多，这是因为我们容易看到国外一些美术院校在设计教育中适应社会发展需求的历史经验和现实优长．我们方兴未艾的设计教育也特别需要在这方面赶上和补充。但在造型艺术领域，由于文化间的差异和教学传统的差异，中外交流的幅度还不够宽广，往往只停留在信息传递的层面。在造型学科的基础教育上，更是缺乏相互认真的观察、探讨与学习。实际上，在属于“传统”的专业学科里，中外美术教育今天已经有许多共同的课题需要、也值得相互交流，共同探讨。比如在素描这个重要性毋庸质疑的领域，就在当代文化观念、教育目标、教学方法等许多方面有新的发展，应该说大家在许多方面面临的是共同的问题。在一个西方美术教育已普遍是自由造型、缺乏基础教学的看法后面，其实人家一直在做着素描的表达与素描的教学等方面的研究。而中国美术教育重视基础教育的传统．在今天也已不是刻板一块，而是出现了多样的学术取向和探索样式。只有在消除了认识上的文化差异之后，大家才能彼此看清对方，中外美术教育的交流才能得以深入地展开．也才称得上“国际性”的学术交流——这是举办这个展览的真正目的。
一个展览和一本画册固然不足以概括“国际”的和“当代”的面貌，但是，通过它们．素描作为艺术作品的今日现状及其他作为一个教学范畴的表现特征．面临的问题大致是清晰可见的。就像所有的艺术都有“当代性”的特点与局限一样，素描也有相当明显的当代属性。当代文化和艺术观念对于素描的作用以及在素描中的反映．使人看到了素描的多种面貌。更重要的是．透过不同的面貌，可以深究其中的观念取向、创造心理等属于“思”的层面的问题，也可以看到观察方法与表现方法这类属于“看”和“做”的层面的问题。在西方，阐释学(解释的艺术)、文化理论(社会学研究)和现象学(体验的艺术)等已成为当代知识风景的一大显著特征，在素描表达和素描教学中也有反映。或者说，素描更进一步进入了“人文科学”的范畴。在中国，许多美术学院的教师们都在努力从学理上探究素描在当代文化背景中的新的可能性，有的学校在专题研究上下了很深的工夫，例如中国美术学院正在进行的具像表现绘画的研究、中央美术学院设计专业基础教学中的“课题教学”研究等等。无论中外，各种力图建立新的素描原点和方法性的实践，都使素描的“教学”与素描的“创作”联系了起来，使施教的学理和教育的目标联系了起来。为此，在这次巡回展览中将要展开的学术研讨会．将有助于从素描的功能、目的、观念、方法等方面的展开，实实在在地推动我们的教学改革——这是展览和学术研讨会意欲达到的目标。

Fan Dian, born in October 1955 in Fujian, Zhejiang, specializes in art history.
1980 graduated from the Fine Arts Department of Fujian Normal University;
In 1985, a graduate student at the China Central Academy of Fine Arts, received a master's degree, after the school to teach.
Former China Central Academy of Fine Arts assistant dean, vice president of the Central Academy of fine arts, director of the Department of.
Engaged in twentieth Century Chinese art research, contemporary art criticism and exhibition planning, Art Museum research. Art Management Practitioner, currently curator of Chinese Art Museum, deputy director of theoretical Committee of Chinese Artists Association, professor.
Oil painting "spring breeze" attracted into the mountains to attend the second national youth art exhibition; author of "ten contemporary oil painting style and technique research" (cooperation), "contemporary culture in the context of" color ink, editor of "world art college education" and other books.
A "School of Contemporary Mission:", "Academy of Fine Arts: cross century thinking", "Feng Yi - Northwest Northwest Normal University Department of fine arts teachers Exhibition" and other pictures of view after writing essays.
The plan of "color ink" and "the twenty-fifth Brazil St Paul Biennale Chinese Museum exhibition.
As "Urban Creation -- the 2002 Shanghai Biennale" curator, the fiftieth, the fifty-one "Venice Biennale" Chinese National Museum curator, chief curator, Sino French culture year "in twentieth Century Chinese painting exhibition", Paris Pompidou Art Center "China contemporary art exhibition", "total the top of art consultant" series of Art art promotion activity.
December 2005 was transferred to the museum curator Chinese. With his support, Beijing Art Museum held in 2008, "Saatchi and light - Dunhuang Art Exhibition" attracted the attention of many viewers. Nearly 20 thousand daily, up to the number of viewers up to 28 thousand people.

Since the 80s of last century, Fan Dian has been running around the world's cultural community, and actively promote China's contemporary art movement and international art exchanges. After Chinese served as curator of the museum staff, he will strategically and resources this way into the Museum of art, which to show the classic art of National Art Museum of contemporary art gradually assume the dissemination and popularization of function, make contemporary art from the underground state into the official and the public.
In 2008, by the opportunity of the Beijing Olympics, Fan Dian launched a series of major Chinese and foreign art exhibition in China Art Museum, including cooperation with the Dresden Museum of art, vivid scenery through the German space art ";" Gerhard Richter Art Exhibition "and so on, have become the highlight of the annual exhibition also held for the famous contemporary artists; the exhibition, such as the" Manolo Valdes Art Exhibition "," garden Utopia -- the prospect of Art Exhibition "opened up art galleries cooperation examples; at the same time, Fan Dian actively will be the new art form is introduced to the public through exhibitions, such as" synthetic times media Chinese 2008 "international new media art exhibition opening (although the exhibition quality mixed reviews, but after all, held at the art museum is the first such exhibition). And I want to believe - Cai Guoqiang solo exhibition, no doubt during the Olympic Games for the art museum to establish a good reputation and international image.
Whether it is the exhibition planning, promotion or museum public functions, Fan Dian's goal is to make Chinese positive appearance for contemporary art, its position in the Chinese mainstream art, and western mainstream docking. He put forward that "to achieve the basic function of Art Museum, we must turn from the artist centered to the public centered", and tilt the balance of the Chinese art museum to the public.
In 2008, the Chinese Art Museum continued to hold the art gallery academic lectures, so that the public understand the characteristics of art development. Fan Dean also led the China Art Museum exhibition will be displayed around the country in order to popularize art in the general public. In his efforts, by the end of 2008, the relevant government departments have been approved for the construction of new Chinese Museum, will build a new museum in China near the bird's nest, nest around which will gradually develop into a new cultural centre in twenty-first Century. Fan Dian's actions have produced enormous social benefits and are considered to be the best curator of contemporary Chinese art to the general public.

Calligraphy is a life course of energy consumption, this will be the mark of life falls in the end." Fan Dian said. In his "Chinese Art Museum collection of works by contemporary masters of calligraphy - Volume", do a thorough analysis and study for important activities and contemporary calligraphy calligraphy works and creation phenomenon, he insisted on outstanding contemporary artists and their works of literary criticism, not only to guide for artists, but also make their own research continuously deep. He also inspired himself by studying the art and style of ancient and modern artists, making his creation more basis. At the same time, his creation in turn makes his theory verified by practice.
Fan Dian praised Wang Dongling's calligraphy, called the "ink entirely by the spirit, from the spirit of the writing of abstracts, they bring visual experience, is not a watch, but to experience a situation, a kind of feelings." In fact, as a calligrapher Fan Dian, he also focus on spiritual transcendence. His works are simple and vigorous charm is dumping, writing smooth, powerful, the majestic atmosphere, his Chinese contemporary art leader temperament and behaved most incisive mind.
The value of the artwork is ultimately determined by the artistic content of the work. And art is evolving, not static. In a style, which eventually catch the ancients, and abandoned by people. Especially the art of calligraphy, most likely to go on the wrong style, some calligraphers from young until old age, in addition to the skill slowly deep, no big change, this is a big loss. Therefore, the art of calligraphy to innovation, but innovation is not new in order to be different. Fan Dian said, with the times, grasp the aesthetic characteristics of the era of creation, to cater to the market and a taste is different, because the two different purposes, the former is to keep advanced in art and recognized by people, while the latter showed no respect for art. As long as the clear boundaries, the creation can not only keep the avant-garde, but not out of the track of artistic development. Therefore, Fan Dian's creation, can adhere to the fusion of the sense of the times and traditional culture. In the innovation of creative skills, he from a critic's point of view, the comprehensive strengths of each, with the combination of traditional techniques, works as well as simple, and otherwise a charm, self-contained in the unique style of calligraphy from ancient to modern times.
In Fan Dian's view, calligraphy is a kind of creative behavior is a way of self-cultivation. His creation is not only the practice of his art theory, but also the cultivation of inner spirit. He does not plan fame and fortune, only for a spiritual pursuit, while doing some research on his own theory. And this is a creative idea and practice to combine to make his calligraphy works not only have tricks, but beyond the rules, both look extraordinary, but also avoid the uninhibited. Each text, have strict rules and theoretical basis, but in a unique creative mood into a spirit, a kind of feeling, a kind of artistic conception.

Preface for "international contemporary sketch Exhibition"
In 2000, China Central Academy of Fine Arts and University of New South Wales, Australia, Academy of Fine Arts, Glasgow, England, Academy of Fine Arts formed an international sketch exchange project". In recent years, the three party exchange teachers held short workshops, held a small exhibition of works, also held interactive sketch teaching seminar. This is what we call "triangle exchange" project of the three institutions are benefiting. The project runs round. We held the conception of a large scale of academic activities in Chinese. With Xi'an Academy of Fine Arts, Guangzhou Acmdemy of Fine Arts colleagues discuss, together with the Academy of Fine Arts in support, decided to hold a "international contemporary sketch Exhibition", the exhibition will have on display in Xi'an, Beijing, Guangzhou and other places. "There are from three countries and more than and 10 Academy of Fine Arts sketch works, most of which come from the college teachers in the hand - this is the origin of the album.
With the further deepening of reform and opening up and the rapid development of higher education, China's various Academy of Fine Arts are expanding foreign exchanges, in various exchange projects, but also more in-depth academic level. But generally speaking, these years, in the art design specialty in the field of communication is relatively more, this is because we can see some foreign art institutions in design education to adapt to the historical experience and reality and the needs of social development. We just unfolding design education is also very need to catch up in this regard and supplement. But in the field of plastic arts, due to differences in culture and teaching traditions, the scope of foreign exchange is not broad enough, often only in the level of information transfer. In the basic education of the modeling subject, it is lack of mutual observation, discussion and learning. In fact, in the "traditional" professional disciplines, Chinese and foreign art education today has a lot of common topics need, but also worth mutual exchange, to explore. For example, there is no doubt the importance of sketch in the field, a new development in many aspects of contemporary culture, educational objectives, teaching methods, it should be said that we are in many ways is a common problem. In a western art education is generally free form, lack of basic teaching views, in fact, people have been doing sketch expression and sketch teaching and other aspects of research. However, Chinese art education attaches importance to the tradition of basic education. Today, it is not a rigid one, but a variety of academic orientation and exploration style. Only after the elimination of cultural differences on the understanding of each other, we can see each other, Chinese and foreign art education exchanges can be launched deeply. The real purpose is to be called "international" academic exchanges -- this is held in the exhibition.
An exhibition and a picture book is not enough to summarize the "international" and "contemporary" appearance, but through them. The sketch as works of art today as a teaching situation and other category features. Problems generally is clearly visible. Just as all art has the characteristics and limitations of "Modernity", the sketch has quite obvious contemporary attribute. The effect of contemporary culture and art concept on sketch and reflection in sketch make people see many kinds of sketch. It is more important. Through different appearance, orientation, concept can probe the creation psychology belongs to "thought" level, can also see this kind of "level" and "do" the observation method and performance method. In the west, Hermeneutics (Interpretation of Art), cultural theory (Sociology) and phenomenology (Art) has become a significant feature of the contemporary knowledge view, in the sketch expression and is also reflected in the sketch teaching. In other words, drawing further into the "humanities" category. In Chinese, many teachers of Academy of Fine Arts are trying to theoretically explore the sketch in the contemporary cultural background of new possibilities, some schools under a deep research work in The China Academy of Art for example, are like painting research, China Central Academy of Fine Arts design professional foundation in the teaching of "project teaching" research etc.. Both Chinese and foreign, all kinds of practice and tries to establish a new method of sketch origin, the sketch of the "teaching" and "sketch creation" has been linked to teaching theory and educational goals linked. Therefore, in this exhibition will be launched. The seminar will help from the sketch of the function, purpose, ideas, methods of deployment, really promote our teaching reform -- this is to achieve the goal of the exhibition and symposium.