前几年——一九八八年之冬,正是新潮美术趋向抛物线的极峰时,在中国美术馆曾举办过一次《中央美术学院青年教师素描大展》.筹办当中,并不为所有参予者理解,以为搞一个只有石膏像、人物头像、人体的素描习作展览,怎能和当时各种艺术流派风格纷呈的潮流相谐.能称之为美展吗?人们会感兴趣吗?有多少观众?有人提出了这些疑问,但是展览的倡导者和主持筹办者却心中有数,充满自信:展出后等着瞧!这种信心实非盲目,是来自于对素描的宏观认识与对美术现状和未来发展的思考研究。果然,一俟所有作品集中到展厅布置陈列时,就已经给抱有疑惑的人顿然推出一个视觉的答案:原来素描还这么有看头.有如此众多的表现内容与方式.展出后,但凡有识之士立即意识到,这个展览绝非一般,而是一次很有意义的学术性展出,甚至对美术的发展将起到相当的作用. A few years ago - the winter of 1988, it was the peak of the parabola that trendy art trends. At the National Art Museum of China, there was a “Sketch of Young Teachers at the Central Academy of Fine Arts.” Participants understood that in order to engage in an exhibition of plaster, figure and human body sketches, how can it be in line with the various styles of contemporary art schools? How many viewers? These questions have been raised, but the advocates and organizers of the exhibition are full of confidence and confidence: after exhibition, this kind of confidence is not blind, but comes from the macroscopic understanding of sketching and the appreciation of art Research on Current Situation and Future Development. Sure enough, once all the works have been concentrated in the exhibition hall layout display, it has suddenly given a visual answer to those in doubt: the original drawing so impressive, there are so many performance content and manner .After the exhibition, An insightful realization immediately realized that this exhibition was by no means a general one, but a very meaningful academic exhibition and even played an important role in the development of fine arts.