詹建俊是满族人，1931年生于辽宁沈阳，自幼随父移居北平（北京）。他的父亲詹恩轩雅爱书画，家中藏有
齐白石、张大千等人的字画，经常带他参观书画展览，听京剧、曲艺，领略老北京风情。1942年他上小学高年级时，课余到北平“雪芦画社”学习中国传统工笔人物画。他喜爱吴道子、任伯年的画，特别是梁楷的《泼墨仙人》。他从小受到中国传统文化的熏陶，逐渐养成了儒雅而豪爽的性格。
由于詹建俊在油画艺术上的成就和影响，1985年起他被推举为中国美术家协会油画艺术委员会主任，并于1995年中国油画家学会成立时起担任中国油画学会主席至今。二十年来詹建俊一直担任全国油画艺术的学术领导工作，作为中国油画艺术领域的组织者和带头人，领导主持了全国多项油画艺术的展览、交流与研究活动，并担任重大美术展览油画作品的评选、评奖负责人，曾任每五年一届的《全国美术作品展览》的第六、七、八、九、十届评审委员会委员、油画评审组组长、总评奖委员会委员，第一、二、三届《中国油画展》。为新时期中国油画艺术的发挥做出了突出的贡献。现任中央美术学院教授，中国美术家协会常务理事、美协油画艺术委员会主任等职。詹建俊从事油画教学、创作数十年，其油画造型坚实，结构严谨，手法简练概括，用笔洒脱，色彩强烈，风格爽健豪壮，富有诗意和音乐性。代表作有《狼牙山五壮士》《高原的歌》《潮》等，出版《詹建俊画集》。作品曾获“全国美展”金质奖章，“北京市美展”一等奖。
2016年12月，当选中国文学艺术界联合会第十届荣誉委员。

上世纪50年代他的《起家》成为当时油画创作中引人注目的大作；60年代他的《狼牙山五壮士》不仅被视为主题绘画的典范，而且因其艺术语言上的探索特征成为一个富有启发意义的例证；70年代末在中国画坛刚刚恢复创作自由的时候，他的《高原的歌》以吟唱文化解冻与复苏的清新之曲赢得了广泛的共鸣；80年代的中国艺术呈现出像触角多样化发展的景观，但在1985年第六届全国美展上，他的《潮》又摘取了油画金牌，这些都几乎是众所周知的。一个艺术家成功的标志，固然不完全靠作品在一个时代中的“效应”，但詹先生的画总是在具有时代艺术的共同特征的同时，又有比共同特征先行一步的探索性与自身充分的学术质量，对于他这一代画家来说，做到在同一种艺术氛境中“先行一步”和“自身充分”是特别不易的，这不仅需要足够的艺术才华，而且需要探索的勇气，詹先生就是这样一位画家。他还是他这一代画家中高产的一位（以“创作”作品而言，他的数量可能是最多的）。上世纪90年代以后，他仍然坚定地沿着自己艺术发展的逻辑走向变化和精深的层面。所有这些，都是詹先生艺术与人不同的地方，他所走的一条不懈探寻的道路及其艺术特点，值得我们进一步认识。
詹先生1957年的《起家》这幅画的题目是颇有象征意味的。这个时期，是他自己艺术上的“起家”的时期，也是中国油画在新的文化情境中“起家”的时期。当时的中国油画全面地学习苏联模式，一方面缘于政治意识形态的制约，一方面也源于中国油画自身的发展需求。在20世纪前半叶中西文化碰撞的背景中，展开了先贤们对油画从奠基和初步发展的实践，就油画语言而言，第一代人完成了接受欧洲油画造型体系的引进，第二代人开始了向中国审美表现的转换，但艰难的时局使许多画家的才华无法施展，留下了与油画应有质量之间的缺链。20世纪50年代，新的时代需求为中国油画发展提供了条件，当时，提高中国油画水平的方式是派遣留苏学生和请来苏联专家。1955年，马克西莫夫到达中央美术学院，开始了对前苏联美术思想和油画整体技巧的传布。在马克西莫夫和艾中信、罗工柳、吴作人、王式廓等先生的执掌下，形成了以油画训练班教学为主的新的演练。按照当时对油画状况的分析，油画训练班要解决的是规范的基础训练和学会从生活中提炼创作两个问题。在基础训练方面，马克西莫夫不仅传导了系统的方法，而且提出了“科学研究”这个命题，让当时的教师们分头承担不同的方面。例如列出色彩在绘画中的作用（梁玉龙负责）、头像习作研究（李宗津负责）、绘画上的空间感和立体感（王式廓负责）、油画色彩的观察（吴作人负责）、风景画习作（韦启美负责）、民族绘画与油画性能的关系（艾中信负责）、油画工具的制作（戴泽负责）等题目进行专门探讨，以形成有机的整体，这是在中国油画教学中进行的一次全因素的训练，使中国画家对油画的体系性特征有了领悟。与此同时，在20世纪前半叶油画基本经验的基础上进一步规范了“创作”的概念及要求。所有这些，对当时的油画学生都是新鲜的内容。詹先生参加了当时的油画训练班，获得了集中研究油画的良好机会，他的毕业创作《起家》在主题上无疑扣准了时代生活特征，在基本手法上也符合了当时的创作要求，但值得注意的是，除了主题性与情节性之外，詹先生在艺术趣味上的倾向性已初步地显露出来。詹先生1948年入校后，先学油画，1953年本科毕业后在当时的“彩墨画系”任教，得到了蒋兆和、李可染、叶浅予先生的指导，可以说是转益多师，而且他的兴趣广泛、爱好多样，对音乐、戏曲、电影、诗歌等不同门类艺术都酷爱极深，且不流于一般浅显认识。他对音乐的迷恋，致使他愿意每日三餐就喝开水吃馒头也要用相当于每月生活费的三分之一购买一张密纹唱片。这已经不是一种喜欢，而是一种气质和情感上的需要。音乐对他的补益，熏染了他对浪漫情调和舒展境界的向往。《起家》也即是这种审美意趣的集中体现。他运用青年垦荒队员在草原上安营扎寨的素材，采用宽幅画面，突出了视觉形式的作用，将飞扬的白色帆布作为画面视觉中心，使这件作品视觉形式的强度超越了被限制的主题“思想性”。被浓密乌云衬映的一片翻滚的帆布似如一簇白浪，也如一片白色的气流，在画中形成了一个抽象的动态结构。很显然，詹先生是努力将自己的形式感觉嵌入当时艺术标准需要的主题，这在当时的创作中无疑是富有个性的。从现有的材料中可见当时的艺术评论并没有给予它特别的主意，因为在以“思想性”为标准的年代，这件作品具有“中性”的性质，它的艺术形式的“扩张”感几乎被界定在“形式主义”的边缘。
詹建俊《狼牙山五壮士》图册
实际上，詹先生正是20世纪50年代末、60年代初油画家中形式探索的自觉者。他在油画训练班学习时就主张不要学得与马克西莫夫一样，而提倡学习马氏的基本方法，在创作中融会自己的思想感情。“形式主义”这样一个属于普遍艺术志趣的范畴，一代中国艺术家却为它付出了冒险的代价。一方面，外在因素的制约使画家的思路离不开政治主题，特别是歌颂性的主题；另一方面，又意欲体现自己的形式感觉，并把有意味的形式想方设法地渗透在作品中，这就是一批有思想和有见解的画家在当时的探索。在油画训练班毕业之后，詹先生留在油画系任教，在1959年油画系设立工作室后，他进入董希文主持的“第三工作室”。董先生注意个性表现和油画艺术表现力，并提倡油画民族化等主张，对他有了更大的影响。20世纪60年代初，在艺术空气稍为宽松的气氛中，他对当时视为“资产阶级形式主义”的西方画家如马蒂斯、莫迪里阿尼产生了兴趣，更加明确了形式探索的目标。1959年问世的《狼牙山五壮士》便是他在形式领域迈进的又一代表作。在当时的条件下，历史画创作为中国油画家提供了一个相对“自由”的天地，在相对远离时事政治对艺术的具体要求中，有发挥个人想象和探索个人风格的可能。正是在这个有“弹性”的主题范围里，包括靳尚谊、闻立鹏、全山石、杜健、钟涵等画家创作了一批主题与形式都比较完整的大作品。在《狼牙山五壮士》中，詹先生通过人与山的比拟造型，形成了这幅在当时艺术氛围中最有意象感和象征性的作品。也可以说，是形式的因素使这个主题确立起来。
对于20世纪50年代成长起来的中国油画家，许多画家都离开都市前往西部地区深入生活。他们到荒寒僻壤之地，为的是寻找一种贴近自然和接近真实的感觉，詹先生也深入青海、甘肃、四川等地的藏区。到藏区的画家都会感到有特殊的经历和体验，因为那片保持着远古传统和民族特色的风情是神奇的、朴素的，有足够的景致可以入画。但是当时大部分关于藏区、藏民的绘画，在主题上是苦涩的，在风格上是凝重的，似乎画家所经之途的每一处景观都披上一层孤寂的颓灰。詹先生则与众不同，透过藏民生活相对于都市的落后和藏区生活的荒凉，他看到了藏民心灵的单纯和精神上的向往，他认为热爱生活与自然才是广袤雪域上生命得以持续的根本原因。基于这样的认识，他笔下出现了另一种雪域的景观。
《高原的歌》（1979年）一在展览会上露面，便给人们带来了全新的视野。晚霞中的藏女引吭高歌，落日衬映出她逆光的身影，雪域并非凄冷，而是充满辉煌。人们惊叹画家感受到了藏民的理想和生命的倔强，更惊叹他敢于运用热烈的红色。由于红色在“文革”中成为政治的象征已经泛滥，“文革”后大部分画家把它挤到调色板的角落。但在詹先生的作品中，红色不再是被人曲解了的标准色，而是复苏的生命热情的象征。同样，红色也十分明显地出现在其后来的藏区系列《遥远的地方》（1987年）和《帕米尔的冰山》（1982年）上，它在热烈中有几分含蓄、温润，和人与景的造型意味有本质上的契合。在这几幅画中，红色的运用方法是不同的。《高原的歌》表现的是开放的心曲，红色在背景上的大片使用，营造了一个充满乐音的空间。《帕米尔的冰山》表现的是旷达的胸怀，红色的云霞与白色的冰山相照应，显现出边塞景致的奇幻。《遥远的地方》表现的是藏女的遐想，红色笼罩着她的藏袍和肌肤，并延伸到深远的空间背景中。这幅画在红色的运用上可以说达到了极致，是一种满幅浸染弥漫的红，是一种超越“写实”，而为生命象征的红，曾经被扭曲了的红色在他的笔下变成了美丽的梦幻和生命的活力。如果把视点放在当时画坛的“创新”和“形式探索”的时代思潮上，詹先生的这些作品都是极好的例证。
 

人物画一直是詹建俊油画教学与创作的重点。素描是油画造型的基础，如果没有扎实的素描写实造型基础，就不可能从事油画创作，夸张变形也无从谈起。毕加索的素描写实造型基础就非常牢固  ，而且每当他进行一次新的变形实验，都要返回古典素描寻求精神支援。詹建俊接受过徐悲鸿体系（董希文）和契斯恰科夫体系（马克西莫夫）的严格素描训练，打下了写实油画造型的坚实基础。他的早期素描习作《男人体》（1953年）已作为范本被收入美术院校的素描教材。他画的许多男女老少人物素描肖像，包括2003年8月所作的《在病床上的巴金先生》，都注重把握人物大的结构明暗关系，而不是死抠繁琐的细节，往往一下子就抓住了人物的表情神态。这与他的油画创作的写意式手法是一致的。 　　如果以1976年“文革”结束为界，詹建俊的人物画创作大体可分为前后两期。他的前期人物画题材以主题性绘画为主，也有些肖像画作品。 　　詹建俊26岁时的成名之作《起家》（1957年），描绘一群垦荒青年在北大荒草原狂风中搭建帐篷安家的场景，着力于渲染浓重的抒情氛围。正如艾中信所说：“这是一幅抒情的主题性绘画。”据说画家在创作《起家》时反复倾听柴可夫斯基的《降b小调第一钢琴协奏曲》（1874年），从乐曲特别是第三乐章的奏鸣回旋曲式中汲取炽热豪迈的青春激情。《起家》画面的主体是一块巨大的白色帆布，在狂风劲吹中仿佛形成了乐音高低不同的激荡旋律，垦荒青年与狂风搏斗的紧张动态加强了急促的节奏。以粗放的笔触画出的荒草丛生、乌云密布的自然环境，把垦荒青年的青春激情衬托得更加豪壮。 　　詹建俊表现重大历史题材的经典之作《狼牙山五壮士》（1959年），塑造了五位八路军战士纪念碑雕塑式的英雄群像。1941年9月，马宝玉、葛振林、胡德林、胡福才、宋学义一班五位八路军战士，在河北易县狼牙山与日军血战，弹药打尽，砸毁枪支，从棋盘陀峰顶集体跳崖（三名战士壮烈牺牲）。画家被英雄的事迹深深激动，他深入狼牙山山区考察写生，走访当年跳崖的幸存者葛振林。他要借助这一历史题材表达中国人民对抗日民族英雄的景仰，也抒发自己的爱国豪情。他决定“以群像式的处理手法达到纪念碑性的效果，通过英雄跳崖前的一刹那，从悲壮的气氛中突出表现宁死不屈、气壮山河的英雄气概，要求画面上体现出人民心目中的英雄形象同狼牙山熔铸在一起，巍峨屹立的意象”，因此他舍弃了繁琐的情节，突出了崇高悲壮的英雄气概的表现。画家塑造的英雄群像，已不是严格的纯写实造型，而是趋近意象化的造型。五壮士的身影与山峰浑然一体，又比山峰高大，呈山形稳定结构的群像的轮廓参差起伏，节奏强劲。人物的姿势威武雄壮，表情严峻果敢，虽然没有细腻的写实刻画，整体的气势和神态却相当逼真，中间的壮士（马宝玉班长）和他身边的两位战友的表情尤其传神。画家采用大刀阔斧的雕塑式的笔触肌理塑造人物，加上整个画面厚重幽暗的青铜色调，人物好像青铜雕塑巍然矗立在纪念碑基座之上。画家说，他把握画面气氛和意境的感情和情绪，常常伴随着想象中的音乐产生，“在《狼牙山五壮士》里，感到的是定音鼓的擂打与整个乐队的奏鸣”。画家完成这一杰作时年仅28岁。《狼牙山五壮士》的成功创作经验，也值得我们目前正在实施的“国家重大历史题材美术创作工程”的借鉴。 　　1961年詹建俊第一次赴新疆写生，回京后在中央美术学院油画系举办了他的作品观摩展。当时他画的汉族女性肖像《炉边》（1961年）还属于纯写实的造型，新疆少数民族女性肖像《艾依莎木》（1961年）和《新疆少女》（1961年）则明显追求色彩平涂的平面化和装饰性趣味，在意象化的造型上为他后来创作少数民族女性系列作品埋下了伏笔。他1963年左右所作的《自画像》和《兰花》可惜已散佚。幸存的《舞蹈演员》（1963年）逼真地再现了芭蕾舞女演员优雅的姿势、微笑的表情和流盼的眼神。从《艾依莎木》和《舞蹈演员》的鲜红衣裙，也可以看出画家对红色的偏爱。 　　詹建俊的后期人物画题材，随着主题性绘画任务的减少，个性化选择余地的增多，逐渐从群像人物画转向单个人物画，尤其是少数民族女性人物画变成了他的主要创作题材。 　　
单个人物一般比群像人物更便于画家单纯集中地抒情，更便于表现画家的艺术个性。少数民族人物一般比汉族人物体貌和性格特征更鲜明，更容易入画。画家曾经多次到新疆、内蒙、四川阿坝、云南等少数民族聚居地区写生，为他的创作积累了大量素材。女性人物一般比男性人物更富有美感和魅力。画家对女性美的鉴赏品位纯正而高雅，所以他画的女性人物也无不具有纯正而高雅的美感和魅力。例如，他的油画习作《女人体——卧》（1983年）、《女人体——坐》（1988年），就展示了纯真无邪的女性人体美。他的油画肖像《凌妮》（1985年），模特儿是音乐学院的一位女生，在她那朴素无华的外表下透露出清纯高雅的气质，神态和姿势都极其优美。詹建俊塑造的少数民族女性形象，不仅优美，而且健美，不仅刻画了不同民族女性的相貌、服饰特征，而且表现了她们朴野、淳厚、天真、爽朗的性格（这也符合画家本人的性格气质）。相比而言，藏族女性形象更显得朴野、淳厚，塔吉克族女性形象更显得天真、爽朗。这些少数民族女性形象多半已属于意象化的造型，但这种意象化的造型是从真实的写生人物中概括提炼出来的，综合了许多模特儿身上的美感和魅力。正因为如此，画家笔下的人物才不是抽象的符号而是具有鲜活的生命，每一个形象的面貌和表情都互不雷同。人物的面部五官往往并非精雕细刻，而是逸笔草草，却形神毕肖。人物传神的表情往往也不局限于眼睛，而是表现在全身的姿势特别是动态当中。画家着力捕捉的是人物整体的身姿、动态和表情。当然，画家也创作了不少同样精彩的汉族人物画甚至非洲人物画，但中国少数民族女性系列，毕竟是形成他的油画的独特风格的标志性的“意象群”。 　　詹建俊的藏族少女油画肖像《柴木错》（1977年）和《小泽波》（1977年），把写实的造型（面部）与写意的笔触（服饰）结合在一起，表现出藏族少女朴野、淳厚的性格和这两个少女特有的期盼、喜悦的神情，令人过目难忘。

詹建俊作品由于詹建俊在油画艺术上的成就和影响，1985年起他被推举为中国美术家协会油画艺术委员会主任，并于1995年中国油画家学会成立时起担任中国油画学会主席至今。二十年来詹建俊一直担任全国油画艺术的学术领导工作，作为中国油画艺术领域的组织者和带头人，领导主持了全国多项油画艺术的展览、交流与研究活动，并担任重大美术展览油画作品的评选、评奖负责人，曾任每五年一届的《全国美术作品展览》的第六、七、八、九、十届评审委员会委员、油画评审组组长、总评奖委员会委员，第一、二、三届《中国油画展》。为新时期中国油画艺术的发挥做突出的贡献。

Zhan Jianjun is the Manchu people, born in 1931 in Liaoning Shenyang, his father moved to Peking (Beijing). His father Zhan Enxuan ya'ai painting, home possession
Qi Baishi and Zhang Daqian's calligraphy and painting, often took him to visit the exhibition of paintings and calligraphy, opera, folk art, a taste of old Beijing style. He is on a high grade primary school in 1942, "Snow" school to Beijing Lu "learning Chinese of traditional Chinese painting. He loved Wu Daozi, Ren Bonian's paintings, especially Liang Kai's "ink immortal". He was China traditional culture since childhood, gradually develop a refined and forthright character.
Because of Zhan Jianjun's achievements in oil painting and the influence, in 1985 he was elected as the director of Oil Painting Committee of Chinese Artists Association, and was founded in 1995 Chinese Oil Painters Association has served as president since Chinese oil painting society. In twenty years, Zhan Jianjun has served as the national oil painting art academic leadership, as China art organizer and leader in the field of leadership, presided over the exhibition, exchange and research activities of a number of national oil painting art, and served as a major art exhibition of the painting award selection, responsible person, was once every five years the "national fine arts the exhibition" sixth, seven or eight, nine, ten National Accreditation Committee, the assessment team leader, general Painting Committee members, the first and the two or three session of China "oil painting exhibition". For the new period of China's oil painting art has made outstanding contributions to the play. A professor at the China Central Academy of Fine Arts, China Artists Association executive director of the association, the oil painting art committee chairman. Zhan Jianjun is engaged in the teaching of oil painting creation, for decades, the oil painting is solid, rigorous structure, concise summary way, a clear, strong color, style and poetic poetic scholl, music. The representative of the "Langyashan five heroes" "Plateau Song" "tide", published "Zhan Jianjun album". His works have won the "National Art Exhibition" gold medal, "the first prize of Beijing art exhibition".
December 2016, was elected the tenth honorary member of the Chinese Federation of literary and art circles.

In 50s his "started" a compelling painting at the time of the work in 60s; his "Langyashan five heroes" not only be regarded as a model of theme painting, but also because of its features to explore the language of art has become an enlightening example; at the end of 70s when China painting has just recovered creative freedom, his "Plateau Song" to sing the cultural thaw and fresh music recovery won widespread sympathy; 80s Chinese art showing a diversified development of the landscape like tentacles, but in 1985 the sixth national art exhibition, his "tide" won the gold medal in the painting, is almost as everyone knows the. An artist, a symbol of success, although not completely rely on the works in an era of "effect", but Mr Zhan's paintings always have common characteristics in the era of art at the same time, there are common features than a step ahead to explore with their full academic quality, for his generation of artists do the same kind of artistic atmosphere in "one step ahead" and "full" is not easy, not only need enough artistic talent, but also need to explore the courage, Mr. Chan is such an artist. He is also a prolific producer of his generation (he may be the most prolific in terms of "writing"). In 90s, he still firmly along their artistic development trend and profound level logic. All these are Mr. Zhan art and people of different places, a tireless search road and artistic features of his walk, which is worthy of further understanding.
Mr. Chan in 1957 "started" the title of the painting is quite symbolic. This period, is his own art "start" period, but also the Chinese oil painting in the new cultural situation "started" period. At that time, Chinese oil painting comprehensively learning Soviet model, on the one hand due to the constraints of political ideology, on the one hand, also from the development needs of Chinese oil painting itself. In the first half of the twentieth Century collision between Chinese and Western cultures in the background, launched the sages of painting from the practice and the initial development of the foundation, on the language of oil painting, the first generation to accept the introduction of European oil painting modeling system, the second generation began to convert China aesthetic expression, but the tough times are so many painters can not display, left and short chain between oil painting should have quality. In 1950s, the new era of demand for the development of Chinese oil painting provides the conditions, then, improve the level of Chinese oil painting is to send students and Soviet Union invited Soviet experts. In 1955, Maximov arrived at the China Central Academy of Fine Arts, began to spread to the former Soviet Union art and painting skills of the whole. Under the leadership of Maximov and Ai Zhongxin, such as Mr. Li, Mr. Li, and Mr. Li, a new drill based on the teaching of oil painting training class was formed in the course of the teaching of the oil painting training class in the teaching of the oil painting training class, such as in the teaching of the oil painting, the training of the teaching of the training class of the oil painting and the training of the. According to the analysis of the situation of oil painting at that time, the oil painting training class should solve the two problems of basic training and learning to refine the creation from life. In the basic training, Maximov not only conduct the systematic method, and put forward the proposition that "scientific research", let the teachers take different aspects separately. For example, a list of colors in the drawing function (Liang Yulong, head of the research project (responsible) for Li Zongjin), the sense of space painting and stereoscopic observation, (Wang Shikuo responsible) of oil painting (Wu Zuoren, responsible for the landscape project (Wei Qimei), responsible for the ethnic relations) painting and oil painting performance (for Ai Zhongxin), production of painting tools (Dai Ze responsible) and so on to make a special study, in order to form an organic whole, this is a factor in Chinese training in oil painting teaching, the characteristics of system China painter of painting of the understanding. At the same time, in the first half of twentieth Century, the basic experience of oil painting on the basis of further standardize the "creative" concept and requirements. All of these, the oil painting students are fresh content. Mr. Chan attended the oil painting training class, get a good opportunity to focus on painting, his graduation works "started" in the subject will buckle quasi times characteristic, in the basic approach is also consistent with the time of creation, but it is worth noting that, in addition to the theme and plot, James Mr. tendency in the art of taste has been revealed. Mr. Chan in 1948 after entering the school, the first painting, in 1953 after graduation at the time of the "color ink painting", by Jiang Zhaohe, Li Keran, Mr. Ye Qianyu's guidance, can be said to be on, and his interests and hobbies of diversity, music, drama, film, poetry and other different categories of art are fond of deep and not a general understanding. His music fascination, causing him to drink boiling water to eat three meals a day to also want to buy a Steamed Buns LP with the equivalent of 1/3 monthly living expenses. This is not a kind of like, but a kind of temperament and emotional needs. The music for his benefit, influenced him to romance and stretch realm yearning. "Started" which embodies the aesthetic charm. He used the young players in the grassland reclamation pitch camp material, with wide screen, highlighting the role of visual form, the white canvas flying as the visual center, so that this piece of visual form beyond the intensity of thought is restricted to the theme of "". A roll of canvas by thick clouds and the like as a cluster of whitecaps,

An abstract dynamic structure is formed in the painting. Obviously, Mr. Chan is their own efforts to form the art standard to feel embedded theme, this is undoubtedly full of personality at the time of creation. From the existing materials can be seen at the time of the art does not give it special idea, because in "thought" as the standard time, the nature of this work is "neutral", its artistic form of "expansion" is defined in the sense of almost "formalism" edge.
Zhan Jianjun "Langyashan five heroes" Atlas
In fact, Mr. Chan is at the end of 1950s and early 60s form painters in the exploration of the initiative. He studied in the oil painting training class is not to learn like Maximov, and advocate the basic learning method of Markov, in the creation of their own thoughts and feelings together. "Formalism" such a common interest belongs to the art category, China generation artists who pay for it to take a risk. On the one hand, the external factors which restrict the artist's ideas cannot do without political themes, especially the praise of the subject; on the other hand, but also to reflect their own sense of form, and the form of means to penetrate in the works, this is a group of ideas and opinions of the painter at the time of exploration. After graduated from the oil painting training class, taught Mr. Chan in the oil painting department, set up a studio in 1959 after he entered the oil painting department, Dong Xiwen presided over the "studio third". Dong pay attention to personality and performance of oil painting art, and advocate the nationalization of oil paintings and other propositions, has a greater impact on him. At the beginning of 1960s, in a relaxed atmosphere in the air of art, he was regarded as "bourgeois formalism" of Western artists such as Matisse, Modigliani is interested in, the more clearly the form exploration target. Published in 1959 "Langyashan five heroes" is another representative in the form of the field of his stride. At that time, as a painter of history painting Chinese provides a relatively "free" in the world, is relatively far away from the current political specific requirements for art, play personal imagination and exploration of possible personal style. It is in this "elastic" range of topics, including Jin Shangyi, Wen Lipeng, Du Jian, Zhong Han, Quan Shanshi painters such as the creation of a number of themes and forms a relatively complete works. In the "five heroes" in Langyashan, Mr. Chan by the person and the mountain is modeling, the formation of this picture was the most artistic atmosphere and symbolic imagery. It can also be said that form factors set the theme up.
For the Chinese painters who grew up in 1950s, many painters left the city and went to the west to live in depth. They deserted to the countryside, is looking for a close to nature and close to the true feeling, Mr. Chan also in-depth Qinghai, Gansu, Sichuan and other places in tibet. The Tibetan painter will feel a special experience, because the remains of ancient traditional and ethnic characteristics of the style is magical and plain, there is enough scenery painting. But when most of Tibetan, Tibetan painting, the theme is bitter, the style is dignified, it seems every landscape painter by the road covered with a layer of gray decadent lonely. Mr. Chan is out of the ordinary, relative to the city through the Tibetan life behind and Tibetan wild life, he saw the Tibetans simple heart and spiritual yearning, he thinks love life and nature is the vast snow on the basic reason for the continued life. Based on this understanding, he wrote a snowy landscape.
"Highland song" (1979) an appearance at the exhibition, it gives people a new vision. The Tibetan women sing, and her body figure out the snow, not cold, but full of glory. People feel amazing painter of the Tibetan life ideal and stubborn, more amazing he dared to use warm red. Because red became a symbol of politics in the "Cultural Revolution", most painters pushed it to the corner of palette after the cultural revolution. But in Mr. Chan's works, the red is no longer being misinterpreted the standard color, but a symbol of the recovery of life passion. Similarly, red is also very evident in the later series of Tibetan "distant place" (1987) and "the iceberg" (1982), it has a subtle, gentle and warm, people and landscape modeling means fit essence. In these paintings, the use of red is different. "Plateau Song" is the performance of the open mind, a large red used in the background of creating a space full of music. "The iceberg" is the performance of one mind, red and white clouds iceberg echoes show fantasy scenery of the frontier. "The distant place" is the performance of the Tibetan female reverie, red robe and enveloped her skin, and extends to the deep space background. This picture can be said to have reached the limit in the usage of the red, is a full picture of diffuse disseminated red, is a kind of transcendence and "realistic", a symbol of life had been red, red twisted into a beautiful dream and life under his pen. If the point of view on the innovation of painting at that time "and" form "exploration" trend of the times, these works, Mr. Chan is an excellent example.

Figure painting has been the focus of Zhan Jianjun's oil painting teaching and creation. Sketch is the basis of oil painting modeling, if there is no solid sketch realistic modeling foundation, it is impossible to engage in oil painting, exaggerated deformation is also impossible to talk about. Picasso's sketch realistic modelling foundation is very firm, moreover whenever he carries on a new distortion experiment, must return the classical sketch to seek the spiritual support. Zhan Jianjun received the Xu Beihong system (Dong Xiwen) and Qi (Maximov) system also strictly sketch training, and lay a solid foundation of realistic painting modelling. His early writing sketch "body man" (1953) has been used as a template by income Art College sketch teaching. He painted many portraits including everyone character sketches, made in August 2003 "on the bed of Mr. Ba Jin", pay attention to grasp the characters of large structure of light and shade relations, rather than snatching the tedious details, often took the characters facial expression. This is consistent with his freehand brushwork in oil painting. If the 1976 Cultural Revolution ended as the boundary, Zhan Jianjun's figure painting creation can be divided into before and after. His early paintings subject to thematic painting, but also some portraits. When the 26 year old Zhan Jianjun is famous for "started" (1957), a group of young people in the Great Northern Wilderness grassland reclamation depicted the tent home scene, to render a strong lyrical atmosphere. As AI CITIC said: "this is a lyrical theme painting." It is said that the painter in the creation of "started" repeatedly listening to Tchaikovsky's "minor Piano Concerto No.1" (1874), especially from the music of the third movement sonata from hot heroic passion of youth in rondo. "Subject" started picture is a huge white canvas, in the wind blowing in as if the formation of different stirring music melody, the dynamic tension of young reclamation struggling with the wind strengthened rapid rhythm. With extensive strokes painted, weeds clouds on the natural environment, the reclamation of youth off a more heroic passion of youth. Zhan Jianjun major historical themes of the classic "Langyashan five heroes" (1959), created five eight Army soldier monument sculpture of a group of heroes. In September 1941, Ma Baoyu, Ge Zhenlin, Hu Delin, Hu Fucai, Song Xueyi, a group of five soldiers of the Eight Route Army in Hebei, Yixian County, Langyashan and the Japanese War, smashed guns, ammunition play, from the board Pretoria (three soldiers from the peak of collective sacrifice). The painter was heroic deeds deeply excited, he entered Langyashan mountain to study painting, visited the year jumping survivors of Al ge. He wants to express Chinese people of the Anti Japanese national hero admired by the historical theme, also express their patriotic sentiments. He decided to approach the monument to portrait style effect, a moment before jumping through the hero, performance and heroic protruding from the tragic death in an atmosphere of heroism, reflects the people's requirements of screen hero image with Langyashan cast together, towering tall image ", so he abandoned the complicated plot, highlighting the lofty tragic heroic performance. A group of heroes in the painter creation, is not strictly pure realistic modeling, but the image modeling approach. Figure five heroes and the mountain all blend into one harmonious whole, than the mountains tall, a stable structure of a contour shape jagged, strong rhythm. The posture of the figures magnificent, stern and resolute, although there is no realistic exquisite depiction, the overall style and demeanor is quite realistic, the middle of the warrior (Ma Baoyu monitor) and his two comrades look especially vivid. The painter adopted the sculpture style of brushwork texture make snap characters, plus the whole picture heavy dark bronze tone, the characters like bronze sculpture in the monument towering above the base. The artist said, he grasps the picture atmosphere and mood of the feelings and emotions, often accompanied by imagination in music, "in the" Langyashan five heroes ", was to hit the timpani and Orchestra sonata". The painter was completed this masterpiece at the age of 28. "Langyashan five heroes" successful creative experience, is also worthy of national major historical themes we are currently implementing the "art creation project reference. In 1961, Zhan Jianjun first went to Xinjiang after returning to Beijing in painting, oil painting department of China Central Academy of Fine Arts held the exhibition of his works. "He was painting portraits of Han women's Fireside" (1961) also belongs to pure realistic modeling, Xinjiang ethnic female portrait "AEY Shenmue" (1961) and "Xinjiang girl" (1961) was the pursuit of color color graphic and decorative taste, in the image of shape for his later creation a series of works of minority women foreshadowed. He made around 1963 "self portrait" and "orchid" unfortunately been lost. The surviving "dancer" (1963) reproduced the ballerina elegant posture, smile and sparkling eyes. From "Shenmue" and "Aiyi dancer" red dress, also can see the painter of the red preference. Zhan Jianjun's later painting theme, theme painting with fewer tasks, more personalized choice, gradually from portrait painting to individual portraits, especially minority female figure painting became his main theme.

Single figures are generally easier to figure images than painter pure concentrated lyric, easier to show the artist's artistic personality. Minority characters in general than the appearance and character of Han characters more vivid, more picturesque. The painter has repeatedly to Xinjiang, Inner Mongolia, Sichuan, Yunnan and ABA in the ethnic minority area painting, accumulated a lot of material for his creation. Female characters are generally more aesthetic and charming than male characters. The painter's taste of female beauty is pure and elegant, so all the female characters he painted have pure and elegant beauty and charm. For example, his painting works "woman's body - lie" (1983), "woman's body - sit" (1988), showed the innocent female body beauty. His portrait of "Ling Ni" (1985), the model is a Girls College of music, revealed pure elegance in her simple appearance, demeanor and attitude are very beautiful. The minority female image created by Zhan Jianjun, not only beautiful, but also fitness, appearance, dress features not only depicts women of different nationalities, and express their sincere, naive, simple and wild, hearty character (which is consistent with the artist's temperament). In contrast, the Tibetan female image is more simple and wild, pure and honest, Tajik female image more innocent, cheerful. Most of these minority women's image has belonged to the image of the shape, but this image is modeled from the real sketch figures extracted from the general, integrated many models on the body of beauty and charm. Because of this, the artist's characters are not abstract symbols but fresh life, each image faces and expressions are not identical. Characters of the facial features are often not carved, but leisurely pen, but the spirit. The characters vivid expression are not limited to the eye, but in the overall posture especially dynamic. The painter to capture characters overall posture, movements and expressions. Of course, the artist also created a lot of the same wonderful Han painting and even African portraits, but China minority women series, after all is the iconic images of the formation of his unique style of painting "". Tibetan girl portrait "Zhan Jianjun wood wrong" (1977) and "little zeps" (1977), the realistic modeling (face) and freehand brushwork (costumes) together, showing the Tibetan girl, unadorned honest character and unique to the two girls look, expression of joy, memorable
Zhan Jianjun works with Zhan Jianjun in the art of oil painting on the achievements and influence, in 1985 he was elected as the director of Oil Painting Committee of China Artists Association, and was founded in 1995 Chinese Oil Painters Association has served as president since Chinese oil painting society. In twenty years, Zhan Jianjun has served as the national oil painting art academic leadership, as China art organizer and leader in the field of leadership, presided over the exhibition, exchange and research activities of a number of national oil painting art, and served as a major art exhibition of the painting award selection, responsible person, was once every five years the "national fine arts the exhibition" sixth, seven or eight, nine, ten National Accreditation Committee, the assessment team leader, general Painting Committee members, the first and the two or three session of China "oil painting exhibition". For the new period of China's oil painting art to play a prominent contribution.