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。
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.