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之江艺术长廊连接着浙江省最具特色的文化景观，构筑成了一幅崭新的时代画卷，而中国美术学院三大校区无疑是其中的亮丽风景。
“整理中国艺术，介绍西洋艺术，调和中西艺术，创造时代艺术。”这是中国美术学院的办学宗旨，自建校起就塑造着这所学校的精神面貌和学术气质。它自孤山景致之中走出，从西子湖畔到象山山麓，再到良渚校区，作为拥有深厚底蕴的艺术院校，中国美术学院的学脉深深扎根于浙江的文化土壤之中，源源不断地输送着美学的养分，也是整个浙江省乃至全中国当代美术发展的引领者和开创者，塑造着人们的审美趣味、文化品位，为建设浙江人民的高质量生活作出卓越的贡献。
中国美术学院的发展道路始于西子湖畔，由蔡元培先生亲自选址创立，其前身为国立艺术院。作为中国历史上的第一所综合性的国立高等艺术学府，中国美院在首任校长林风眠的带领下，于1928年开启了“美育代宗教”的实践，倡导并引领了新艺术运动。中国的高等美术教育便从此开始进入了一个全新的阶段。在90多年的办学历程中，中国美术学院历经学科拓展、学院改组，在中国艺术界依旧有着广泛的影响力。中国美院于2015年成功入选浙江省第一批重点建设高校，2016年获批成为浙江省人民政府与教育部、文化部共建高校，2017年学院入选国家“双一流”一流学科建设高校，美术学学科入选国家一流学科建设名单。
在中国美术学院90余年的发展历史中，历经风雨沧桑，但是，这一美育的实践一直在继续延伸着，其精神也被不断地传承和发展。中国美术学院的发展，始终交叠着两条明晰的学术脉络，一条是以首任校长林风眠先生为代表的“兼容并蓄”的思想，一条是以潘天寿为代表的“传统出新”的思想，他们的学术思想在中国美术学院营造出了有利于艺术人才锐意出新、人文思想健康发展的环境，也成为中国美术学院最重要的传统和特征，为一代又一代国美人所继承和发扬。也正是在这种学术思想的鼓舞和激励下，中国美术学院始终能走在艺术届的最前列，一直引领着中国艺术的发展潮流。
秉持着“整理中国艺术，介绍西洋艺术，调和中西艺术，创造时代艺术”的办学宗旨，中国美术学院办学成就卓著、蜚声宇内，聚集和造就了大批优秀的艺术人才。回望中国美术学院的教学历史，任教者既有引领中国传统绘画发展的黄宾虹、潘天寿、沙孟海等艺术名家，学贯古今，融会贯通，在博采百家之长的同时又能自成一体的艺术大家;又有如林风眠、庞薰琹等中国现代艺术教育的开创者、先驱者，介绍西方艺术，改良中国艺术，为中国艺术注入了新的活力，开辟了中国美术学院美术教育的新道路。
此外，杰出的国美校友，如艾青、吴冠中、全山石、王卓予、李可染、赵无极、罗工柳等老一辈艺术家如同群星璀璨，熠熠生辉，为中国现代美术发展添上了亮丽的色彩，他们不仅在中国，也在世界发挥着自己的影响力，一代又一代杰出的艺术家们在这里辛勤耕耘、呕心沥血，创造了一个又一个艺术的高峰。
时至今日，中国美术学院依旧散发着它独特的艺术魅力。在90多年的办学历程中，国美为社会培养了大量艺术人才，在历届全国美展中斩获颇丰，在中国现当代艺术的舞台中发光发热。与此同时，许多优秀的人才也深入参与到了浙江省乃至全国的建设之中，例如2016年G20杭州峰会以及2022年杭州亚运会的logo由袁由敏教授团队设计，既蕴含了丰富的江南人文意蕴，又表达了面向新時代勇立潮头的浙江精神。
现任中国美术学院建筑艺术学院院长王澍教授设计的象山校区，创新性地设计了简洁优美但又不失传统特色的校园建筑群，既有对中华文化的深入见解，也蕴含着对现代建筑的独到把握，使得这一校区建筑群成为饱含传统记忆而又简洁优美的经典代表作品，也孕生了艺术家园的望境塑造。2012年，王澍荣获世界建筑学最高奖项普利兹克奖，这是国际学术界对其本人以及其作品中所融入的建筑思想和理念的充分认可。2021年8月，中国美术学院象山校区入选《纽约时报》“二战以来最重要的25个建筑”，成为本次唯一入选的中国建筑。
作为顶尖的中国艺术类高等学府，中国美术学院不仅在国内艺术界有相当的影响力和号召力，在国际舞台上也散发着耀眼的光芒。在国际艺术院校的排行榜上，中国美术学院长期居世界前列，其中，中国画与书法艺术学院以深厚的历史底蕴和学术根基、优秀的师资力量和学术水平，以及目前国内最为完善的民族书画艺术的教学体系和专业构架，在国内外高等书画教育领域有着极为广泛的影响力。
2015年起，中国美术学院已经成功举办了六年的中国设计智造大奖赛，作为我国工业设计领域的首个国际化奖项，它搭建起了国际创新设计的交流平台，60个国家和地区的机构、团体以及个人参赛，成功与全球百余家设计机构共同搭建了合作生态圈，该大奖跻身国际知名工业设计奖项之列。除此之外，2003年起于中国美术学院举办的中国国际海报双年展，迄今为止已经吸引了来自全球40多个国家和地区的参赛者，是中国最高规格的海报设计竞赛，也在国际平面设计领域备受关注。
作为杭州这座历史文化名城的一张金名片，中国美术学院既是民族艺术教育的核心场，也是当代生活美学的创新者。作为担负中国美学的传播者以及担负传承使命与创造使命的艺术共同体，学院以引领中国当代美术发展方向为己任，不仅向全省，也向全国乃至全世界散发着耀眼的艺术之光，如同已经开花结果但依旧茁壮成长的参天大树，扎根于杭州这片经由人文气息长期滋养的肥沃土地中，它与浙江音乐学院、浙江电影学院相呼应，构成了之江艺术走廊最具活力、最具吸引力的的文化创意阵地，成为之江艺术走廊的宝冠上最耀眼的明珠之一。
China Academy of Art： Between East and West
By Zhao Yitian
In the most distinctive artistic and cultural landscape along Zhejiang province’s Zhijiang Art Corridor， lie some of the best-known cultural landmarks and sceneries， and the China Academy of Art is undoubtedly one of them. “Organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times.” Thus states the academic slogan of the China Academy of Art. Proposed by Lin Fengmian （1900-1991）， renowned Chinese artist and the founding president of the academy， this mission statement has guided its development since its establishment. From the first campus near the Solitary Hill to the campus on the Xiangshan Mountain and the campus in Liangzhu that is still under construction， the China Academy of Art has firmly planted its roots into the rich soil of Zhejiang culture， continuously producing artistic talents. A leader and pioneer in the development of contemporary art not only in Zhejiang province but all over China， the academy has been instrumental in shaping the public’s aesthetic and cultural tastes， making outstanding contributions to Zhejiang people’s pursuit of a high-quality life.
In 1928， the National Academy of Art， predecessor of the China Academy of Art， was founded in China on the bank of the West Lake in Hangzhou by the famed educator Cai Yuanpei （1868-1940）. In fact， the site was specially selected by Cai himself. Under the leadership of the first president， Lin Fengmian， the academy embarked on a journey of “substituting aesthetic education for religion”， and called for and led the modern art movement， marking the beginning of China higher education in art.
Indeed， in the course of its 90-odd-year history， the China Academy of Art has never wavered in its imparting aesthetic education to its students， and such spirit has also been inherited and developed from one generation to another. Throughout the years， the development of the academy has always followed two clearly articulated concepts. One， raised by Lin Fengmian is “inclusiveness”. The other， principally advocated by renowned painter Pan Tianshou， is “innovation based on tradition”. These ideas have helped create a heathy humanistic environment that is most conducive to the cultivation of talents and the generation of new ideas. They have also become the most important hallmarks and traditions of the China Academy of Art. Indeed， precisely under the inspiration and encouragement of these thoughts that the China Academy of Art has been able to be at the forefront of the area of arts and to lead the development of modern and contemporary Chinese art without fail.
Upholding its motto to “organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times”， the China Academy of Art has made remarkable achievements and become a recognized art institution both at home and abroad. As well as Lin Fengmian and Pan Tianshou， among the some of the most celebrated names who either taught or studied at the academy are Huang Binhong （1865-1955）， Sha Menghai （1900-1992）， Pang Xunqin （1906-1985）， Wu Guanzhong （1919-2010）， Li Keran （1907-1989）， Zhao Wuji （1920-2013）， and many others. These masters of arts， most of whom are also pioneers and explorers of arts and aesthetic education， have consistently invigorated the development of Chinese arts with their teachings， their knowledge， their ideas and their works. It is no surprise that the academy has been witnessing the outstanding talents it has produced actively engaged in various artistic endeavors. For example， the official logos for both the 2016 G20 Hangzhou Summit and the 2022 Hangzhou Asian Games were designed by Professor Yuan Youmin and his team， which are full of humanistic subtleties of the Jiangnan （south of the Yangtze River） area， and show the Zhejiang spirit to boldly take the lead in the era. Meanwhile， professors， students and graduates from the academy have won multiple awards at China’s quintennial National Exhibition of Fine Arts.
The Xiangshan campus of the China Academy of Art， designed by Professor Wang Shu， dean of the academy’s School of Architecture， creatively applied a style that has reconciled modernity and tradition for the 20 plus buildings spreading over the verdant mountains and hills. As the first Chinese citizen to have won the Pritzker Prize， the world’s top architecture prize， Wang， his works and his conception of architecture have been widely recognized domestically and internationally. In August 2021， the Xiangshan campus was listed as one of the “25 Most Significant Works of Postwar Architecture” by the New York Times， the only Chinese architecture on the list.
Over the past 90 years and more， the China Academy of Art has built and maintained widespread influence in China’s literary and art circles. In 2015， it was selected as one of the key universities in Zhejiang province， and in 2017， the academy and its arts discipline were included in the nation’s “double first-class program”， i.e. world first-class universities and first-class academic disciplines. A prestigious art school in China， now， the China Academy of Art has also ranked among the world’s top art institutions. The School of Chinese Painting and Calligraphy， in particular， is one of the best and the most influential in the education of Chinese painting and calligraphy.
Since 2015， the China Academy of Art has successfully hosted several editions of the Design Intelligence Award. China’s first international academic award in industrial design， the award has been turned into an international exchange platform for innovation design， and attracted 60 countries and regions， institutions， organizations and individuals to enter into the competition. In addition， the China International Poster Biennale， launched by the China Academy of Art in 2003 and regarded as China’s top poster design competition， has seen participants from more than 40 countries and regions around the world taking part.
“整理中国艺术，介绍西洋艺术，调和中西艺术，创造时代艺术。”这是中国美术学院的办学宗旨，自建校起就塑造着这所学校的精神面貌和学术气质。它自孤山景致之中走出，从西子湖畔到象山山麓，再到良渚校区，作为拥有深厚底蕴的艺术院校，中国美术学院的学脉深深扎根于浙江的文化土壤之中，源源不断地输送着美学的养分，也是整个浙江省乃至全中国当代美术发展的引领者和开创者，塑造着人们的审美趣味、文化品位，为建设浙江人民的高质量生活作出卓越的贡献。
中国美术学院的发展道路始于西子湖畔，由蔡元培先生亲自选址创立，其前身为国立艺术院。作为中国历史上的第一所综合性的国立高等艺术学府，中国美院在首任校长林风眠的带领下，于1928年开启了“美育代宗教”的实践，倡导并引领了新艺术运动。中国的高等美术教育便从此开始进入了一个全新的阶段。在90多年的办学历程中，中国美术学院历经学科拓展、学院改组，在中国艺术界依旧有着广泛的影响力。中国美院于2015年成功入选浙江省第一批重点建设高校，2016年获批成为浙江省人民政府与教育部、文化部共建高校，2017年学院入选国家“双一流”一流学科建设高校，美术学学科入选国家一流学科建设名单。
在中国美术学院90余年的发展历史中，历经风雨沧桑，但是，这一美育的实践一直在继续延伸着，其精神也被不断地传承和发展。中国美术学院的发展，始终交叠着两条明晰的学术脉络，一条是以首任校长林风眠先生为代表的“兼容并蓄”的思想，一条是以潘天寿为代表的“传统出新”的思想，他们的学术思想在中国美术学院营造出了有利于艺术人才锐意出新、人文思想健康发展的环境，也成为中国美术学院最重要的传统和特征，为一代又一代国美人所继承和发扬。也正是在这种学术思想的鼓舞和激励下，中国美术学院始终能走在艺术届的最前列，一直引领着中国艺术的发展潮流。
秉持着“整理中国艺术，介绍西洋艺术，调和中西艺术，创造时代艺术”的办学宗旨，中国美术学院办学成就卓著、蜚声宇内，聚集和造就了大批优秀的艺术人才。回望中国美术学院的教学历史，任教者既有引领中国传统绘画发展的黄宾虹、潘天寿、沙孟海等艺术名家，学贯古今，融会贯通，在博采百家之长的同时又能自成一体的艺术大家;又有如林风眠、庞薰琹等中国现代艺术教育的开创者、先驱者，介绍西方艺术，改良中国艺术，为中国艺术注入了新的活力，开辟了中国美术学院美术教育的新道路。
此外，杰出的国美校友，如艾青、吴冠中、全山石、王卓予、李可染、赵无极、罗工柳等老一辈艺术家如同群星璀璨，熠熠生辉，为中国现代美术发展添上了亮丽的色彩，他们不仅在中国，也在世界发挥着自己的影响力，一代又一代杰出的艺术家们在这里辛勤耕耘、呕心沥血，创造了一个又一个艺术的高峰。
时至今日，中国美术学院依旧散发着它独特的艺术魅力。在90多年的办学历程中，国美为社会培养了大量艺术人才，在历届全国美展中斩获颇丰，在中国现当代艺术的舞台中发光发热。与此同时，许多优秀的人才也深入参与到了浙江省乃至全国的建设之中，例如2016年G20杭州峰会以及2022年杭州亚运会的logo由袁由敏教授团队设计，既蕴含了丰富的江南人文意蕴，又表达了面向新時代勇立潮头的浙江精神。
现任中国美术学院建筑艺术学院院长王澍教授设计的象山校区，创新性地设计了简洁优美但又不失传统特色的校园建筑群，既有对中华文化的深入见解，也蕴含着对现代建筑的独到把握，使得这一校区建筑群成为饱含传统记忆而又简洁优美的经典代表作品，也孕生了艺术家园的望境塑造。2012年，王澍荣获世界建筑学最高奖项普利兹克奖，这是国际学术界对其本人以及其作品中所融入的建筑思想和理念的充分认可。2021年8月，中国美术学院象山校区入选《纽约时报》“二战以来最重要的25个建筑”，成为本次唯一入选的中国建筑。
作为顶尖的中国艺术类高等学府，中国美术学院不仅在国内艺术界有相当的影响力和号召力，在国际舞台上也散发着耀眼的光芒。在国际艺术院校的排行榜上，中国美术学院长期居世界前列，其中，中国画与书法艺术学院以深厚的历史底蕴和学术根基、优秀的师资力量和学术水平，以及目前国内最为完善的民族书画艺术的教学体系和专业构架，在国内外高等书画教育领域有着极为广泛的影响力。
2015年起，中国美术学院已经成功举办了六年的中国设计智造大奖赛，作为我国工业设计领域的首个国际化奖项，它搭建起了国际创新设计的交流平台，60个国家和地区的机构、团体以及个人参赛，成功与全球百余家设计机构共同搭建了合作生态圈，该大奖跻身国际知名工业设计奖项之列。除此之外，2003年起于中国美术学院举办的中国国际海报双年展，迄今为止已经吸引了来自全球40多个国家和地区的参赛者，是中国最高规格的海报设计竞赛，也在国际平面设计领域备受关注。
作为杭州这座历史文化名城的一张金名片，中国美术学院既是民族艺术教育的核心场，也是当代生活美学的创新者。作为担负中国美学的传播者以及担负传承使命与创造使命的艺术共同体，学院以引领中国当代美术发展方向为己任，不仅向全省，也向全国乃至全世界散发着耀眼的艺术之光，如同已经开花结果但依旧茁壮成长的参天大树，扎根于杭州这片经由人文气息长期滋养的肥沃土地中，它与浙江音乐学院、浙江电影学院相呼应，构成了之江艺术走廊最具活力、最具吸引力的的文化创意阵地，成为之江艺术走廊的宝冠上最耀眼的明珠之一。
China Academy of Art： Between East and West
By Zhao Yitian
In the most distinctive artistic and cultural landscape along Zhejiang province’s Zhijiang Art Corridor， lie some of the best-known cultural landmarks and sceneries， and the China Academy of Art is undoubtedly one of them. “Organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times.” Thus states the academic slogan of the China Academy of Art. Proposed by Lin Fengmian （1900-1991）， renowned Chinese artist and the founding president of the academy， this mission statement has guided its development since its establishment. From the first campus near the Solitary Hill to the campus on the Xiangshan Mountain and the campus in Liangzhu that is still under construction， the China Academy of Art has firmly planted its roots into the rich soil of Zhejiang culture， continuously producing artistic talents. A leader and pioneer in the development of contemporary art not only in Zhejiang province but all over China， the academy has been instrumental in shaping the public’s aesthetic and cultural tastes， making outstanding contributions to Zhejiang people’s pursuit of a high-quality life.
In 1928， the National Academy of Art， predecessor of the China Academy of Art， was founded in China on the bank of the West Lake in Hangzhou by the famed educator Cai Yuanpei （1868-1940）. In fact， the site was specially selected by Cai himself. Under the leadership of the first president， Lin Fengmian， the academy embarked on a journey of “substituting aesthetic education for religion”， and called for and led the modern art movement， marking the beginning of China higher education in art.
Indeed， in the course of its 90-odd-year history， the China Academy of Art has never wavered in its imparting aesthetic education to its students， and such spirit has also been inherited and developed from one generation to another. Throughout the years， the development of the academy has always followed two clearly articulated concepts. One， raised by Lin Fengmian is “inclusiveness”. The other， principally advocated by renowned painter Pan Tianshou， is “innovation based on tradition”. These ideas have helped create a heathy humanistic environment that is most conducive to the cultivation of talents and the generation of new ideas. They have also become the most important hallmarks and traditions of the China Academy of Art. Indeed， precisely under the inspiration and encouragement of these thoughts that the China Academy of Art has been able to be at the forefront of the area of arts and to lead the development of modern and contemporary Chinese art without fail.
Upholding its motto to “organize Chinese Art， introduce Western art， blend Western and Chinese arts and create art of the times”， the China Academy of Art has made remarkable achievements and become a recognized art institution both at home and abroad. As well as Lin Fengmian and Pan Tianshou， among the some of the most celebrated names who either taught or studied at the academy are Huang Binhong （1865-1955）， Sha Menghai （1900-1992）， Pang Xunqin （1906-1985）， Wu Guanzhong （1919-2010）， Li Keran （1907-1989）， Zhao Wuji （1920-2013）， and many others. These masters of arts， most of whom are also pioneers and explorers of arts and aesthetic education， have consistently invigorated the development of Chinese arts with their teachings， their knowledge， their ideas and their works. It is no surprise that the academy has been witnessing the outstanding talents it has produced actively engaged in various artistic endeavors. For example， the official logos for both the 2016 G20 Hangzhou Summit and the 2022 Hangzhou Asian Games were designed by Professor Yuan Youmin and his team， which are full of humanistic subtleties of the Jiangnan （south of the Yangtze River） area， and show the Zhejiang spirit to boldly take the lead in the era. Meanwhile， professors， students and graduates from the academy have won multiple awards at China’s quintennial National Exhibition of Fine Arts.
The Xiangshan campus of the China Academy of Art， designed by Professor Wang Shu， dean of the academy’s School of Architecture， creatively applied a style that has reconciled modernity and tradition for the 20 plus buildings spreading over the verdant mountains and hills. As the first Chinese citizen to have won the Pritzker Prize， the world’s top architecture prize， Wang， his works and his conception of architecture have been widely recognized domestically and internationally. In August 2021， the Xiangshan campus was listed as one of the “25 Most Significant Works of Postwar Architecture” by the New York Times， the only Chinese architecture on the list.
Over the past 90 years and more， the China Academy of Art has built and maintained widespread influence in China’s literary and art circles. In 2015， it was selected as one of the key universities in Zhejiang province， and in 2017， the academy and its arts discipline were included in the nation’s “double first-class program”， i.e. world first-class universities and first-class academic disciplines. A prestigious art school in China， now， the China Academy of Art has also ranked among the world’s top art institutions. The School of Chinese Painting and Calligraphy， in particular， is one of the best and the most influential in the education of Chinese painting and calligraphy.
Since 2015， the China Academy of Art has successfully hosted several editions of the Design Intelligence Award. China’s first international academic award in industrial design， the award has been turned into an international exchange platform for innovation design， and attracted 60 countries and regions， institutions， organizations and individuals to enter into the competition. In addition， the China International Poster Biennale， launched by the China Academy of Art in 2003 and regarded as China’s top poster design competition， has seen participants from more than 40 countries and regions around the world taking part.