素描,至今仍有许多人更愿意把它看作一种为锻炼造型能力所做的基础训练,尽管,那种建立在模拟客观意义上的素描观念只是作为一家之言存在着。素描在美术学院的定位问题仍需要重新被提及。本文中,“学院素描”当然仅仅指的是美术学院美学体系之内的素描实践,有别于那些民间的,“无拘束”的“才气纵横”之作。在规范的框框中寻求挣脱,寻求自由,这就是我对湖北美术出版社今年六月出版的《新素描手册》的印象。我想,本刊选发的几个人的素描向我们展示的不仅仅是他们个人的艺术实践,更重要的,它提供给了我们“学院素描”的某种可能性——即在写实的范畴内适度偏离。是的,相对于古典素描,他们的作品都是一定意义上的偏离。他们都是美术学院的科班出身且至今仍执教于他们曾求学的地方,都深谙传统 Sketches, there are still many people who still prefer to think of it as a basic training for the ability to exercise modeling, although the kind of sketch concept based on the objective objective of the simulation exists only as a saying. The sketch at the Academy of Fine Arts still needs to be revisited. In this article, “college sketch” is of course only referring to the sketch practice within the aesthetic system of the Academy of Fine Arts. It is different from those non-governmental “unconstrained” “talent”. Seeking liberation and seeking freedom in the normative framework is my impression of the “New Sketchbook” published by Hubei Fine Arts Publishing House in June this year. I think the sketches of several people selected in this journal show us not only their personal artistic practice but, more importantly, it gives us some possibility of “college sketches” - in the realm of realism Within the appropriate deviation. Yes, their works are somehow deviated from classical sketches. All of them are graduates from the Academy of Fine Arts and still teach in the places where they had studied, both of whom are well versed in tradition