對話趙九杰（一）：溯源 —— 草原是故鄉(xiāng)，世界是遠方

灑滿陽光的院子 |A Courtyard Bathed in Sunlight

布面油畫 |Oil on canvas

120×120cm

2024

話題一

問：您的藝術生涯深受導師妥木斯先生的影響。妥木斯先生將草原文化的雄渾與西方油畫的技法融為一體，形成獨特的風格。請問，在您跟隨他學習的經(jīng)歷中，他給予您最重要的啟發(fā)是什么？是具體的技法革新，還是一種看待藝術與世界關系的宏觀視角？

Your artistic career has been profoundly influenced by your mentor, Mr. Tuomu Si. Mr. Tuomu Si is renowned for integrating the majesty of grassland culture with the techniques of Western oil painting to form a unique style. In your experience studying under him, what was the most significant inspiration he imparted to you? Was it a specific technical innovation, or a broader perspective on the relationship between art and the world?

答：在我的藝術生涯中，我深受導師妥木斯先生的影響。他將草原文化的雄渾與西方油畫技法融為一體，形成了獨特的藝術風格。我本科階段就跟隨妥木斯先生學習油畫，之后又在妥先生的研究生班進修，較為系統(tǒng)地接受了他的藝術理念，獲益良多。

Throughout my artistic career, I have been deeply influenced by my mentor, Mr. Tuomusi. He integrated the majestic spirit of grassland culture with Western oil painting techniques to form a distinctive artistic style. I began studying oil painting under Mr. Tuomusi as an undergraduate, and later pursued further studies in his graduate program, where I systematically absorbed his artistic concepts and benefited immensely.

迎光 |Towards the Light

布面油畫 |Oil on canvas

90×130cm

2024

答：妥先生對我的啟發(fā)，我想從兩個方面來談。

一、教學方法與藝術理念

妥先生的教學方式非常獨特。他采用“色塊教學”，不拘泥于細節(jié)，強調(diào)大寫意的表現(xiàn)。比如畫風景時，他要求天地物三塊顏色要協(xié)調(diào)統(tǒng)一、恰到好處。這種協(xié)調(diào)既包括對比性的協(xié)調(diào)，也包括同類色的協(xié)調(diào)。在色彩語言上，他強調(diào)色彩的對比，冷暖關系的處理要精準恰當。每一次寫生，他都要求我們對色調(diào)進行深入研究，且不重復。

其次，妥先生強調(diào)繪畫要有“精神”，這實際上是一種全方位的理解。他要求我們在繪畫的格調(diào)與境界上有所追求。具體而言就是通過色彩、用筆以及構圖方式等本體語言的研究，表達出對繪畫境界的理解，也就是內(nèi)心想要呈現(xiàn)的畫面狀態(tài)。這一點對我們啟發(fā)極大。

Mr. Tuomusi's inspiration to me can be discussed from two aspects.

I. Teaching Methods and Artistic Philosophy

Mr. Tuomusi's teaching approach is very unique. He employed a "color block" teaching method, not dwelling on minor details but emphasizing a freehand, expressive style. For example, when painting landscapes, he required the three color blocks—sky, earth, and objects—to be coordinated and unified, achieving a sense of harmony. This harmony includes both contrasting harmony and harmony through analogous colors. In terms of color language, he emphasized color contrast, requiring precise and appropriate handling of warm and cool relationships. During each painting session, he demanded that we conduct in-depth studies of color tones, ensuring no repetition.

Secondly, Mr. Tuomusi emphasized that painting should possess "spirit"—this is actually a comprehensive understanding. He required us to pursue a certain level of refinement and artistic conception in our work. Specifically, it involves expressing your understanding of artistic conception—that is, the state of the image you wish to present—through the study of the fundamental elements of painting, such as color, brushwork, and composition. This was incredibly inspiring to us.

荷 -清涼月|Lotus –Moon of Tranquility

布面油畫 |Oil on canvas

120×120cm

2024

答：在色彩的理解上，妥先生不拘泥于物體的固有色。他突破了我們對色彩的世俗認知 —— 比如樹不一定是綠的，在不同的光線下，它可以呈現(xiàn)藍偏紫的色調(diào)。這種對色彩的理解符合當下光線無限變化、地域不同所呈現(xiàn)出的豐富可能性，打破了固有色的限制，非常具有當代性。

在技法的革新上，我認為他從觀察方法、色塊觀念，到色彩關系的協(xié)調(diào)性，最終指向繪畫的境界——也就是你的審美，甚至可以說是一種世界觀。這一點對我們后來的創(chuàng)作與寫生幫助非常大。

In terms of understanding color, Mr. Tuomusi did not confine himself to the inherent colors of objects. He broke through our conventional perception of color—for instance, a tree does not have to be green; under different lighting conditions, it can appear bluish-purple. This understanding of color aligns with the infinite variations of light and the diverse possibilities presented by different regions, breaking the limitations of inherent color and embodying a highly contemporary spirit.

Regarding technical innovation, I believe his approach—from observational methods and the concept of color blocks to the coordination of color relationships—ultimately points toward the artistic conception of painting, which is essentially your aesthetic sensibility, and even a worldview. This has greatly influenced our subsequent creative work and painting practice.

荷 -吉祥|Lotus – Auspicious

布面油畫 |Oil on canvas

120×120cm

2024

答：二、草原畫派的形式語言

妥先生在草原繪畫的實踐中，將西方表現(xiàn)主義與寫意性繪畫相結合，形成了獨有的方法。他在寫生中發(fā)現(xiàn)，天地物三塊顏色在草原上呈現(xiàn)出獨特的美感。通過大色塊的表現(xiàn)，再將人物點綴于草原之上，形成了點、線、面的形式構成——這種繪畫語言非常當代。

雖然妥先生早年從蘇聯(lián)學習了諸多技法，但他很早就擺脫了蘇聯(lián)繪畫中較為寫實、敘事性的表達，更加注重當下的感受與形式語言。這得益于羅工柳先生對他們的教育。我后來在追溯羅工柳先生的繪畫時發(fā)現(xiàn)，他們都是以色塊觀念進行表達，追求色彩境界的理解——這是一種全方位的修養(yǎng)體現(xiàn)。

II. The Formal Language of the Grassland School

In his practice of painting the grasslands, Mr. Tuomusi combined Western Expressionism with freehand painting techniques, developing his own distinctive approach. During his painting sessions, he discovered that the three color blocks—sky, earth, and objects—possess a unique beauty in the grassland landscape. Through the use of large color blocks, punctuated by figures dotting the grassland, he created a formal composition of points, lines, and planes—a visual language that is highly contemporary.

Although Mr. Tuomusi learned many techniques from the Soviet tradition in his early years, he soon moved away from the more realistic, narrative-driven expression characteristic of Soviet painting, placing greater emphasis on immediacy of feeling and formal language. This shift was influenced by the education he received from Mr. Luo Gongliu. When I later traced the artistic development of Mr. Luo Gongliu, I discovered that both artists expressed themselves through the concept of color blocks, pursuing a deeper understanding of color's expressive potential—a reflection of their comprehensive artistic cultivation.

清涼 |Coolness

布面油畫 |Oil on canvas

150×150cm

2024

話題二

問：從內(nèi)蒙古草原到南國廈門，地理環(huán)境和人文氛圍的巨大轉(zhuǎn)變，對您的藝術感知產(chǎn)生了怎樣的沖擊？這種從北到南的跨越，是否也是您日后形成“溫潤與力度并存”的繪畫語言的潛在伏筆？

The transition from the Inner Mongolian grasslands to the southern city of Xiamen represents a significant shift in both geographical environment and cultural atmosphere. What impact did this transition have on your artistic perception? Could this journey from north to south be seen as an underlying factor that later contributed to the formation of your unique painterly language, often described as possessing both "warmth and strength"?

答：從內(nèi)蒙古草原到南方廈門，地理環(huán)境與人文的巨大轉(zhuǎn)變對我的藝術產(chǎn)生了深刻影響。關于評論中提到的“溫潤與力度并存”的語言，我認為溫潤其實是每個人內(nèi)心都具備的一面，是骨子里就有的；而力度則與北方的生活習慣、遼闊厚重、奔放有力的氛圍密切相關，這源于生活的歷練和北方人文氣候的熏陶。

剛到南方時，我感到非常新鮮。在我的認知里，樹是不會開花的——北方看到的花朵都很小，幾乎沒有開花的樹。到了廈門，看到滿枝頭的花朵，我很吃驚，也覺得很新奇。正是這種巨大的變化，讓我像孩子一樣，帶著發(fā)現(xiàn)新大陸般的眼光，產(chǎn)生了強烈的繪畫興趣。

不過，也遇到了一個難點：南方的綠色太多了。從色彩的角度看，綠色的色階比較接近，很難表現(xiàn)，讓我一度有些茫然。在不斷的生活體驗中，氣候的溫暖與北方形成巨大反差——直覺上、體感上，乃至心理上都產(chǎn)生了強烈的沖突。這種沖突首先帶來的是新鮮感，促使我去發(fā)現(xiàn)新的繪畫語言。我開始畫大自然中的花朵，從廈門大學的每個角落一直畫到海邊，再到公園、整個亞熱帶沿海。這種地域的變化，對繪畫的沖擊是很大的。

The dramatic shift in geographical environment and culture—from the grasslands of Inner Mongolia to the southern city of Xiamen—has had a profound impact on my art. Regarding the commentary's mention of a language that "balances gentleness with strength," I believe gentleness is something inherent in everyone, a quality rooted deep within. Strength, on the other hand, is closely tied to the way of life in the north—its vastness, its depth, its bold and unbridled energy—shaped by life's experiences and the influence of northern culture and climate.

When I first arrived in the south, everything felt fresh and new. In my understanding, trees didn't bloom—the flowers I had seen in the north were all small, and trees themselves rarely bore blossoms. Upon arriving in Xiamen, I was astonished to see branches covered in flowers; it was a novel sight. This dramatic change sparked in me a childlike sense of discovery, as if I had found a new world, and ignited a strong passion for painting.

However, I also encountered a challenge: there was simply too much green in the south. From a color perspective, the shades of green are very close in value, making them difficult to render, and for a time I felt somewhat at a loss. As I continued to immerse myself in life here, the warmth of the climate created a stark contrast with the north—a contrast felt intuitively, physically, and even psychologically. This contrast first brought a sense of freshness, which prompted me to explore a new visual language. I began painting the flowers of nature—from every corner of Xiamen University to the seaside, and then to the parks and the entire subtropical coastline. This geographical shift has had a profound impact on my painting.

盛開 |Full Bloom

布面油畫 |Oil on canvas

150×150cm

2024

答：后來我去法國南部時，一下子理解了為什么許多法國畫家到了南方后受到巨大影響——從印象派到納比派，外光的影響至關重要。大自然饋贈給藝術家的，是光線、色彩的變化，是斑駁而豐富的視覺呈現(xiàn)。這對每一個流派、每一位藝術家都是巨大的沖擊。

從心理層面來看，南方氣候濕潤溫和，地理人文環(huán)境與北方截然不同。北方有凜冽的空氣、厚重凝練的氣質(zhì)、滄桑感，以及分明的四季；而南方四季不分明，更加溫和，語言與文化都更顯溫潤，飲食也影響著我們的心理。這種環(huán)境對色彩和心理的影響非常大。

或許正是因為內(nèi)心本就有一顆溫潤的種子，到了南方后反而契合得更好。溫馨、浪漫、絢麗、豐富——這些可能更符合我本應有的性情。而在整個繪畫中，因為有書法功底的支撐，以及北方少數(shù)民族性格的底色，所以在用筆的力量、色彩的沖突上，我又明顯不同于南方的畫家。這或許正是我藝術風格從內(nèi)到外的一種自然呈現(xiàn)。

Later, when I went to the south of France, I suddenly understood why so many French painters were profoundly influenced after moving to the south—from Impressionism to the Nabis, the impact of outdoor light was crucial. What nature gives to artists is the play of light and color, the dappled and richly varied visual experience. This had a tremendous impact on every movement and every artist.

From a psychological perspective, the climate in the south is humid and mild, and its geographical and cultural environment is completely different from the north. The north has crisp, cold air, a sense of depth and gravity, a weathered character, and distinct four seasons. In contrast, the south has less pronounced seasonal changes, a milder temperament, and its language and culture are more gentle and refined, even the food influences our state of mind. This environment has a profound effect on both color and psychology.

Perhaps it is precisely because there was already a seed of gentleness within me that, upon arriving in the south, I found it resonated even more deeply. Warmth, romance, brilliance, richness—these qualities may align more naturally with my inherent temperament. Yet throughout my painting, supported by my foundation in calligraphy and the influence of my northern ethnic minority character, I differ noticeably from southern painters in the strength of my brushwork and the intensity of my color contrasts. This may well be the natural expression of my artistic style, from the inside out.

夢花園 |Dream Garden

布面油畫 |Oil on canvas

180×200cm

2004

幸福花園 |Garden of Happiness

布面油畫 |Oil on canvas

150×180cm

2004

藝術家簡介

趙九杰

Zhao Jiujie

1963 年出生于內(nèi)蒙古烏蘭浩特。1986 年畢業(yè)于內(nèi)蒙古師范大學美術系油畫 專業(yè)。1990—1992 年結業(yè)于內(nèi)蒙古師范大學美術系油畫研究生班，（師承著名油畫家、教育家妥木斯教授）。現(xiàn)執(zhí)教于廈門大學建筑學院，副教授，中國美術家協(xié)會會員，中國油畫學會理事。福建油畫學會.廈門油畫學會顧問。

獲獎作品：

1998年 《風景 ——廈門大學》油畫入選中國國際美術年系列大展 ——當代山水畫、油畫風景大展，被選評為向全國媒體重點推薦作品，并收入精品集和全集。 （北京 中國美術館）

1999 年 《假日海濱》油畫 ，入選第九屆全國美展并獲第三屆福建省藝術節(jié)銀獎。

2004 年 第三屆中國油畫精選展，獲優(yōu)秀作品獎。（中國美術館）

2008年 獲CCTV中國中央電視臺中國優(yōu)秀油畫展播優(yōu)秀獎。

2014年作品《供養(yǎng)》參加第十二屆中國美展榮獲提名獎。

主要參展活動：

1998年 中國國際美術年系列大展 —中國當代山水畫、油畫風景大展。（中國美術館）

1999年 第九屆全國美展、福建省第三屆藝術節(jié)銀獎。（上海美術館）

2000年 “亞熱帶風”—趙九杰油畫作品巡回展。（廈門 福州）

2003年 第三屆中國油畫精選展，獲優(yōu)秀作品獎。（中國美術館）

2004年 參加第十屆全國美展。

2004 年 9月赴俄羅斯參加“中俄藝術家采風活動”并在上海參加“金色吉雅 河”中俄藝術家油畫作品展。

2004年 “風景與表情 —趙九杰、朱進油畫展”。（北京）

2007年11月策劃《藝術與環(huán)境》中德文化藝術交流活動。

2008年《中國風》《拓展與融合》入選中國當代油畫展。

2008年赴瑞典參加中國藝術節(jié)。

2008年獲CCTV中國中央電視臺中國優(yōu)秀油畫展播優(yōu)秀獎。

2009年參加第十一屆中國美展、當代油畫展。

2010年參加中國美術館和臺北市立美術館《此情此景：大陸油畫名家寫生展》。

2014年參加第十二屆中國美展作品《供養(yǎng)》。

2025年 參加巍巍者華—中國油畫學會三十年藝術展。

2025年參加文化和旅游部2025年全國美術館館藏精品展出季入選項目“吾心歸處—內(nèi)蒙古美術館藏妥木斯師生油畫作品展。

2025年參加東方意蘊 時代精神.中國寫意油畫大展。

個人展覽：

2004年9月10日 “趙九杰、朱進‘風景與表情’油畫展”。（北京國際藝苑美術館）

2006年 “尋找家園”—趙九杰油畫作品展。（上海劉海粟美術館）

2009年 “ 青春與夢想”—趙九杰油畫作品展。（廈門）

2016年赴法國南部考察，寫生。

2018年，2019年赴意大利，希臘考察，寫生。

2017年《觀蓮》趙九杰油畫作品巡展，上海油畫雕塑院美術館（上海），鳳凰藝都美術館（無錫），大連美術館（大連）。

2019年“彩韻”趙九杰油畫作品展（諸暨市水彩畫博物館）。

2021年中國油畫學會年展。

出版物：

2000年出版《趙九杰油畫作品集》翰林出版公司

2006年出版《尋找家園——九杰油畫紀程》天津人民美術出版社

2013年出版《人文武夷：麻粟星空》廈門大學出版社

2017年出版《觀蓮：趙九杰油畫作品集》慧觀書院

2018年出版《風景：趙九杰油畫作品集》大連美術館

2018年出版《觀蓮：趙九杰油畫作品集》鳳凰藝都美術館