對話趙九杰（二）：寫意色彩的情緒表達與境界表達

荷 -陽光明媚 |Lotus - Sunny and Bright

布面油畫 |Oil on canvas

120×120cm

2025

問：您的作品被評論界認為蘊含了“禪意”和“物我合一”的東方哲學，同時您又深諳油畫這一西方經典媒介的物性。在國際當代藝術的語境下，許多西方藝術家也在探索“精神性”與“物質性”的平衡。您如何看待您在創作中進行的這種“化合實驗”？對您而言，“寫意”是一種與西方“抽象表現主義”有所共鳴，但又根植于東方自然觀的、獨特的生命態度嗎？

Your work is often described by critics as embodying the Eastern philosophy of "Zen" and the "unity of self and nature," while you also possess a deep mastery of oil painting, a classic Western medium. In the context of international contemporary art, many Western artists also explore the balance between "spirituality" and "materiality." How do you view this "synthetic experiment" in your own creative practice? For you, is "Xieyi" (spontaneous expression) a unique attitude towards life, one that resonates with Western "Abstract Expressionism" yet is deeply rooted in the Eastern view of nature?

答：關于東西方美學的深度融合，這個問題相對復雜一些，我想從幾個方面來談。

一、從修行的角度

也許我天生對神性、佛道思想有所親近。從大學時期開始，我就對道家和禪宗文化有濃厚的興趣，無論是通過閱讀，還是對事物的觀察，以及所接觸的人與事，我的文化傾向都比較明顯。那時我就喜歡打坐，目的是讓自己靜下來，同時自然而然地希望能進入一種禪定的狀態。禪宗講“定能生慧”，我很早就相信這一點。當一個人足夠清凈的時候，智慧便會升起。這本身就是東方美學與禪宗文化的重要內容。

Regarding the deep integration of Eastern and Western aesthetics, this question is relatively complex. I would like to address it from several aspects.

I. From the Perspective of Spiritual Practice

Perhaps I have always had a natural affinity for the sacred, for Buddhist and Taoist thought. From my university days, I developed a strong interest in Taoist and Chan (Zen) culture—whether through reading, observing things, or the people and experiences I encountered, my cultural inclinations were quite evident. During that time, I took up meditation. My purpose was to quiet my mind, and naturally, I hoped to enter a state of Chan stillness. Chan Buddhism teaches that "stillness gives rise to wisdom," and I came to believe this early on. When a person is truly clear and tranquil, wisdom arises. This itself is an important element of Eastern aesthetics and Chan culture.

大富貴 |Great Wealth and Honor

布面油畫 |Oil on canvas

150×150cm

2025

答：二、從繪畫的角度

如何用藝術語言平衡精神性與物質性，找到那個平衡點？我認為東方的美學思想及其表達形式，本身就體現了一種物質與精神的融合。在我看來，繪畫的本體語言本身就蘊含著禪宗的思想，或者說，意境表達本身就是“無二無別”的。

你要表達某種意境，就必須通過恰當的形式語言——包括色彩的語言和意境——才能將你內心的想法呈現出來。這應當是“無二無別”的。在繪畫語言中，你所喜歡的意境、色彩的境界、用筆的表現力，都會自然而然地融合在一起，恰到好處。我認為真正高妙的境界，其實就是精神性與物質性沒有分別。好的藝術品，應該朝著這個方向走。

II. From the Perspective of Painting

How can we use artistic language to balance spirituality and materiality, to find that equilibrium? I believe that Eastern aesthetic thought and its modes of expression inherently embody a fusion of matter and spirit. In my view, the fundamental language of painting itself contains the essence of Chan philosophy—or to put it another way, the expression of artistic conception is itself "non-dual."

To express a certain artistic conception, you must employ the appropriate formal language—including the language of color and the artistic conception itself—in order to present your inner vision. This should be "non-dual." Within the language of painting, the artistic conception you favor, the realm of color, the expressiveness of brushwork—all of these naturally merge together, achieving a state of perfect harmony. I believe that the truly sublime state is precisely one in which spirituality and materiality are indistinguishable. A truly great work of art should move in this direction.

天境 |Heavenly Realm

布面油畫 |Oil on canvas

150×150cm

2025

答：三、寫意的本質

關于“寫意是一種與西方抽象表現有共鳴、又植根于東方自然觀的獨特生命態度”這一說法，我覺得有點宏大，我想更切實際地來理解這個問題。

什么是寫意？西方也有寫意的概念，就是把你的想法表達出來。即便你的手法偏寫實，但“意”的表達依然存在。從19世紀的美術史來看，繪畫基本以敘事性、文學性為主，有立意，有故事情節和人物去表達。到了19世紀末，印象派之后，藝術家開始講究本體語言、外光主義，納比派和表現主義則更加徹底——他們用本體語言直接表達意境。這種表現性與東方的寫意既有區別，也有相通之處。

東方的寫意與西方表現繪畫有一個重要的不同：在形象的表達上，東方的寫意更偏重“意”，但又不完全是抽象。在東方美學中，它仍然保有一定的“象”——但不是具象，而是“意象”。似是而非，恰到好處。這正是東方寫意繪畫與西方表現繪畫的顯著區別：它既有象的表達，又不執著于具體的形，而是把對象的靈魂姿態、色彩的靈魂表達得恰到好處。

這其實就是中國人講的中庸之道。

III. The Essence of Xieyi (Freehand Expression)

Regarding the idea that "xieyi (freehand expression) resonates with Western abstract expressionism while being rooted in an Eastern view of nature and representing a unique attitude toward life," I find this formulation somewhat grand. I would prefer to approach this question in a more concrete way.

What is xieyi? The West also has its own concept of freehand expression—that is, expressing your ideas. Even if your technique leans toward realism, the expression of "intention" or "idea" still exists. Looking at 19th-century art history, painting was primarily narrative and literary in nature—it had a concept, a storyline, and figures to convey it. By the end of the 19th century, after Impressionism, artists began to focus on the intrinsic language of painting and the effects of outdoor light. The Nabis and Expressionists took this even further—they used the fundamental language of painting to directly express artistic conception. This expressiveness shares both differences and common ground with Eastern xieyi.

There is one important distinction between Eastern xieyi and Western expressionist painting: in the expression of imagery, Eastern xieyi places greater emphasis on "intention" (yi), yet it does not become entirely abstract. In Eastern aesthetics, it still retains a certain "likeness" (xiang)—not a literal likeness, but an "imagistic likeness." It is both familiar and elusive, capturing the essence without over-specifying. This is precisely the significant difference between Eastern freehand painting and Western expressionist painting: it embodies a sense of likeness without clinging to concrete form, expressing instead the soulful essence of the subject and the spirit of color with perfect subtlety.

This is, in fact, what the Chinese tradition refers to as the "Doctrine of the Mean"—finding the balanced, “just right” approach.

夏日 -荷|Summer - Lotus

布面油畫 |Oil on canvas

90×130cm

2024

（已被收藏）

答：四、寫意的色彩

我們的寫意繪畫帶有線性特征，同時也注重色彩。在色彩方面，我們吸收了西方對色彩學、外光以及心理學的研究，但我的色彩研究更植根于東方的五行五色學說。我認為這具有普世價值——每一種色彩都帶有特定的情感表達方向。比如：

• 紅色表達喜悅
• 黃色代表思慮
• 藍色代表冷靜、怒相
• 黑色代表恐懼
• 白色代表悲憫

這種表達方向恰恰契合東方人對藝術的理解——色彩可以用來表達每個人的情感、情緒乃至精神境界。這一點與西方色彩學有相通之處，西方也用色彩語言來表達心理狀態和情緒，方向是一致的，沒有太大區別。

IV. The Color of “Freehand Expression”

Our freehand painting has linear characteristics, while also placing great emphasis on color. In terms of color, we have absorbed Western studies on color theory, outdoor light, and psychology, but my own approach to color is more deeply rooted in the Eastern theory of the Five Elements and Five Colors. I believe this has universal value—each color carries a specific direction of emotional expression.

For example:

• Red expresses joy
• Yellow represents contemplation
• Blue represents calmness and the wrathful aspect
• Black represents fear
• White represents compassion

This direction of expression aligns precisely with the Eastern understanding of art—color can be used to express individual emotions, feelings, and even spiritual states. In this regard, there is common ground with Western color theory; the West also uses the language of color to express psychological states and emotions. The direction is consistent, and there is no significant difference between the two.

吉祥鳥 |Auspicious Bird

布面油畫 |Oil on canvas

120×120cm

2024

答：五、色彩研究的多元維度

我在研究禪宗和密宗的色彩學，以及道教文化和中國傳統文化中的五行五色學說時發現，它們主要以裝飾色、本色為主，進行情緒和精神的表達。密法中有“息、增、懷、誅”四種顏色的表達，與五行五色有相通之處，都是以色彩來“表法”：

• 白色代表“息滅法”，熄滅煩惱
• 黃色代表“增益法”，有加持力、幸福感
• 紅色代表“懷法”，有懷恩、懷愛、感恩、熱烈之意
• 黑色代表“誅法”，斷除根除惡念

這與五行五色中黑色表達恐懼也有一定關聯。

此外，我還結合了西方心理學的研究，它們雖有微妙的區別，但也有相通之處。當然，文化的差異——包括宗教、地域和民俗文化——也會帶來不同的理解。比如白色在西方代表崇高，常用于婚禮；而在東方，白色雖有崇高、空靈之意，但也帶有悲憫的含義，喪事多用白色。紅色則在不同文化中都有相似之處。這些文化差異與各民族的地域習慣、宗教忌諱密切相關，值得深入研究。

V. The Multidimensional Dimensions of Color Studies

In my study of color theory in Chan (Zen) and Vajrayana Buddhism, as well as in Taoist culture and the traditional Chinese theory of the Five Elements and Five Colors, I have discovered that these traditions primarily use decorative colors and inherent colors to express emotions and spiritual states. In Vajrayana, there is a system of four colors associated with the "four activities" — pacification, increase, magnetizing, and wrath — which shares common ground with the Five Elements and Five Colors. Both use color as a means of "symbolic expression":

• White represents the "pacifying activity," which calms afflictions
• Yellow represents the "increasing activity," which brings blessings and a sense of well-being
• Red represents the "magnetizing activity," which conveys gratitude, loving-kindness, and warmth
• Black represents the "wrathful activity," which cuts off negative thoughts and eliminates unwholesome tendencies

This also relates to the Five Elements and Five Colors theory, in which black expresses fear.

In addition, I have also incorporated research from Western psychology. While there are subtle differences, there are also points of connection. Of course, cultural differences—including those arising from religion, geography, and folk traditions—also shape different understandings. For example, in the West, white represents nobility and is often used in weddings. In the East, while white also conveys a sense of nobility and ethereal quality, it carries connotations of compassion and is commonly used in funerals. Red, on the other hand, shares similar meanings across different cultures. These cultural differences are closely related to regional customs and religious taboos of various ethnic groups, and they deserve deeper study.

喜悅 |Joy

布面油畫 |Oil on canvas

150×150cm

2025

答：六、寫意色彩的兩個層次

基于以上研究，我認為寫意性繪畫的色彩表達可以分出兩個層次：

第一層是情緒表達。這是色彩的基本功能——紅色代表喜悅，藍色代表悠遠、冷靜，黑色代表怒相等等。這種表達屬于本能層面，每個人都能理解和感受。

第二層是境界表達。這需要更深的修養——對色彩有充分的理解、消化，然后才能將內心最高的境界表達出來。境界表達不同于情緒宣泄，它在層次上更高。從繪畫語言和視覺語言的角度來說，境界表達是繪畫的最高目標。

VI. The Two Levels of Color in Freehand Expression

Based on the above research, I believe that the expression of color in freehand painting can be understood on two levels:

The first level isemotional expression. This is the fundamental function of color—red represents joy, blue represents tranquility and depth, black represents the wrathful aspect, and so on. This type of expression belongs to the instinctual level, something that everyone can understand and feel.

The second level isexpression of spiritual state (realm). This requires a deeper level of cultivation—a thorough understanding and internalization of color, through which one can then express the highest spiritual state within. The expression of spiritual realm is different from emotional catharsis; it operates on a higher level. From the perspective of painting language and visual language, the expression of spiritual realm is the highest goal of painting.

花開富貴 |Blooming Fortune

布面油畫 |Oil on canvas

120×120cm

2023

答：七、色彩研究的普世價值

我研究的色彩學具有一定的普世價值。對于觀者而言，它能夠引導人們如何去欣賞繪畫，從理性上理解畫面表達了什么樣的情緒、什么樣的意境。對于創作者而言，它能讓創作方向更加明確，意境的表達更加精準。這種雙向的價值，正是我探索色彩語言的初衷。

VII. The Universal Value of Color Studies

The color theory I have explored carries a certain universal value. For viewers, it can guide people in how to appreciate paintings, helping them understand rationally what emotions and what artistic conceptions are expressed on the canvas. For creators, it can bring greater clarity to their creative direction and enable more precise expression of artistic conception. This dual value is precisely the original intention behind my exploration of the language of color.

夢蓮 |Dream Lotus

布面油畫 |Oil on canvas

60×80cm

2012

參加2015中國寫意油畫學派名家研究展

藝術家簡介

趙九杰

1963 年出生于內蒙古烏蘭浩特。1986 年畢業于內蒙古師范大學美術系油畫 專業。1990—1992 年結業于內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）。現執教于廈門大學建筑學院，副教授，中國美術家協會會員，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銀獎。

2004 年 第三屆中國油畫精選展，獲優秀作品獎。（中國美術館）

2008年 獲CCTV中國中央電視臺中國優秀油畫展播優秀獎。

2014年作品《供養》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。

2008年獲CCTV中國中央電視臺中國優秀油畫展播優秀獎。

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》。

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