赵卫画作

 1957年出生于北京，籍贯云南，白族；

1985年毕业于北京师范大学中文系，同年作品《农家丰收喜事多》入选国际青年年全国青年美术作品展览并获鼓励奖。加入北京市美术家协会；

11986年作品《九月山村记事》等入选北京市美术作品展览并获优秀作品奖，北京美术家协会收藏作品二幅；

1987年与陈向迅、陈平、卢禹舜共同参加由中国画研究院主办的四人山水画作品联展，中国画研究院收藏作品四幅；

同年年底调入中国画研究院。河南美术出版社出版《赵卫、余龙山水画集》；

人民美术出版社《中国书画》第二十五期张仃先生撰文专题介绍《赵卫—其人其画》；

1989年作品《陕南纪事》入选第七届全国美术作品展览，获铜牌奖；

作品10幅参加由中国美术家协会、中国画研究院主办的中国山水画作品联展(李可染、陆俨少、张仁芝、龙瑞、王镛、庄小雷、陈向迅、赵卫、陈平、卢禹舜),中国美术馆收藏作品二幅；

1990年作品《天高云淡》等参加上海美术馆主办的六人山水画展—龙瑞、王镛、陈向迅、赵卫、陈平、卢禹舜)，黑龙江美术馆主办的“四人山水画展” (陈向迅、赵卫、陈平、卢禹舜),作品三幅分别为上海美术馆和黑龙江省美术馆收藏；

在新加坡举办个展并出版《赵卫画集》(阮宗华撰文)；

1991年多幅作品分别参加香港大会堂举办的中国山水画特别邀请展(龙瑞、萧海春、陈向迅、赵卫、陈平、卢禹舜)，在新加坡文物馆举办的四人作品联展(邓林、龙瑞、詹庚西、赵卫),加入中国美术家协会；

1992年参加中国美术馆主办的当代中国美术作品展览和中国美术家协会主办的现代中国美术代表作品展，中国美术馆收藏作品一幅。香港出版《赵卫画集》(张士增撰文)；

1993年参加韩国可隆公司、CBS广播公司、韩国艺术殿堂共同举办的四人作品展览，出版《赵卫画册》；

香港大业出版公司出版大型画册《二十世纪中国水墨画大系—赵卫》(薛永年、邵建武、张惠明、张仃撰文)；

1994年作品《五色山村》入选第八届全国美术作品展览和第八届全国美展优秀作品展览。文化部授予“国家二级美术师”职称；

1995年作品《林县印象》等参加太行魂—红旗渠风情画展(中国画研究院、河南省中国画院主办)；

《国画家》第三期专题介绍《爬山歌和赵卫的山水画》(张士增撰文)；

1996年《美术》第三期专题介绍《赵卫山水画》(张士增撰文)；

作品《安吉田园》等参加情系井冈—中国山水画创作展(中国美协、中国画研究院等主办)；

荣宝斋出版《山谣—赵卫山水作品选》；

1997年作品《牧羊者归》等参加当代山水印象—97年青年山水画家邀请展(中国画研究院、中央美术学院研究部主办)；

作品《安吉行旅》等参加中国画研究院创作展和大京九铁路写生展(北京美协主办)；

《丁丑秋忆渭川旧游所见》等参加中国新文人画展；

与陈向迅、陈平、卢禹舜赴日本仙台举办“四人画展”；

在汕头举办个展；

中国美术馆收藏作品《桃源》；广州美术馆收藏作品一幅；

1998年与陈向迅、陈平、卢禹舜在中国美术馆圆厅举办四人山水画展(中国美协、中国画研究院主办)；

作品《丁丑秋携友人往太行所见》参加由文化部主办的国际美术年—中国山水画、油画风景展(并担任评委)；

作品《白描山水》参加由深圳市市政府主办的首届国际水墨画双年展，日出即作》参加在日本举行的中国绘画50年美术作品展(中国美术馆主办)；

中国美术馆收藏作品《榆林之霜降》；

《美术》第十二期刊登作品《云蒙山居图》、《雁翅田家》以及文章《创作自白》；

出版《四人山水画集》(郎绍君、王鲁湘撰文，国际文化出版社)、 《北窗札记—赵卫散文与绘画》(河北教育出版社)；

1999年作品《峰回路转》入选第九届全国美展和优秀作品展；

担任中国美术家协会主办的1999全国山水画展评委；

出版《赵卫画集》(河北教育出版社)；

中国美术馆收藏作品《日出即作》；

文化部授予“国家一级美术师”职称；

2000年出版《赵卫画集》(人民美术出版社)，赴美国举办“刘大为、赵卫、孟祥顺画展” (中国美协主办)；

2001年作品《陕北秋红》入选“百年中国画展” (中国美协等主办)；

2002年赴欧洲考察。参加“锦绣中华万里行—太行篇”美术活动；

2003年出版《走近画家—赵卫》(天津人民美术出版社)；

2004年作品《老区早晨》入选第10届全国美展并获优秀奖、特别奖齐白石奖；

参加中国画研究院主办的聚焦西部—走进宁夏、内蒙等写生展览活动；

任中国画研究院教学培训部主任、创作研究部副主任、山水研究室主任、艺术委员会委员；

2005年任中国画研究院创作研究部主任；

作品入选“第三届全国画院画家优秀作品展”(文化部主办)并获奖；

出版《赵卫作品及技法》(天津人民美术出版社)；

赴台湾、柬埔寨、美国等国家和地区写生；

2006年中国画研究院更名为中国国家画院。赴日本办展；

2007年作品入选“第四届全国画院优秀作品展” (文化部主办)并获奖。赴俄罗斯写生；

2008年In 2008，elected the 11th CPPCC National Committee,member of China Artists Association；

2008年当选第1 1届全国政协委员，中国美术家协会理事；

2009年作品《日正山和》入选第11届全国美术作品展并获优秀奖、中国美术创作奖；

赴日本、卢森堡等国家举办画展。中国艺术研究院聘为研究员；

 赵卫，1957年生于北京，1985年毕业于北京师范大学中文系。作品《九月山村记事》于1986年入选「北京市美术作品展览」并获优秀作品奖而1988年《秋红时节》参加「北京国际水墨画展」亦获优秀作品奖。赵氏活跃于中外美术展览，1987年，与陈向迅、陈平、卢禹舜合作举办「四人山水画作品联展」，其后参加由中国美术家协会、中国画研究院主办的「中国山水画作品联展」。1990年亦参加上海美术馆主办的「六人山水画集」和黑龙江省美术馆主办的「四人山水画展」。一年后，参加在香港举办的「中国山水画特别邀请展」和新加坡的「四人作品联展」。1995年作品《五色山村》更入选第八届全国美展优秀作品展览。赵氏出版繁多，包括1987年的《赵卫、余龙山水画集》、1990年的《赵卫画集》、《赵卫画册》和《二十世纪中国水墨画系-赵卫》

后作品先后参加第七、八、九、十、十一届全国美展，分别获铜奖、优秀作品奖、齐白石奖、中国美术创作奖，2005、2007、2010年参加文化部主办的全国画院优秀作品展，均获奖。入选《百年中国画展》、《中国绘画五十年》等国家级大型展览和画集。在国内外举办过多次画展，出版有多部个人画集。

全国政协委员，中国美术家协会理事，中国国家画院副院长，国画院常务副院长，享受国务院专家政府特别津贴，国家一级美术师，中国艺术研究院特聘研究员，硕士生导师。作品先后参加第七、八、九、十、十一届全国美展，分别获铜奖、优秀作品奖、齐白石奖、中国美术创作优秀奖。

 当代山水画坛新人辈出，有种可喜现象可否称之"集束式爆发"?也即一拨接一拨整体走红、整体出彩。若从时间上追溯，"四人山水"画展应算一个开端。1987年7月，中国画研究院召开学术研讨会，与会者多达五六十人，李可染、叶浅予、张仃、何海霞，在京的老先生大部分都来了，白花花的胡子坐在那，可见这次会议之重大。美术理论界的重量级人物也悉数到会，就当时中国画"穷途末路"说，围绕中国画的前途、命运，展开了长达三天的大讨论。

与此同时，中国画研究院还精心安排了一场画展，集中展示4位青年山水画家的一批新作，简称"四人山水"。他们是:陈向迅，31岁;赵卫，30岁;陈平，27岁;卢禹舜，25岁。

4人中，赵卫和陈平最先联手，一同参加过1984年"地铁壁画工程"。工程结束后两人成了好朋友，经常在一起切磋画艺，一起外出写生，若有大块时间则结伴远行。有一次在华山，陈平冒出一句，"咱们办个展览吧!"赵卫听了感到一震。那时候办展还是一件大事，大家还处在摸索爬坡阶段，水平如何，自己也没底。

俩人商量一番。陈平提出再找个伴，选择了杭州的陈向迅。赵卫和向迅曾在周庄写生，彼此熟悉。一桩大事很快敲定，3个人都很激动，开始做准备。到中国画研究院看展出场地时，龙瑞老师提议最好再增加一个人，因为有4个展厅，一人一个。不久，几位老师推荐了卢禹舜。

当赵卫和陈平在中央美院教室见到正在进修的禹舜时，时值春末，却见他汗流浃背地挑灯夜战，地上铺满了写生稿和正在完成的作业。看那样，教室更象他的画室。

 "四人山水"画展如期举行，搭上了研究院大型研讨会的车，随着众多媒体的大量报道而传遍全国，画坛上吹来一股清新的风。以赵卫的作品为例，在传统笔墨的某一点上作深入挖掘，经反复临摹而熟能生巧，而后融入写生所得，通过重组、转换获得一种富有现代气息的笔墨构成，守住宋元山水章法之完整恢弘，大胆汲取当代的各种艺术营养，儿童画、农民画，西方的稚拙绘画、甚至摄影构成，都可以为其所用，都可有所借鉴，融会贯通，最终形成明显的个人面貌，获得了非常好的展出效果。展览为专家学者所肯定，老先生们更是给予很大鼓励。

八十年代的中国画坛已经是新风扑面了。以周思聪为代表，石虎、聂鸥等人的笔墨创新引起广泛关注。"四人山水"也赶上了那时的末班车。尤其他们的年轻，作品所显示的潜质，更容易成为亮点，为美术界所格外关注。展出期间，住在研究院后院小楼里的叶浅予先生，白天看过了晚上又来看，他特别对赵卫、卢禹舜的作品感兴趣，提议交换作品。张仃是赵卫的恩师，从画展筹备到正式展出，始终关怀备至，多方推动。4位年青画家无比感激，从当时他们与张先生的合影中不难看出4人的崇敬心情。李可染先生也曾两度到场观看。开幕式上，他拄着拐杖，把4个展厅全看一遍，意犹未尽说:"今天人太多了，我还要单独再来看。"临近结束前，他果然再次来到展厅，仔仔细细地又看了一遍。离开时还拉着4个人的手说:"咱们照张相。"何海霞、梁树年先生以及黄润华、张仁芝、石虎等许多老师都对展览给以特别关注。

画展之后，陈向迅和陈平成为单位的业务尖子。卢禹舜以28岁的年龄出任当时最年轻的国画教授。赵卫则调进中国画研究院，成为国家画院中年龄最小的专业画家。此后十数年间他都保持着这一状态，有幸一直得到两代国画名家的悉心关照和培养。李可染先生当时是名誉院长，只要院里有活动，老人一准参加，到院里走走、看看。1989年10月(距离先生去世仅半个月)，中国画研究院举办一个山水特别邀请展，展出李可染、陆俨少、龙瑞、张仁芝以及4位年青画家等共10位山水画家的作品。开幕式后，李先生在赵卫的作品面前停下来，他手指作品上方远山外浸出很窄的一块淡墨，说:"你懂这个了，很不错。"他接下来又低头指着画面上的点景人物说:"很俏皮，腰再弯一点，姿式再夸张一点，会更好一些。"他不光看画，还会询问看了那些书、用的什么纸、写生去了哪些地方?大师的品格渗透在一言一行中，他们一生努力的结果，把自己也变作了艺术品，以其作品也以其人格魅力而辉映画坛、启迪后人。中国画历经千年而长盛不衰，因其传承有序，所以大师辈出。一个酷爱艺术，痴情于绘画的人，有机会聆听大师教诲是多么幸运。初出茅庐，便能在中国画研究院拥有一间画室是多么幸运。

 1957年，赵卫生于北京，父亲是老北大，地下党，母亲毕业于北师大物理系。赵卫自小聪颖过人，兴趣广泛，喜爱音乐，擅长理科，数学默算能力尤为惊人。画画不过是玩儿，是课余爱好。在这个既是革命家庭，又是书香门第之家，父母灌输给儿女的人生理念是只有自然科学能够救中国，弟弟、妹妹均选择了理工科，留学国外，学有所成。赵卫是家里的老大，才分高、责任大，他曾有各种各样的考试机会、择业机会，却因故而一一放弃了，似乎只有唯一的归宿留与他，就是中国画，就是中国山水画。1985年北师大中文系毕业后，他的心态日趋宁静、安详，注意力集中于山水创作。他努力保持良好的心境，醉心于绘事之中，笔墨往深邃宽厚里走，往苍茫不羁里走，以其这茬画家少见的静气把画面经营的浑沉苍茫，满纸清怀。赵卫告诉我，这一切得益于中国画研究院本身所具有的浓厚学术氛围和宽松的创作环境。是啊，赵卫这一代年青画家赶上了改革开放的好年头，加之画坛领袖级人物就在身边，平台大得很，什么样的求学愿望不能得到满足呢?

在非常好的环境下，赵卫深知自己的不足，"四人山水"画展之后，他着手补课，临摹研究传统绘画，尤其宋元山水，分作不同单元，细心剖析领会，务求吃透精神。对特别重要的范本作分解式拆析、消化，这也是恩师张仃提倡的方法，"它山之石，可以攻玉。"

笔者小时候学过果树嫁接，果农在几近枯死的老树上植入新芽，使之枯木逢春，又是满树繁华。赵卫于绘画擅长"嫁接法"。传统为老树，生活为新芽，通过两者的结合求得新的品类，乃当代画家共同面临的课题。赵卫的找寻并无刻意，有龙瑞老师带着，他一头扎进燕山，需要的就都有了。从小生活在大都市里，山乡野趣给予他的新鲜感无处不在，随便走到一处山洼、走进一家农舍、走过一条小溪、走上一道坡坎，都有满眼画面，扑面而来。山野是大自然留给人类的精神栖息地。城市属于科学，而山野属于艺术。李可染如果不去漓江，在游历自然景象中深化笔墨灵性，其艺术成就从何而来?在前辈大师们走过的路上，如今也走着龙瑞和姜宝林，也走着赵卫这茬人。

赵卫的种种幸运可用"奇迹"二字形容，好事全叫他摊上了。自1980年起，北京画院老画家何镜涵先生指导他临摹传统，随后他就跟随龙瑞学画。龙瑞带着他下乡写生，每个礼拜天都要下去跑，北京近郊的怀柔、密云等地都跑遍了，门头沟一带去得最多。燕山属太行山脉，自西北向东南、连绵横贯于北京西部地区，西接河北、山西，东连黄渤海，构成京畿门户。难怪长期生活在浙江的画家姜宝林走进燕山之后大为惊讶说，山水画家若能把北京地区的山画好就很不错了。龙瑞的作品多受益于燕山，尤其京西门头沟的丰沙线等地，是他和赵卫等画家率先发现的新的写生点，许多画家后来都曾到这条线上画写生。

走过燕山，向北，进入河北境内的太行山脉;向西，踏上山西、陕西的黄土高原。随着写生范围的不断扩大，赵卫的艺术视野也在拓宽，画面语境日见沉静，个性化面貌日见显著。

北方山区的冬季特别漫长，直到五一节前都是黄沙杂草，少有绿色，一山的碎石攒乱，斑斑驳驳，非常荒寒。一个横坡，几道竖线，无规则地割成各种图形，花花白白，披头盖脸。突然窜出一只野兔，隐没于野草乱石丛中。山羊、毛驴和牛，也都时有所见。赵卫的作品饱含着浓浓的乡土气息，在清新明丽或繁复斑驳的画面中透露着一段故事，一种感情。有娓娓道来的叙事，情不自禁的抒发，洋溢着清新饱满的时代气息，令人驻足画前，产生联想。我以为这与他的文学修养有着密切关系。在一篇短文中他告诉我们，一次写生夜宿深山，几百里盘旋山道漆黑，不见人迹。忽见远方车灯闪现，如同萤火般慢慢驶近，竟是一辆宝马。在黑黝黝的山坳中，非常神奇。同样是车灯，在大都市里它只能增加纷繁，在大山的背影下却殊为优美，有若无声的旋律给人以暗示。此情此景未必适合画面表现，其意趣却远远大于一张画的涵盖，并会最终转化为对画的滋养。写生、采风就是这样，既要找寻具象，更需体会抽象，激发你对绘画的投入、热爱。赵卫以其敏锐的观察力，以其多方面的才华及心性蒙养，逐渐实现对画面的宽厚把握。

黄土高原则又是一种情形，七沟八梁，山乡野地里全是人文符号、人文关怀，洋溢着浓浓的人情味。一眼窑洞、一盘老辗、屋檐下的一串红辣椒、不大的一棵枣树，门口一杆筢子，全都具有标志性，表明这就是陕北。老乡的土炕、窗户上的剪纸、还有典型的羊肚子头巾，别处可能也有，但和陕北见到的不一样，感觉就是亲切、亲情、饱含着浓浓的人文精神，促使你作画时特别投入、特别真诚，《陕南纪事》就是这样一幅作品。赵振川老师谦虚，见面表扬说，赵卫，你到陕北一画就获奖，我们画了几十年也很难拿个奖。

敞开心扉，融入情感，赵卫的画素朴而宽厚。

素朴源于他的人格品质，这种品质恰好与他时常写生的自然山水相吻合。那些老百姓的山，光秃秃的山，穷山恶水，无名之山，在常人眼里不值一提，毫无欣赏价值，在他看来却满山亮点，美不胜收。亮点落实到宣纸上则变作黑点，麻麻点点，密密实实，任何一种景色都可入画。普通的石块、不起眼的荒草、长不大的小树，一一转化为笔墨元素，注定了他的画不可能是新款宝马，而只能是劳斯莱斯，是手工制作，其貌不扬。一个大摊子摆在那，山里有的画里都有。张仃说，赵卫，看你的画紧张。朋友说，赵卫，你画得累不累呀，连我们看着都累。没办法，他觉得不这么画就对不起那些山，就很难完整表达想说的话。画画也是一种生活方式，必定因人而异。赵卫理解，一定要经过紧张、经过饱满这道关，而最终走向轻松愉悦，也即先苦后甜的道理。

龙瑞老师带他走出画室，走进大自然，带他翻山越岭、摸趴滚打，许多年里都是这种状态。由燕山而太行山、吕梁山，直到走遍祖国的河山大地。回到画室则埋头传统，临摹李成、范宽、王蒙，直至后来的石溪、萧谦中、丁云鹏。一幅中堂有若一座大山的浓缩，一大块墨气扑面而来，悍天拔地;一片夹叶树又如无数植被的概括，密密麻麻计白当黑，令人耳目一新。所谓功夫到家，既是笔墨修为，更是课业态度，你得沉下心来，一笔一笔画进去，把你的感情画进去、把你的修养画进去，不是敷衍潦草，而是兢兢业业，一丝不苟。

野山苍苍茫茫，范本气象万千，大师言犹在耳，一提笔就是这些东西。爱那荒山野岭是对大都市弥漫着的躁气之逆反吧?素朴厚重，不饰雕凿，又恰是今日画坛所亟需的踏实。

宽厚更是赵卫做人做画的一贯风格。已经许多年了，书画市场的无序竞争仍在继续，评判员也许会永远站在历史的屏幕后面。难得赵卫总能把心态调到最佳，保持稳定的节奏感。我所看到的赵卫，无论何时何地总是甘当配角，谦和低调，只求把事做好，把画画好。他虽置身第一梯队，却习惯于默默跟随，心态极其平和。

作品也是这样，宽厚内敛，朴拙沉静。受张仃影响，赵卫擅长焦墨，尤其酷爱墨点，在作品中大面积地堆积、铺陈，靠清晰的外轮廓将其圈住，有如圈满了山羊、野兔、松鼠，堆满了石块、蒿草、荆棘，一幅画里不知要搁进多少内容，足见赵卫经营笔墨的苦心和勤奋。

古往今来，前后左右全都理清了、看懂了，然后选一个位置把自己放进去，平心静气地往前走，一步一个脚印。在这茬画家中，难得有谁像他那样理性、冷静，从容不迫，作画的状态非常安详，想法非常明确，神清气爽，踏踏实实。笔下展开是少有的静气，落笔干净、纯粹，笔笔都往深厚里走，在堆积中有着不凡的气度和秩序。从满纸墨点到翠绿山水，意在加强观赏性、可塑性，拓宽笔墨的表现空间。再从翠绿山水到赭色墨点、到白描。赵卫一直在探索中强化其笔墨感受，丰富其笔墨样式，而不急于在某一点上做强行突破。

多年来，他一直在做加法，不断地充实画面，强化密度，强化笔墨个性，逐步提炼令人信服的符号元素。先要收住，再行放开，总有一天他会用减法。

赵卫的白描，一反写实具象，对山乡野岭加以高度概括、高度抽象，有如五线谱般畅扬，分明有音乐的作用在里面，是原生态的民歌清唱，是《信天游》、是《爬山歌》，欢快的音符撒满群山。音乐是所有艺术类别中的无冕之王。赵卫于音乐上的痴迷无人不晓。借助音乐的滋养，绘画更会插上想象的翅膀。

 就这样一下子过去了10年。

张仃先生当年的"劳教改造"之地"十渡"，如今成旅游景点了。当中国画研究院内的小树逐渐长成的时候，赵卫等人也都功成名就，已然是山水画坛卓有影响的人物，在一定程度上引领当代山水画之时代走向。1998年7月，第二届"四人山水"画展于中国美术馆圆厅举行，再次引起轰动，一说"四人山水"业内都知道，已然具有品牌意义和时代作为。

这时，李可染先生已经故去了。张仃虽年事已高，仍亲自主持展览，到会讲话，给晚辈后生们以极大鼓励。

说到张仃，若非篇幅所限，真该好好聊聊"地铁壁画"，也即完成于1984年夏天、 至今仍镶嵌于西直门地铁站内的两幅山水巨制《大江东去图》和《燕山长城图》，分别高3米、长70米，由张仃、龙瑞、姜宝林等人主笔。当年，赵卫以其小小年纪，成为这一工程的主要组织者和参与者，并由此进入画坛，确立了很高的起点。张仃主持了"地铁壁画";主持了首都机场"壁画";主持了许多类似的大型创作。作为老艺术家，其艺术实践始终追随时代步履，也始终融入在群体性的作为里。受其影响，受益于老一代艺术家的传帮带，赵卫习惯于大处着眼，认为个人名利事小，团队意识事大，极为看重"四人山水"，极为看重院里交办的工作，一事当前，先替集体打算。正是这种宽厚，成就着他的杰出。

1998年，赵卫参与创作由龙瑞设计、主持的大型山水画《锦绣中华》。1996和2000年，赵卫参加以龙瑞为首的"锦绣中华万里行-------桂林篇和太行篇"写生创作活动。他年纪轻轻，已先后应邀担任"1998年全国中国画展"、"跨世纪全国中国画展"、两届"中国山水画·油画风景对比展"等许多文化部和全国美协大型展览活动的评委。他是文化部高级职称(美术)评审委员会委员，享受国务院专家特殊津贴。在他这般年纪，在英才众多的中央单位，是非常难得的。

2004年春天，龙瑞出任中国画研究院院长，实行创作、理论与教学并重的举措，成立教学培训部，重温师傅带徒弟的传统教学方式，以弥补学院式教学所发生的种种缺失。又是赵卫，成为这项工作的组织者、管理者。6大导师工作室框架具有开创性和广泛的号召力，应试者极为踊跃，其中不乏活跃在各地的美术骨干、画坛新锐。2005年4月，由全体学员和任课导师组成上百人的采风队伍，浩浩荡荡地前往山西河曲写生、采风，其形式之独特、内容之丰富、反响之强烈，足以成为画家集体深入生活的一个范例。

2005年7月，他回到创作研究部，又带领一班画家去实现新的理想。

20年了，在两代名家的呵护下，赵卫一路走来，一棵小树也该长大、长高了。因有这种呵护，他在心理上有着至高的追求，保持着一贯的纯朴和真诚，还有梦。赵卫说，我有很多梦。梦有时是理想与追求的同义语。无论已经有过多大成就，绘画对于他仅仅是起点，就像此时的杨树，刚刚挂出"毛毛虫"，还须等些时日才能满目葱茏。我在赵卫的车里完成了这次采访。车停在中国画研究院的小院里，继而停在友谊宾馆身后的大院里。小院里有杨树，大院里也有杨树。迎春花正在绽放，一蓬蓬犹如花蓝一般。春华秋实，博观约取。艺术家自会特别关注生活中的亮点，将其收集起来，经微观积累实现对宏观景象的洞察和收获。赵卫还在跋涉中、成长中。他明澈的眸子于沉思中会陡然间一亮，以其睿智在我心中留下易于觉察却难以言说的杰出。我深信再过10年、20年，他会向我们展示更加宽厚卓越的艺术前景。赵卫说，每年春天到来的时候，总会不由自主地仰望树梢，倒计时地算着，大约是3月8号或9号吧，杨树开花吐绒。有时到了6、7号，心里着急，怎么还没动静?等到第二天早晨抬头一看，哇，树上挂满了"毛毛虫"。

 主要出版作品有《20世纪中国水墨画大系--赵卫》(香港人业出版公司)、《赵卫画集》(人民美术出版社)、《赵卫》(河北教育出版社)、《北窗杂记---赵卫》(河北教育出版社)、《山谣--赵卫山水作品选》(荣宝斋出版社)等。中国美术馆、上海美术馆、中国画研究院、北京画院等均有收藏其作品。

 中国画研究院画家赵卫其人其画

文/张仃

近几年中国画研究院画家赵卫的山水作品，给我印象很深。他的画，不是名山大川，也不是旅游胜地，多是北方普通山村小景，这些小景又不是什么深山古寺， 小桥流水，而是极普通的一道山梁，一片庄稼，或几户人家，几头牛羊。他画的非但不是公认的风景点，往往只是不被注意、为画家和摄影家所忽视的平凡景物。但为什么这些画面又能成为感人的作品呢?我认为首先是"画品"高。高在哪里?高在景物平常而意境清新。人们忽略的身边景物被作者发现了，并以朴素而稚拙的语言表达出来，有说服力而动人，满足了人们高层次的审美要求，做到了"画中有诗"。从艺术效果上看，一幅小品中，布满斜线，几片待收的麦田，斜风细雨，繁而不乱，有"象"外之意。山坡下两间旧窑，门上还留有剥落的暗红色春联，在层层密密的焦墨墨点中，几乎不易辨认，画面满而不塞，黑而透明，象陕北腰鼓，紧张、强烈、有力度。有时在画面空白处题几句民歌，自然而调和，一扫传统文人画的"雅"病，一股山野清风扑面而来。

论"画品"仍须论人品，一个画家即便有一定的基本功和表现能力，而无较高的文化修养，又急功近利，故弄玄虚，东施效颦，其画品是绝对不会高的。赵卫重视修养，热爱读书，坚持深入生活，注意汲取民间和现代文化的营养。"长期修养，偶然得之"，他虽然仍属年青画家，却达到了颇高的层次，决不是一日之功。古人说:"人品不高，用墨无法"，赵卫的艺术实践，从正面证明了这一论断。很多画家抗拒不了"不正之风"的侵袭，弄得东倒西歪，粗劣作品、冒牌赝品泛滥成灾。在这种形势下，仍有不少有民族感情，有时代精神，有使命感的画家认真对待艺术，经过不断探索，出现不少艺术上新而素质高的作品。我以为，赵卫是脱颖而出的一位。

 Born in Beijing in 1957, born in Yunnan, Bai nationality;

In 1985, he graduated from the Chinese Department of Beijing Normal University. In the same year, his work "Farmer's Harvest and Pleasant Events" was selected for the National Youth Art Exhibition of the International Youth Year and won an encouragement prize. Joining Beijing Artists Association;

In November 1986, his work "Records of September Village" was selected for Beijing Art Exhibition and won the Excellent Works Award. Two works were collected by Beijing Artists Association.

In 1987, he and Chen Xiangxun, Chen Ping and Lu Yushun jointly participated in the joint exhibition of four people's landscape paintings sponsored by the Chinese Painting Academy, and four works were collected by the Chinese Painting Academy.

He was transferred to the Academy of Chinese Painting at the end of the same year. Henan Fine Arts Publishing House publishes Zhao Wei and Yu Long Landscape Paintings.

Mr. Zhang Ding, the 25th issue of the People's Fine Arts Publishing House "Chinese Calligraphy and Painting", wrote a special introduction to "Zhao Wei, His Person and His Painting".

In 1989, the work "Chronicle of Southern Shaanxi" was selected into the 7th National Art Exhibition and won the bronze medal.

Ten of his works participated in the joint exhibition of Chinese landscape paintings sponsored by the Chinese Artists Association and the Chinese Painting Academy (Li Keran, Lu Lishao, Zhang Renzhi, Longrui, Wang Rong, Zhuang Xiaolei, Chen Xiangxun, Zhao Wei, Chen Ping, Lu Yushun), and two of his works were collected by the Chinese Art Museum.

In 1990, his works Tiangao Yundan and others participated in the six-person landscape painting exhibition sponsored by Shanghai Museum of Art-Longrui, Wang Yong, Chen Xiangxun, Zhao Wei, Chen Ping, Lu Yushun, and the four-person landscape painting exhibition sponsored by Heilongjiang Museum of Art (Chen Xiangxun, Zhao Wei, Chen Ping, Lu Yushun). His three works are Shanghai Museum of Art and Heilongjiang Province Art respectively. Museum collection;

Hold a solo exhibition in Singapore and publish Zhao Wei Painting Collection (written by Ruan Zonghua);

In 1991, many works participated in the special invitation exhibition of Chinese landscape paintings held in the Hong Kong General Hall (Longrui, Xiao Haichun, Chen Xiangxun, Zhao Wei, Chen Ping and Lu Yushun), and joined the Chinese Artists Association at the Singapore Museum of Cultural Relics (Deng Lin, Longrui, Zhan Gengxi and Zhao Wei).

In 1992, he participated in the exhibition of contemporary Chinese art works sponsored by the Chinese Art Museum and the exhibition of representative works of contemporary Chinese art sponsored by the Chinese Artists Association, one of which was collected by the Chinese Art Museum. Hong Kong publishes Zhao Wei Painting Collection (written by Zhang Shizeng);

In 1993, he participated in the exhibition of works of four people jointly organized by Kolong Corporation, CBS Broadcasting Corporation and Korean Art Palace, and published Zhao Wei's Painting Book.

Hong Kong Daye Publishing Company publishes a large-scale picture album "The Great Department of Chinese Ink Painting in the Twentieth Century - Zhao Wei" (written by Xue Yongnian, Shao Jianwu, Zhang Huiming and Zhang Ting).

In 1994, Wuse Shancun was selected for the 8th National Art Exhibition and the 8th National Art Exhibition. The Ministry of Culture has awarded the title of "National Second Class Artist".

In 1995, "Impression of Lin County" and other works participated in Taihang Soul - Red Flag Canal Style Painting Exhibition (sponsored by the Institute of Chinese Painting and Henan Academy of Chinese Painting);

The tIn 1996, the third issue of Fine Arts introduced Zhao Wei's Landscape Painting (written by Zhang Shizeng).

Works such as "An Ji Pastoral" participated in the Jinggang - China Landscape Painting Exhibition (sponsored by China Association of Fine Arts, Chinese Painting Research Institute, etc.).

Rong Baozhai publishes "Mountain Rhyme - Selected Works of Zhao Wei's Landscape";

In 1997, his works "Shepherd's Return" and others participated in the Contemporary Landscape Image - 1997 Youth Landscape Painters Invitation Exhibition (sponsored by the Institute of Chinese Painting and the Research Department of the Central Academy of Fine Arts);

Works such as "An Ji Travel" participated in the Creation Exhibition of Chinese Painting Academy and the Beijing-Kowloon Railway Sketch Exhibition (sponsored by Beijing Art Association).

Ding Chou-qiu recalled what he had seen during his old trip to Weichuan, and so on. He participated in the exhibition of Chinese new literati paintings.

He went to Sendai, Japan with Chen Xiangxun, Chen Ping and Lu Yushun to hold the "Four Painting Exhibition".

Hold a solo exhibition in Shantou;

Taoyuan, a collection of works by the Chinese Art Museum, and one by the Guangzhou Art Museum.

In 1998, he held a four-person landscape painting exhibition with Chen Xiangxun, Chen Ping and Lu Yushun in the circle Hall of the Chinese Art Museum (sponsored by the Chinese Art Association and the Chinese Painting Research Institute).

Ding Chouqiu and his friends went to Taihang to see it. He participated in the International Year of Fine Arts - Chinese Landscape Painting and Oil Painting Landscape Exhibition sponsored by the Ministry of Culture (and served as a judge).

The work "Painted Landscape" participated in the first International Biennial of Ink Painting sponsored by Shenzhen Municipal Government. The work "Immediate Sunrise" participated in the 50-year Chinese Painting Art Exhibition held in Japan (sponsored by the Chinese Art Museum).

Frost Fall in Yulin, collected by the Chinese Art Museum.

The twelfth periodical of Fine Arts published works such as Yunmeng Mountain Residence Map, Yan Wing Tian Jia and the article Creation Confession.

Publishing "Four People's Landscape Painting Collection" (Lang Shaojun, Wang Luxiang, International Culture Press), "Notes on the North Window - Zhao Wei's Prose and Painting" (Hebei Education Press);

The 1999 work "Peak Circuit Turn" was selected into the Ninth National Art Exhibition and Excellent Works Exhibition.

He was the judge of the 1999 National Landscape Painting Exhibition sponsored by the Chinese Artists Association.

Publishing Zhao Wei Painting Collection (Hebei Education Publishing House);

The collection of Sunrise Immediate Works by the Chinese Art Museum;

The Ministry of Culture confers the title of "National First-Class Artist".

In 2000, he published Zhao Wei Painting Collection (People's Fine Arts Publishing House) and went to the United States to hold "Liu Dawei, Zhao Wei and Meng Xiangshun Painting Exhibition" (sponsored by China Association of Fine Arts).

In 2001, his work Autumn Red in Northern Shaanxi was selected as the "Centennial Chinese Painting Exhibition" (sponsored by the Chinese Art Association, etc.).hird issue of "Chinese Painter" introduces "Mountain Climbing Song and Zhao Wei's Landscape Painting" (written by Zhang Shizeng).

He visited Europe in 2002. Participate in the Art Activity of "Fair China Wanlihang - Taihang Chapter";

In 2003, he published "Approaching Painter - Zhao Wei" (Tianjin People's Fine Arts Publishing House).

In 2004, the work "Morning in Old District" was selected into the 10th National Art Exhibition and won the Excellent Award and the Special Award Qi Baishi Award.

Participate in the exhibition of "Focusing on the West" sponsored by the Academy of Chinese Painting - Entering Ningxia, Inner Mongolia, etc.

He was appointed Director of Teaching and Training Department, Deputy Director of Creation Research Department, Director of Landscape Research Department and Member of the Arts Committee of the Academy of Chinese Painting.

In 2005, he was appointed Director of Creation Research Department of Chinese Painting Research Institute.

His works were selected into the Third National Academy of Painting Painters Excellent Works Exhibition (sponsored by the Ministry of Culture) and won the prize.

Publishing Zhao Wei's Works and Techniques (Tianjin People's Fine Arts Publishing House);

To Taiwan, Cambodia, the United States and other countries and regions to sketch;

In 2006, the Academy of Chinese Painting was renamed the National Academy of Chinese Painting. To hold exhibitions in Japan;

In 2007, his works were selected into the Fourth National Painting Academy Exhibition of Excellent Works (sponsored by the Ministry of Culture) and won an award. Go to Russia to sketch;

In 2008, select the 11th CPPCC National Committee, member of China Artists Association;

In 2008, he was elected member of the 11th CPPCC National Committee and director of China Artists Association.

In 2009, Rizhengshan Harmony was selected into the 11th National Art Exhibition and won the Excellent Award and the Chinese Art Creation Award.

He went to Japan, Luxembourg and other countries to hold art exhibitions. The Chinese Academy of Art employed as a researcher.

Zhao Wei, born in Beijing in 1957, graduated from the Chinese Department of Beijing Normal University in 1985. The September Mountain Village Chronicle was selected in the Beijing Art Exhibition in 1986 and won the Excellent Works Award. The Autumn Red Season in 1988 also won the Excellent Works Award in the Beijing International Ink and Wash Painting Exhibition. Zhao was active in Chinese and foreign art exhibitions. In 1987, he co-organized with Chen Xiangxun, Chen Ping and Lu Yushun a joint exhibition of four people's landscape paintings. He later participated in a joint exhibition of Chinese landscape paintings sponsored by the Chinese Artists Association and the Chinese Painting Academy. In 1990, he also participated in the "Six People Landscape Painting Collection" sponsored by Shanghai Museum of Art and the "Four People Landscape Painting Exhibition" sponsored by Heilongjiang Museum of Art. A year later, he participated in the "Special Invitation Exhibition of Chinese Landscape Painting" held in Hong Kong and the "Four-person Works Exhibition" held in Singapore. The 1995 work "Wuse Shancun" was selected as the outstanding works exhibition of the 8th National Art Exhibition. Zhao's publications include Zhao Wei's and Yu Long's Landscape Paintings in 1987, Zhao Wei's Paintings in 1990, Zhao Wei's Paintings and Zhao Wei, the Department of Chinese Ink Paintings in the Twentieth Century.

His works have successively participated in the 7th, 8th, 9th, 10th and 11th National Art Exhibitions, and won bronze prize, excellent works prize, Qi Baishi prize and Chinese Art Creation Prize respectively. He also participated in the National Academy of Painting Excellent Works Exhibition sponsored by the Ministry of Culture in 2005, 2007 and 2010, and won prizes. He has been selected into national large-scale exhibitions and collections such as "100 Years of Chinese Painting Exhibition" and "Fifty Years of Chinese Painting". Many exhibitions have been held at home and abroad, and many personal collections have been published.

Members of the CPPCC National Committee, Director of the Chinese Artists Association, Vice President of the Chinese National Academy of Painting and Standing Vice President of the Chinese Academy of Painting enjoy special allowances from the State Council experts and government, first-level artists, specially appointed researchers of the Chinese Academy of Art, and tutors of master's degree students. His works have successively participated in the 7th, 8th, 9th, 10th and 11th National Art Exhibitions, and won bronze prize, excellent works prize, Qi Baishi prize and excellent Chinese art creation prize.

Ten years passed in a flash.

Mr. Zhang Ding's "ten crossings" in the "reform through labor" area in those days has become a tourist attraction. When the small trees in the Academy of Chinese Painting grew up gradually, Zhao Wei and others also achieved great success. They are already influential figures in the landscape painting circle, leading the trend of the times of contemporary landscape painting to a certain extent. In July 1998, the 2nd "Four People Landscape" Painting Exhibition was held in the Round Hall of the Chinese Art Museum, which once again caused a sensation. As the industry knows, the "Four People Landscape" painting exhibition has already been of brand significance and times.

By this time, Mr. Li Keran had died. Although Zhang Ding is very old, he personally presides over the exhibition and speaks at the meeting, which greatly encourages the younger generations.

Speaking of Zhang Di, if it is not limited to space, we should really talk about "subway murals". That is to say, the two giant landscapes "The Great River to the East" and "The Great Wall of Yanshan" which are still embedded in Xizhimen Metro Station in the summer of 1984 and are 3 meters high and 70 meters long, respectively. They are mainly written by Zhang Di, Longrui and Jiang Baolin. At that time, Zhao Wei became the main organizer and participant of this project with his young age, and thus entered the painting circle and established a very high starting point. Zhang Ding presided over the "subway frescoes"; the "frescoes" at the Capital Airport; and many similar large-scale creations. As an old artist, his artistic practice has always followed the pace of the times, and has always been integrated into the collective action. Affected by it and benefiting from the help of the old generation of artists, Zhao Wei is accustomed to focusing on everywhere. He thinks that personal fame and fortune are small, team consciousness is big, and he attaches great importance to "four people landscape", and the work handed over by the hospital. At present, he plans for the collective first. It was this generosity that made him outstanding.

In 1998, Zhao Wei participated in the creation of the large-scale landscape painting "Splendid China" designed and presided over by Long Rui. In 1996 and 2000, Zhao Wei participated in the creative activities of "the magnificent Chinese Wanlihang - - - Guilin and Taihang" led by Long Rui. As a young man, he has been invited to serve as a judge of many large exhibitions of the Ministry of Culture and the National Association of Arts, such as the 1998 National Chinese Painting Exhibition, the Cross-Century National Chinese Painting Exhibition, the two "Chinese Landscape Painting and Oil Painting Landscape Contrast Exhibition". He is a member of the Senior Title (Fine Arts) Review Committee of the Ministry of Culture and enjoys special allowances from experts of the State Council. At his age, it is very rare for a central unit with a large number of talented people.

In the spring of 2004, Long Rui took the post of president of the Academy of Chinese Painting, putting equal emphasis on creation, theory and teaching. He set up a teaching and training department to review the traditional teaching methods of teachers and apprentices, in order to make up for the deficiencies of college-style teaching. It was Zhao Wei who became the organizer and manager of the work. The framework of the six tutors'Studios has a pioneering and wide appeal. The candidates are very enthusiastic, and many of them are active in the backbone of art and the cutting edge of the painting world. In April 2005, a team of hundreds of students and instructors went to Hequ, Shanxi Province, to sketch and collect styles. The unique form, rich content and strong repercussions of the team were enough to become an example of the painters'collective in-depth life.

In July 2005, he returned to the Creation Research Department and led a group of painters to realize new ideals.

For 20 years, under the care of two generations of famous families, Zhao Wei has come all the way, and a small tree should grow and grow taller. Because of this kind of care, he has the highest psychological pursuit, maintaining a consistent simplicity and sincerity, as well as dreams. Zhao Wei said that I have many dreams. Dream is sometimes synonymous with ideal and pursuit. No matter how great achievements have been made, painting is only the starting point for him. Just like poplar trees at this time, caterpillars just hang out, and it will take some time before they are full of lush flowers. I finished the interview in Zhao Wei's car. The car was parked in the courtyard of the Academy of Chinese Painting and then in the courtyard behind the Friendship Hotel. There are poplars in the courtyard and in the courtyard. Spring blossoms are blooming. They are like blue flowers. Spring, autumn and autumn are full of experience. Artists will pay special attention to the bright spots in life, collect them, and realize the insight and harvest of macroscopical scenes through micro-accumulation. Zhao Wei is still trekking and growing up. His clear eyes will suddenly shine in meditation, leaving in my heart a remarkable, perceptible but unspeakable brilliance with his wisdom. I am confident that in another 10 or 20 years, he will show us more generous and outstanding artistic prospects. Zhao Wei said that when spring comes every year, he always looks up at the treetops involuntarily and counts down. It's about March 8 or 9. Poplars are blooming and fluffy. Sometimes on the 6th and 7th day, I feel anxious. Why haven't I stirred up? Wait till the next morning and look up. Wow, the trees are covered with caterpillars.