对话赵九杰（一）：溯源 —— 草原是故乡，世界是远方

洒满阳光的院子 |A Courtyard Bathed in Sunlight

布面油画 |Oil on canvas

120×120cm

2024

话题一

问：您的艺术生涯深受导师妥木斯先生的影响。妥木斯先生将草原文化的雄浑与西方油画的技法融为一体，形成独特的风格。请问，在您跟随他学习的经历中，他给予您最重要的启发是什么？是具体的技法革新，还是一种看待艺术与世界关系的宏观视角？

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：在我的艺术生涯中，我深受导师妥木斯先生的影响。他将草原文化的雄浑与西方油画技法融为一体，形成了独特的艺术风格。我本科阶段就跟随妥木斯先生学习油画，之后又在妥先生的研究生班进修，较为系统地接受了他的艺术理念，获益良多。

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

布面油画 |Oil on canvas

90×130cm

2024

答：妥先生对我的启发，我想从两个方面来谈。

一、教学方法与艺术理念

妥先生的教学方式非常独特。他采用“色块教学”，不拘泥于细节，强调大写意的表现。比如画风景时，他要求天地物三块颜色要协调统一、恰到好处。这种协调既包括对比性的协调，也包括同类色的协调。在色彩语言上，他强调色彩的对比，冷暖关系的处理要精准恰当。每一次写生，他都要求我们对色调进行深入研究，且不重复。

其次，妥先生强调绘画要有“精神”，这实际上是一种全方位的理解。他要求我们在绘画的格调与境界上有所追求。具体而言就是通过色彩、用笔以及构图方式等本体语言的研究，表达出对绘画境界的理解，也就是内心想要呈现的画面状态。这一点对我们启发极大。

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 -清凉月|Lotus –Moon of Tranquility

布面油画 |Oil on canvas

120×120cm

2024

答：在色彩的理解上，妥先生不拘泥于物体的固有色。他突破了我们对色彩的世俗认知 —— 比如树不一定是绿的，在不同的光线下，它可以呈现蓝偏紫的色调。这种对色彩的理解符合当下光线无限变化、地域不同所呈现出的丰富可能性，打破了固有色的限制，非常具有当代性。

在技法的革新上，我认为他从观察方法、色块观念，到色彩关系的协调性，最终指向绘画的境界——也就是你的审美，甚至可以说是一种世界观。这一点对我们后来的创作与写生帮助非常大。

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

布面油画 |Oil on canvas

120×120cm

2024

答：二、草原画派的形式语言

妥先生在草原绘画的实践中，将西方表现主义与写意性绘画相结合，形成了独有的方法。他在写生中发现，天地物三块颜色在草原上呈现出独特的美感。通过大色块的表现，再将人物点缀于草原之上，形成了点、线、面的形式构成——这种绘画语言非常当代。

虽然妥先生早年从苏联学习了诸多技法，但他很早就摆脱了苏联绘画中较为写实、叙事性的表达，更加注重当下的感受与形式语言。这得益于罗工柳先生对他们的教育。我后来在追溯罗工柳先生的绘画时发现，他们都是以色块观念进行表达，追求色彩境界的理解——这是一种全方位的修养体现。

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.

清凉 |Coolness

布面油画 |Oil on canvas

150×150cm

2024

话题二

问：从内蒙古草原到南国厦门，地理环境和人文氛围的巨大转变，对您的艺术感知产生了怎样的冲击？这种从北到南的跨越，是否也是您日后形成“温润与力度并存”的绘画语言的潜在伏笔？

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：从内蒙古草原到南方厦门，地理环境与人文的巨大转变对我的艺术产生了深刻影响。关于评论中提到的“温润与力度并存”的语言，我认为温润其实是每个人内心都具备的一面，是骨子里就有的；而力度则与北方的生活习惯、辽阔厚重、奔放有力的氛围密切相关，这源于生活的历练和北方人文气候的熏陶。

刚到南方时，我感到非常新鲜。在我的认知里，树是不会开花的——北方看到的花朵都很小，几乎没有开花的树。到了厦门，看到满枝头的花朵，我很吃惊，也觉得很新奇。正是这种巨大的变化，让我像孩子一样，带着发现新大陆般的眼光，产生了强烈的绘画兴趣。

不过，也遇到了一个难点：南方的绿色太多了。从色彩的角度看，绿色的色阶比较接近，很难表现，让我一度有些茫然。在不断的生活体验中，气候的温暖与北方形成巨大反差——直觉上、体感上，乃至心理上都产生了强烈的冲突。这种冲突首先带来的是新鲜感，促使我去发现新的绘画语言。我开始画大自然中的花朵，从厦门大学的每个角落一直画到海边，再到公园、整个亚热带沿海。这种地域的变化，对绘画的冲击是很大的。

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.

盛开 |Full Bloom

布面油画 |Oil on canvas

150×150cm

2024

答：后来我去法国南部时，一下子理解了为什么许多法国画家到了南方后受到巨大影响——从印象派到纳比派，外光的影响至关重要。大自然馈赠给艺术家的，是光线、色彩的变化，是斑驳而丰富的视觉呈现。这对每一个流派、每一位艺术家都是巨大的冲击。

从心理层面来看，南方气候湿润温和，地理人文环境与北方截然不同。北方有凛冽的空气、厚重凝练的气质、沧桑感，以及分明的四季；而南方四季不分明，更加温和，语言与文化都更显温润，饮食也影响着我们的心理。这种环境对色彩和心理的影响非常大。

或许正是因为内心本就有一颗温润的种子，到了南方后反而契合得更好。温馨、浪漫、绚丽、丰富——这些可能更符合我本应有的性情。而在整个绘画中，因为有书法功底的支撑，以及北方少数民族性格的底色，所以在用笔的力量、色彩的冲突上，我又明显不同于南方的画家。这或许正是我艺术风格从内到外的一种自然呈现。

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.

梦花园 |Dream Garden

布面油画 |Oil on canvas

180×200cm

2004

幸福花园 |Garden of Happiness

布面油画 |Oil on canvas

150×180cm

2004

艺术家简介

赵九杰

Zhao Jiujie

1963 年出生于内蒙古乌兰浩特。1986 年毕业于内蒙古师范大学美术系油画 专业。1990—1992 年结业于内蒙古师范大学美术系油画研究生班，（师承著名油画家、教育家妥木斯教授）。现执教于厦门大学建筑学院，副教授，中国美术家协会会员，中国油画学会理事。福建油画学会.厦门油画学会顾问。

获奖作品：

1998年 《风景 ——厦门大学》油画入选中国国际美术年系列大展 ——当代山水画、油画风景大展，被选评为向全国媒体重点推荐作品，并收入精品集和全集。 （北京 中国美术馆）

1999 年 《假日海滨》油画 ，入选第九届全国美展并获第三届福建省艺术节银奖。

2004 年 第三届中国油画精选展，获优秀作品奖。（中国美术馆）

2008年 获CCTV中国中央电视台中国优秀油画展播优秀奖。

2014年作品《供养》参加第十二届中国美展荣获提名奖。

主要参展活动：

1998年 中国国际美术年系列大展 —中国当代山水画、油画风景大展。（中国美术馆）

1999年 第九届全国美展、福建省第三届艺术节银奖。（上海美术馆）

2000年 “亚热带风”—赵九杰油画作品巡回展。（厦门 福州）

2003年 第三届中国油画精选展，获优秀作品奖。（中国美术馆）

2004年 参加第十届全国美展。

2004 年 9月赴俄罗斯参加“中俄艺术家采风活动”并在上海参加“金色吉雅 河”中俄艺术家油画作品展。

2004年 “风景与表情 —赵九杰、朱进油画展”。（北京）

2007年11月策划《艺术与环境》中德文化艺术交流活动。

2008年《中国风》《拓展与融合》入选中国当代油画展。

2008年赴瑞典参加中国艺术节。

2008年获CCTV中国中央电视台中国优秀油画展播优秀奖。

2009年参加第十一届中国美展、当代油画展。

2010年参加中国美术馆和台北市立美术馆《此情此景：大陆油画名家写生展》。

2014年参加第十二届中国美展作品《供养》。

2025年 参加巍巍者华—中国油画学会三十年艺术展。

2025年参加文化和旅游部2025年全国美术馆馆藏精品展出季入选项目“吾心归处—内蒙古美术馆藏妥木斯师生油画作品展。

2025年参加东方意蕴 时代精神.中国写意油画大展。

个人展览：

2004年9月10日 “赵九杰、朱进‘风景与表情’油画展”。（北京国际艺苑美术馆）

2006年 “寻找家园”—赵九杰油画作品展。（上海刘海粟美术馆）

2009年 “ 青春与梦想”—赵九杰油画作品展。（厦门）

2016年赴法国南部考察，写生。

2018年，2019年赴意大利，希腊考察，写生。

2017年《观莲》赵九杰油画作品巡展，上海油画雕塑院美术馆（上海），凤凰艺都美术馆（无锡），大连美术馆（大连）。

2019年“彩韵”赵九杰油画作品展（诸暨市水彩画博物馆）。

2021年中国油画学会年展。

出版物：

2000年出版《赵九杰油画作品集》翰林出版公司

2006年出版《寻找家园——九杰油画纪程》天津人民美术出版社

2013年出版《人文武夷：麻粟星空》厦门大学出版社

2017年出版《观莲：赵九杰油画作品集》慧观书院

2018年出版《风景：赵九杰油画作品集》大连美术馆

2018年出版《观莲：赵九杰油画作品集》凤凰艺都美术馆