花開富貴 No.2 |Blooming FortuneNo.2

布面油畫 |Oil on canvas

120×120cm

2023

暖陽 |Warm Sun

布面油畫 |Oil on canvas

80×130cm

2024

參加”吾心歸處“妥木斯師生油畫作品展

在中國當(dāng)代寫意油畫的發(fā)展格局中，趙九杰是一個值得被鄭重對待的名字——他的藝術(shù)實踐回應(yīng)了寫意油畫這一領(lǐng)域最為核心、也最為棘手的兩個命題：油畫這一西方媒介，能否承載東方式的"寫意"精神？在西方色彩科學(xué)早已建立霸權(quán)的話語體系中，能否生長出一套真正植根于本土文化、同時又具有普世表達(dá)效力的色彩語言？

趙九杰用近四十年的創(chuàng)作實踐給出了肯定的回答。作為妥木斯的嫡傳弟子，他承繼了草原畫派注重形式語言與精神表達(dá)的學(xué)術(shù)血脈；從北方遷徙至閩南的生命經(jīng)歷，讓他將"力度"與"溫潤"熔鑄為一體，形成了兼具厚重與空靈的獨特畫風(fēng)。但真正讓他在學(xué)術(shù)意義上區(qū)別于同代寫意畫家的，是他持續(xù)近二十年對"蓮"這一母題的深耕，以及在此基礎(chǔ)上建構(gòu)起的一套以"五色"為核心的色彩理論體系。

In the evolving landscape of contemporary Chinese freehand oil painting, Zhao Jiujie is a name that deserves serious attention—his artistic practice responds to two of the most central and challenging questions in the field: can oil painting, a Western medium, carry the spirit of Eastern "freehand" aesthetics? And within a discourse long dominated by Western color science, can a system of color language truly rooted in indigenous culture yet possessing universal expressive validity be developed?

Zhao Jiujie has answered both questions affirmatively through nearly four decades of creative practice. As a direct disciple of Tuomusi, he inherited the academic lineage of the Grassland School, with its emphasis on formal language and spiritual expression. His life journey—moving from the north to southern Fujian—allowed him to fuse "strength" with "gentleness and warmth," forging a distinctive painterly style that balances substantiality with ethereality. Yet what truly sets him apart academically from his contemporaries in freehand oil painting is his two-decade-long dedication to the lotus motif, and the system of color theory centered on the "Five Colors" that he has constructed upon this foundation.

荷 -吉祥鳥|Lotus – Auspicious Bird

布面油畫 |Oil on canvas

120×120cm

2024

參加中國油畫學(xué)會30年慶學(xué)術(shù)邀請展

已被收藏

01

從直覺用色到理論建構(gòu)

寫意油畫發(fā)展至今，面臨的一個核心困境是：如何在西方色彩科學(xué)的強勢話語之外，建立一套具有東方文化根基的色彩語言系統(tǒng)？多數(shù)寫意畫家仍依賴個人直覺或西方色彩學(xué)框架，缺乏理論自覺。趙九杰的突破在于，他提供了一套完整的替代性方案。

他從《黃帝內(nèi)經(jīng)》五行五色學(xué)說與密宗色彩“表法”傳統(tǒng)中提煉出紅、黃、藍(lán)、白、黑五色體系，分別對應(yīng)喜、思、怒、悲、恐五種心境，并將色彩表達(dá)區(qū)分為“情緒表達(dá)”與“境界表達(dá)”兩個層次。這一貢獻(xiàn)的學(xué)術(shù)意義在于：它首次將中國傳統(tǒng)文化中的色彩觀進行系統(tǒng)性轉(zhuǎn)化，使之成為可操作、可傳授、可批評的現(xiàn)代繪畫語言。不是簡單的“把傳統(tǒng)符號畫進油畫”，而是從認(rèn)知底層重構(gòu)了色彩的意義生成機制。正如他在訪談中強調(diào)的，色彩不僅表達(dá)個體情緒，更“表達(dá)一個時期的文化、一條文脈、一種精神狀態(tài)”。這意味著他的色彩理論兼具心理學(xué)維度的普適性與文化史維度的縱深感，在方法論層面為寫意油畫提供了新的路徑參照。

A core challenge that freehand oil painting has faced since its development is this: how can one establish a system of color language rooted in Eastern culture, outside the dominant discourse of Western color science? Most freehand painters still rely on personal intuition or the framework of Western color theory, lacking theoretical self-awareness. Zhao Jiujie's breakthrough lies in his provision of a complete alternative.

He distilled from the Five Elements and Five Colors theory of the Yellow Emperor's Inner Canon and the esoteric Buddhist tradition of color "symbolic expression" (biao fa) a system of five hues—red, yellow, blue, white, and black—corresponding to five emotional states: joy, contemplation, anger, sorrow, and fear. He further differentiated color expression into two levels: "emotional expression" and "spiritual expression." The academic significance of this contribution lies in the fact that it is the first time a traditional Chinese color philosophy has been systematically transformed into a modern painterly language that is operational, teachable, and open to critique. This is not a simplistic matter of "painting traditional symbols into oil works," but rather a reconstruction, at the cognitive level, of the mechanism by which color generates meaning. As he emphasized in interviews, color does not merely express individual emotion, but also "expresses the culture of an era, a cultural lineage, a spiritual condition." This means his color theory possesses both the universality of psychological validity and the depth of cultural-historical perspective, offering a new methodological reference for freehand oil painting.

天境 |Celestial Realm

布面油畫 |Oil on canvas

150×150cm

2025

大富貴 |Great Prosperity

布面油畫 |Oil on canvas

150×150cm

2025

02

在跨文化對話中確立主體性

中國油畫的百年歷程，本質(zhì)上是一場如何處理“西方媒介”與“東方精神”關(guān)系的持續(xù)對話。趙九杰的獨特之處在于，他不是在“中西融合”的宏大口號下進行折中，而是通過多次赴法國、意大利、希臘考察寫生，直面西方油畫傳統(tǒng)，以“文化差異”為鏡反觀自身。他明確表示：“走出去了解西方文化，再回到我們自身的語言本體，便能更清楚地看到我們的個性特征。”這是一種清醒的文化主體性建構(gòu)——不是隔絕中的自我想象，而是對話中的自覺確認(rèn)。

在技法層面，他以潑墨寫意為主，輔以局部厚重的油畫堆疊，引入留白，將水墨畫的空靈韻律與油畫的物質(zhì)厚重感統(tǒng)一于畫面，在實踐中回答了“油畫能否傳達(dá)東方意境”這一老問題。更重要的是，他對“寫意”本質(zhì)做出了精準(zhǔn)界定：區(qū)別于西方抽象表現(xiàn)主義走向純粹抽象，東方寫意“仍保有一定的‘象’”，是“似是而非，恰到好處”的“意象”，指向中國文化的“中庸之道”。這一界定厘清了寫意油畫與抽象表現(xiàn)主義的根本分野，為其學(xué)術(shù)定位提供了理論基石。

The century-long trajectory of Chinese oil painting has been, in essence, a sustained dialogue concerning how to negotiate the relationship between a Western medium and an Eastern spirit. What distinguishes Zhao Jiujie is that he does not seek compromise under the grand slogan of "integrating Chinese and Western" traditions. Instead, through multiple trips to France, Italy, and Greece for study and plein-air painting, he has confronted the Western oil painting tradition directly, using "cultural difference" as a mirror to reflect upon himself. He has stated explicitly: "By going out to understand Western culture, and then returning to the roots of our own language, we can see our individual characteristics more clearly." This represents a sober construction of cultural subjectivity—not a self-imagination in isolation, but a conscious self-affirmation achieved through dialogue.

On the technical level, he primarily adopts a freehand ink-wash approach, supplemented by local thick impasto and the introduction of reserved white space, unifying the ethereal rhythm of ink painting with the material substantiality of oil on canvas. Through this practice, he has answered in tangible terms the perennial question: "Can oil painting convey Eastern artistic conception?" More importantly, he has offered a precise definition of the essence of "freehand": distinct from Western Abstract Expressionism, which moves toward pure abstraction, Eastern freehand painting "retains a certain 'image'"—it is "an 'image-idea' that is seemingly so yet not so, hitting the mark with just the right degree," pointing toward the "Doctrine of the Mean" in Chinese culture. This definition clarifies the fundamental divide between freehand oil painting and Abstract Expressionism, providing a theoretical foundation for its academic positioning.

喜悅 |Joy

布面油畫 |Oil on canvas

150×150cm

2025

光 |Light

布面油畫 |Oil on canvas

150×150cm

2025

03

創(chuàng)作即修行

藝術(shù)實踐與精神實踐的合一

趙九杰學(xué)術(shù)價值的第三重維度，在于其藝術(shù)實踐與精神實踐的深度統(tǒng)一。近二十年來對“蓮”的持續(xù)描繪，表面上是母題選擇，實質(zhì)上是“借助蓮的‘相’表達(dá)內(nèi)心的‘心象’”。他將蓮花“出污泥而不染”的佛教寓意轉(zhuǎn)化為藝術(shù)表達(dá)的內(nèi)核——不是圖解宗教符號，而是將苦難轉(zhuǎn)化為養(yǎng)料的生命哲學(xué)通過繪畫語言實現(xiàn)視覺轉(zhuǎn)化。

值得注意的是，他將田野調(diào)查式的文化實踐納入創(chuàng)作體系。在武夷山桐木33個自然村的調(diào)研中，他以文字梳理文脈、以速寫捕捉靈魂、以油畫綜合呈現(xiàn)，形成了一套嚴(yán)謹(jǐn)?shù)膭?chuàng)作方法論。這種方法論使他的藝術(shù)超越了文人畫式的即興書寫，兼具人類學(xué)式的文化深度與當(dāng)代藝術(shù)的觀念自覺。而他將繪畫本身視為修行的態(tài)度——“畫布即是道場，創(chuàng)作即是修行”——則使作品獲得了一種超越形式自律的精神純度。

The third dimension of Zhao Jiujie's academic value lies in the profound unity of his artistic practice and spiritual practice. His two-decade-long dedication to the lotus motif appears on the surface to be a choice of subject matter, but in essence, it is "borrowing the 'form' of the lotus to express the 'inner image' of the mind." He has transformed the Buddhist metaphor of the lotus "emerging from mud without being stained" into the core of his artistic expression—not as an illustration of religious symbols, but as a visual transformation, achieved through painterly language, of a life philosophy that turns suffering into nourishment.

It is worth noting that he has incorporated field-study-style cultural practices into his creative system. During his investigation of thirty-three natural villages in Wuyi Mountain's Tongmu area, he employed writing to trace cultural contexts, sketches to capture the spirit, and oil paintings to present a comprehensive vision, forming a rigorous creative methodology. This methodology elevates his art beyond the spontaneous brushwork of literati painting, endowing it with both the cultural depth of anthropology and the conceptual self-awareness of contemporary art. His attitude of regarding painting itself as a form of spiritual cultivation—"the canvas is the practice ground, and creation is cultivation"—imbues his works with a spiritual purity that transcends formal discipline.

夏日 - 荷|Summer - Lotus

布面油畫 |Oil on canvas

90×130cm

2024

已被收藏

荷 -盛夏|Lotus – Midsummer

布面油畫 |Oil on canvas

120×120cm

2024

參加”東方意蘊·時代精神“中國寫意油畫大展

04

結(jié)語

綜合來看，趙九杰的學(xué)術(shù)價值并非來自某一件杰作，而是來自一整套完整、自洽、可辨識的藝術(shù)體系的建構(gòu)。在理論層面，他提供了植根于東方哲學(xué)的色彩新范式；在方法論層面，他實現(xiàn)了跨文化對話中的主體性確立與技法融合；在精神層面，他完成了創(chuàng)作實踐與生命實踐的合一。這種“三位一體”的體系性建構(gòu)，正是稀缺學(xué)術(shù)價值的真正來源。當(dāng)寫意油畫板塊正迎來結(jié)構(gòu)性利好之時，對趙九杰學(xué)術(shù)貢獻(xiàn)的深度認(rèn)知，恰逢其時。

Taken as a whole, Zhao Jiujie's academic value does not stem from any single masterpiece, but rather from the construction of a complete, self-consistent, and identifiable artistic system. At the theoretical level, he has provided a new paradigm of color rooted in Eastern philosophy; at the methodological level, he has achieved the affirmation of subjectivity and the integration of techniques within cross-cultural dialogue; at the spiritual level, he has united creative practice with life practice. This "trinity" of systematic construction is the true source of rare academic value. At a moment when the freehand oil painting sector is embracing structural opportunities, a deepened understanding of Zhao Jiujie's academic contributions comes at precisely the right time.

夢蓮 |Dream Lotus

布面油畫 |Oil on canvas

60×80cm

2012

參加2015中國寫意油畫學(xué)派名家研究作品展

夢花園 |Dream Garden

布面油畫 |Oil on canvas

180×200cm

2004

參加第三屆中國油畫展獲優(yōu)秀作品展

藝術(shù)家簡介

趙九杰

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(xué)美術(shù)系油畫 專業(yè)。1990—1992 年結(jié)業(yè)于內(nèi)蒙古師范大學(xué)美術(shù)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(xué)建筑學(xué)院，副教授，中國美術(shù)家協(xié)會會員，中國油畫學(xué)會理事。福建油畫學(xué)會.廈門油畫學(xué)會顧問。

獲獎作品：

1998年 《風(fēng)景 ——廈門大學(xué)》油畫入選中國國際美術(shù)年系列大展 ——當(dāng)代山水畫、油畫風(fēng)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(shù)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(shù)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(shù)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(shù)年系列大展 —中國當(dāng)代山水畫、油畫風(fēng)景大展。（中國美術(shù)館）

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

2000年 “亞熱帶風(fēng)”—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(shù)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(shù)家采風(fēng)活動”并在上海參加“金色吉雅 河”中俄藝術(shù)家油畫作品展。

2004年 “風(fēng)景與表情 —趙九杰、朱進油畫展”。（北京）

2007年11月策劃《藝術(shù)與環(huán)境》中德文化藝術(shù)交流活動。

2008年《中國風(fēng)》《拓展與融合》入選中國當(dāng)代油畫展。

2008年赴瑞典參加中國藝術(shù)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(dāng)代油畫展。

2010年參加中國美術(shù)館和臺北市立美術(shù)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(xué)會三十年藝術(shù)展。

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

2025年參加?xùn)|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(fēng)景與表情’油畫展”。（北京國際藝苑美術(shù)館）

2006年 “尋找家園”—趙九杰油畫作品展。（上海劉海粟美術(shù)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(shù)館（上海），鳳凰藝都美術(shù)館（無錫），大連美術(shù)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(xué)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(jì)程》天津人民美術(shù)出版社

2013年出版《人文武夷：麻粟星空》廈門大學(xué)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(fēng)景：趙九杰油畫作品集》大連美術(shù)館

2018年出版《觀蓮：趙九杰油畫作品集》鳳凰藝都美術(shù)館