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序 　　曹意强 　　肯尼斯•克拉克在其名著《风景进入艺术》中，将欧洲风景画分成四种类型：象征的、幻想的、理想的、写实的。而写实的类型中有他所谓的“事实的风景”与“自然的视像”两道分支。前者以尼德兰绘画为代表，后者的典型是从康斯坦布尔到印象派的艺术。赵云龙的水彩画继承了这展开

序 　　曹意强 　　肯尼斯•克拉克在其名著《风景进入艺术》中，将欧洲风景画分成四种类型：象征的、幻想的、理想的、写实的。而写实的类型中有他所谓的“事实的风景”与“自然的视像”两道分支。前者以尼德兰绘画为代表，后者的典型是从康斯坦布尔到印象派的艺术。赵云龙的水彩画继承了这个深厚的绘画传统。其作品都是对景写生的成果，如他自己所说：“写生是我的一种生活方式”，因为他“喜欢写生的现场感”。对自然的激情与爱是云龙从事水彩画创作的原始驱动力，对他来说，自然视像是艺术的基础，而这个基础在绘画史中得到不断的夯实，融化进了人们对自然的哲学思考之中。 　　云龙的作品充分发挥了水彩画媒介的特性：“即兴”效果。水彩的材质决定了表现语言的自发性，水和颜料的融合使得作画过程无法预料，全凭画家的经验与随机控制的能力。因为水彩媒介透明、敏感、易变，与其他媒质如油画不同，无法厚涂覆盖、多重修改，需如画中国水墨画一样，笔笔即时成象。归根到底，水彩画的特性就是在纸上将转瞬即逝的描绘对象，以及由媒介特性所激发的绘画观念，以即兴的方式表达出来。云龙紧紧地把握住水彩的限制性，而没有像有些画家那样，试图通过用这种媒介追求水粉、油画或甚至国画的表面效果以规避限制。回避水彩的限制，就是放弃水彩的表现潜力。 　　如前所述，云龙对水彩的潜质的娴熟把握，奠基于他对自然的忠实。欲以水彩忠实地再现自然景色而不丧失其轻快、透明的特质，这需要罕见的天赋和朴素而平静的心境。一般人认为写实的风景是最容易的绘画形式，其实不然。在真实地刻画自然的同时不失其新鲜感，即使在欧洲风景画史上，真正能够做到这一点的恐怕也只有法国画家柯罗一人。云龙始终朝着这个方向在努力。 　　他的每件作品都有两个明显的特点：一是他所说的“现场感”，欧洲人称之为“地形学”，让人一望而知画面所描绘的地点。水彩画源于欧洲，与“地形学”有渊源关系。欧洲水彩画先驱之一丢勒就是出于记录特定自然景貌的好奇心而创作水彩画杰作，艺术史家径直称他这批作品是“地形水彩画”。丢勒起初不是为了美学的目的，而纯粹是出于对自然的好奇心而画地貌水彩的，但其细腻的知觉把普通的景物提升到了审美的高度，使地形描绘富于独特的美学价值。云龙的《威尼斯印象》和《西湖之春》等组画，属于这种类型。 　　任何艺术的形式都带有自身毁灭的“种子”。例如，写实主义绘画，一旦拘泥于表象，就极易落入俗套。再如，无论再新颖的风格，一旦将其表现手段变为目的，它就会失去生命。水彩画因其特性，是所有绘画形式中最容易被庸俗化的画种，稍不留意，画面就会显得媚俗。这也是水彩画创作的困难之处。我认为，云龙的水彩画在写实与发挥水彩的透明、书写性之间保持了很好的平衡：构图完整、色调统一、笔触率性但都各得其所，塑造出我们人人仿佛常见但又无法描绘出来的景色。在讨论水彩画时，创作者和研究者们都注意到色彩的稀薄和透明、笔触的挥写性、纸质与水的特征等问题，而水彩画的基本程式也是建立在诸如此类的认识之上的。 　　在观看云龙的水彩画时，我注意到，除了上述的对自然的敏锐观察之外，还有一个也许连画家自己在理论上都没有认识到的一个特点，即光的问题。在创作上，云龙解决了这个问题。光的处理，是风景画，更是水彩画的核心手段。19世纪英国画家康斯坦布尔将光的本质意义概括为“自然的明暗效果”。风景画的统摄主题就是光的戏剧性变化与统一。柯罗将之称为general envelope of light（光的整体笼罩）。在柯罗的心中，光是简化与统一复杂的事物的自然力量。水彩画鼻祖丢勒在其细致刻画自然的一草一木一石的逼真作品中，显示出对光的微妙感知，正是通过奇妙的光的统摄，赋予了普通事物以诗意，如同画面的光本身一样富于诗意。云龙的《落日之后》、《落潮》、《霁虹桥之晨》等作品，借助色彩获得了饱和的光感。他的《威尼斯圣马可广场》等作品，将光的笼罩演化为母题，其富有表现力的形状被光所吸吮，形成具有光的氛围的有机统一的画面。 　　光与空间感密切相关，构成水彩风景画的生命力量。云龙擅长在白色的水彩纸上，以点、线、面创构空间与光影的戏剧，这体现在《渔港黄昏》、《繁忙的威尼斯港口》等作品中，这些画面都充满仿佛使人能从中呼吸的空气感，对于云龙来说，就如对于康斯坦布尔一样，光影的戏剧是画家“情感”的“主要器官”。在此，云龙似乎在创作中，不断地遵循着康斯坦布尔的训诫：“记住，光和影永不是静态不动的”，同时，它们又是画面获得统一性的要素。 　　云龙的水彩画，传达了他对自然的爱，而这种爱赋予了他极为细腻的知觉能力，并借助光与影的统一力量，将其实现为具有审美价值的绘画作品。我相信，其艺术的生命力会因此而更加勃发，会创造出更多、更好的作品。 　　Preface 　　By Cao Yiqiang 　　In his famous book Landscape into Art，Kenneth Clark divided European landscape painting into four types: symbolic，fantastic，idealistic，realistic. He also subdivided the realistic type into two branches，which he called “the landscape of fact” and “the natural vision”. The former is represented by Netherlandish painting，and the latter is represented by the art developed from Constable to Impressionists. Zhao Yunlong’s watercolor painting has inherited this profound tradition. His works are achieved by sketching from nature. As he said，“Sketching is my way of life”，because he “love the sense of presence during sketching”. His passion and love for nature is the original driving force of his watercolor creation. For him，natural vision is the basis of art，and it has being stabilized in the history of painting and has melted into people’s psychological thinking of nature. 　　Zhao’s works give full play to the characteristic of watercolor painting，i.e. the effect of improvisation. The material quality of watercolor determines that the expression should be spontaneous. The mixture of water and colors makes the process of painting unpredictable，and therefore it is the painter’s experience and ability to control randomness that counts. Because watercolor is transparent，sensitive and variable，which is different from other media such as oil painting and can not be covered with lawyers or modified repeatedly，the image is determined once it is painted，just like Chinese ink painting. In conclusion，the characteristic of watercolor painting is to paint the objects at the very moment and the concept of painting inspired by medium in an improvisational way. Unlike some painters who try to avoid the limitation of watercolor by pursuing the surface effect of it，as is often the case with powder color painting，oil painting or traditional Chinese painting，Zhao holds firmly to the limitation of watercolor because to avoid it means giving up the expressive potential of watercolor. 　　As mentioned above，Zhao’s skillful mastery of watercolor’s potential is based on his loyalty to nature. To represent the natural landscape loyally through watercolor without losing its qualities of being brisk and transparent，it requires an uncommon talent as well as plain and peace temperament. People generally think that realistic painting is the easiest painting style. This is totally wrong. Even along the European history of landscape painting，there has been only one painter Corot，which could really portray the nature without missing its freshness，Zhao has been making his efforts in this direction consistently. 　　Every works of Zhao has two outstanding characteristics: one is what he calls “the sense of presence”，or what the European people call “topography”，that is，to let people know the spot depicted in the picture as soon as they watch it. Watercolor painting originated from Europe. It is related to Topography. Dürer，one of the pioneers of European watercolor painting，created watercolor masterpieces exactly out of curiosity about recording specific landscapes in nature，so art historians named his work of this type “the typographical watercolors”. In the beginning，Dürer painted typographical watercolors not for aesthetic purpose，but purely because of his curiosity about the Nature，but his dedicate perception had elevated the common landscapes to a higher level of aesthetics，and this endowed the typographical watercolors with unique aesthetic value. Zhao Yunlong’s sketch series. The Impression of Venice and The Spring of West Lake belong to this kind. 　　Any kind of art have a self-devastating seed. For example，once the realistic is limited to surface，it may easily fall into a rut. Again，no matter how novel a style seems to be，Once its method of expression becomes the goal，it is lifeless.Because of its qualities，watercolor painting is the style that can be vulgarized in the easiest way among all.The picture becomes vulgar if it is not taken good care of. That’s what the difficult in watercolor creation is. In my view，Zhao’s watercolors have kept a good balance in sketching and exerting the transparency and the writability watercolor. The composition of the picture is complete，the tone is consistent，and the strokes are spontaneous but each element of them has been in its proper place，by which he has created landscapes that seem familiar to us but cannot be depicted by us. When talking about watercolor，the creators and researchers are all aware of the thinness and transparency of colors，the writability of the strokes and the characteristic of paper and water，and the basic pattern of watercolor painting are based on such kind of realization. 　　When reviewing Zhao Yunlong’s works，I noticed that besides the acute observation about nature，there was still another characteristic that even the painters themselves do not realize theoretically—the effect of light.In his creation，Zhao Yunlong has solved this problem.Dealing with light is a score technique for landscape painting，especially for watercolor painting.The British painter Constable of 19th century defined the meaning of light in painting as “the natural effects of lights and shade”. The motif of landscape painting stresses on the dramatical change and unity of light. Corot’s regarded it as “general envelope of light.” In Corot’s mind，light was a natural power that simplified and unified the complex things. Dürer who is a pioneer in watercolor painting，showed his subtle perception of light by depicting grass，forest and stones vividly in his works. Just by controlling magic light，he endowed usual objects with poetic meaning，a poetic meaning as it was of the light in the picture itself. Zhao Yunlong’s paintings such as After the Sunset，The Ebb，Morning of Jihong Bridge，have all gained saturated light through color. His The San Marco Plaza in Venice uses light as a motif；its expressive shape is absorbed by light，and therefore forms an organically unified picture of light ambient. 　　Light is closely related to sense of space，which constitutes the vitality of landscape. Zhao is good at constructing spatial and shadowy dramas with dots，lines and planes on white paper，and this can be seen in his work. The Sunset of Fishing Port and The Busy Venice Port，both of which are full of a sense of air that can seemingly be breathed by people. As for Zhao Yunlong，just as for Constable，the drama of light is the main “organ” of the painter’s “emotion”. In his creation，Zhao Yunlong is following Constable’s rules: “Remember，lights and darks are never ever immobile. Meanwhile，they are the key elements of achieving the unity of painting. 　　Zhao’s paintings express his great love towards nature. And this love endows him with the ability of delicate perception，and by resorting to the unified power of light and shade，changes his perception into paintings of aesthetic value. I do believe that his art creativity will become more greater，and he will create more and better works.收起