赵望云，长安画派创始人之一。

1906年(光绪三十二年)9月30日生于河北束鹿(今河北辛集)，又名新国。1977年3月9日病逝于西安。中国现代著名国画家，长安画派的创始人之一。河北省束鹿市人。曾任西北军政委员会文化部文物处处长、中国美术家协会常务理事、陕西省美术家协会首任主席、陕西省人大代表、陕西省政协委员、陕西省文化局副局长等职。

 赵望云，高小毕业后初曾做学徒。1925年秋由表兄王西渠资助赴北京入私立京华美专学习绘画，半年后转入国立北京艺专专攻国画，京华美术专科学校肄业。1928年在北京师范任教，1930年在北京吼虹社任主编。1932年任上海中华书局编辑，1933年至1935年任天津《大公报》旅行记者，1933年在河北农村写生，作品在《大公报》连载。1934~1936年又到山东、江苏、浙江、河南、河北等地农村写生，作品描绘了饱经战乱摧残的农民的贫苦生活，在社会上引起极大反响，获平民画家的称号。1935年应冯玉祥邀请，合作出版了《泰山社会写生诗画石刻集》。抗日战争期间，在冯玉祥资助下，和老舍在武汉创办《抗战画刊》，后深入西南、西北各地旅行写生，在西北风土人情影响下，形成简括淡远、朴实含蓄的独特艺术风格。40年代转赴西北，描绘西北地区的山川风光和农村风物，并作敦煌之行，临摹石窟壁画。1949年后西北美术工作者协会副主任、陕西分会主席、西北文化部文物处处长、中国美术家协会常务理事、中国美术家协会西安分会主席、陕西省文化局副局长等职。著名画家黄胄、方济众、徐庶之为其门下弟子。五六十年代与石鲁多次深入西北各地及陕南秦岭林区、三门峡水库工地，创作了具有生活气息和时代感的作品。曾出访埃及写生。提出"一手伸向传统，一手伸向生活"，开创"长安画派"。

 赵望云平生致力于中国画创作，面向生活，画风质朴浑厚，骨高气雄。以人物、山水著称。作品的创作内容十分广泛:农民、工人、各少数民族的劳动生活、农村的田园风光、塞外的辽阔草原、终年积雪的祁连山、风沙弥漫的弋壁滩、三门峡水利工程、宝成铁路建设工地、南海之滨、西北高原……凡是他足迹所到之处，都保留有他反映祖国风貌的佳作。

他所表现的题材，前人很少表现过，因而也无成法可循。这使他在写生实践中下了很大的功力。根据内容和形式的需要，对国画传统的笔墨表现方法进行了各种探索和创新。他的早期作品，很重视捕捉人物的神态感情，所绘形象生动，韵味无穷。从40年代中期以后，他的笔墨趋于成熟，不论随意挥洒，还是精求工致，都能形神兼备。50年代以后的作品，笔墨技巧已达到驾轻就熟的程度，线条刚柔相济，墨色溶化滋润。

赵望云的写生，早年多画人物，后来逐渐以山水为主。但是他画山水也是旨在反映现实社会生活，表现人的精神面貌。他继承和发扬了我国古代绘画中的山水与人物相结合的优良传统，他很少画纯风景性质的山水画，更不画闲情逸致的骚人雅士和达官仕女。他认为"一切快乐都是劳苦换得，风景的优美，亦多因为人的活动 "。所以他能根据不同的题材、环境、运用娴熟的多变的表现方法来描绘丰富多彩的自然物象。

主要作品有:《农村写生集》、《塞上写生集》、《黄河写生册》、《林区写生册》、《 西北旅行画集》、《埃及写生画集》、《赵望云画集》等。

画作《深夜行》赏析

以中国画水墨来表现夜景，一直是有相当的难度，因为与西方油画不同，传统中国画并不直接表现光线。前人的山水画在很多时候是通过在空中勾画日月来标示时间的。然而追求含蓄洗练的赵望云，显然已不愿重复这一较呆板的程式了。

画家创作于晚年的《深夜行》，用笔十分放松，运用了泼墨晕染和大写意笔法，在看似随意中追求大巧若拙的境界。画面用笔不多但仍令人感到十分丰富，这是通过山崖及树木的墨色浓淡对比和笔触的巧妙变化实现的。引人注目的是，画家通过这样的画面成功地营造了一种宁寂的气氛:山腰间一人独马行进在羊肠鸟道之上，这样冷清的情景正暗示了深夜这一独特的时间。构思之巧，正如前人绘"深山藏古寺"诗意，只画一僧下山挑水，不显一檐片瓦，画家立意已深得中国传统艺术含蓄蕴藉之妙。

 赵望云除了对现代山水、人物画方面取得成就之外，对于家畜动物的描绘也有新的创造。特别是他画的毛驴、造型准确。笔简墨润、形象生动、活泼可爱，所以解放前人们送给他一个雅号--"赵望驴"。当今画驴名家黄胄，就是在他的影响下而有所发展的。

赵望云曾在西安美术学院任教，他对培养艺术人材，倾注了不少心血，当今国坛名家如黄胄、方济众、侯声凯、徐庶之、赵振川等人，都是他的入室弟子，如今仍活跃在陕西及全国画坛的崔振宽、王宝生、王西京、王子武等长安画派代表人物均是他的学生。

赵望云在中国现代美术中的地位十分重要，郭沫若早在40年代初就写诗评价到:"从兹画史中，长留束鹿赵。"

赵望云先生是我国现代杰出的艺术大家、20世纪中国画坛大众化艺术思潮的先驱、"长安画派"的奠基人和创始人。此拍品是画家早年作品，洛神神情婉转，衣带飘扬，飘举的衣带衬托出其正乘云徐徐行于浩淼的水波之上，给人一种"清水出芙蓉，天然去雕饰"的清新。

赵望云画作

 纪念一代宗师赵望云百年诞辰

赵望云，是现代中国画坛上一个一度被历史所忽视，然而却是一个绝对应该受到人们强烈关注的重要的画家。在关注现代社会、现代生活，在艺术走向民众、表现民众的世纪性大潮中，赵望云以他曾经拥有过的无与伦比的影响，成为艺术大众化的当之无愧的先驱。

赵望云(1906―1977)，1906年9月30日出生于河北省束鹿县周家庄一个兼营皮行生意的农民家庭里。从小对绘画、音乐、戏剧等艺术有着浓厚的兴趣，但父亲的去世，家道的衰落使赵望云15岁就被迫去皮店当学徒，20岁左右，才由亲戚资助去北京学习美术，先后在京华美专和国立北京艺专学习。中途辍学，流落社会自学绘画的赵望云在王森然的影响下学习了国内外一些进步的文艺理论，在"五四"新文化运动及由此而来的艺术为民众服务，"走出象牙之塔"的时代风气影响下，决心用中国画的方法表现现实人生。22岁的赵望云和李苦禅、候子步等人组织"吼虹艺术社"，决心改革中国画。这以后，赵望云开始创作大量直接反映现实社会生活，尤其是表现农村生活和民间疾苦的作品，成为本世纪中国画坛这种"为人生的艺术"和返归民众倾向最早也是最杰出的代表。赵望云的反映现实的绘画受到人们的关注，著名的《大公报》开始邀请赵望云担任其"旅行写生记者"，以绘画的方式对社会现实生活予以真实报导，其画作又以《赵望云农村写生集》结集出版。"布衣将军"冯玉祥主动邀请赵望云，以冯诗配其画的方式再版其写生集，赵望云声誉为之而鹊起。这以后，赵望云和冯玉祥多年合作，绘制了"泰山社会写生石刻诗画"，主编了《抗战画刊》。三十到四十年代，赵望云又连续出版了《赵望云塞上写生集》、《泰山社会写生石刻诗画集》、《赵望云旅行印象画选》、《赵望云西北旅行画记》，并在《大公报》、《宇宙风》、《北洋画报》、《抗战画刊》上发表大量作品。此期在西南和西北地区长期的旅行写生奠定了赵望云绘画的坚实基础。五十年代，赵望云一度担任西北地区美术部门的领导工作如陕西省文化局副局长、美协西安分会主席等职，领导了对敦煌石窟的接收、西北历史博物馆、半坡博物馆的筹建工作，同时在西北地区各地写生，去埃及访问。1957年，这位中国画坛少有的思想先进关注社会的画家却被定为"右派"，强大的政治、社会压力给赵望云的后半生罩上了浓重的阴云。1966年开始的"文化大革命"更给赵望云带来灾难性的长期打击。这位至死未得"平反"的一度叱咤风云的画家尽管仍尽可能地坚持作画，也在此期使受其影响的西安画家群体获得了风格独具的"长安画派"的美誉，但仍在1977年3月29日含冤病逝于西安，他所取是的巨大的艺术成就也同样含冤而蒙尘。在二十世纪即将结束的今天，确乎是应当实事求是地客观评价这位开时代先声的"群众画家"的时候了。世纪初的中国画界，因其画种的古老及惯性的强大，在大谈"美术革命"的当时，在大谈艺术走出象牙之塔和走向民间的二三十年代，像岭南三杰那样组织展览，林风眠那样搞艺术运动以教化民众已属难得;真正拿起画笔直接走到民间，乃至以绘画反映民间生活民间疾苦者寥寥。林风眠有《痛苦》、有表现劳工之《休息》等少量作品;广州的潘达微编辑过《平民画页》;潘达微、黄少梅1912年画过反映民间的《流民图》……但真正以反映民间民众疾苦为职事而专门之画家，就其创作时间之早、创作思想之自觉和作品数量之巨大与影响之深广，赵望云无疑当属现代中国画坛艺术大众化之先驱与代表。

 Zhao Wangyun is one of the founders of Chang'an Painting School.

Born on September 30, 1906 (Guangxu 32), in Shulu, Hebei Province (now Xinji, Hebei Province), also known as Xinguo. He died of illness in Xi'an on March 9, 1977. Famous Chinese modern painter, one of the founders of Chang'an Painting School. People from Shulu City, Hebei Province. He was the director of the Cultural Relics Department of the Northwest Military and Political Commission, the executive director of the Chinese Artists Association, the first chairman of the Shaanxi Artists Association, the representative of the Shaanxi People's Congress, the member of the Shaanxi Political Consultative Conference and the deputy director of the Shaanxi Cultural Bureau.

Zhao Wangyun was an apprentice at the beginning of his graduation. In the autumn of 1925, Wang Xiqu, his cousin, sponsored him to study painting at Beijing Huamei Private College. Six months later, he transferred to Beijing National Art College for Chinese Painting. He graduated from Beijing Huamei Art College. In 1928, he taught in Beijing Normal University and in 1930, he was editor-in-chief of Beijing Houhong Society. He was editor of Shanghai Zhonghua Book Bureau in 1932, travel reporter of Tianjin Dagong Daily from 1933 to 1935, and sketched in rural Hebei in 1933. His works were serialized in Dagong Daily. From 1934 to 1936, he went to the countryside of Shandong, Jiangsu, Zhejiang, Henan and Hebei to sketch. His works depicted the poor life of peasants who had suffered from war and chaos, which aroused great repercussions in society and won the title of civilian painter. In 1935, at the invitation of Feng Yuxiang, he co-published the Collection of Taishan Social Sketch Poems and Stone Carvings. During the Anti-Japanese War, under the support of Feng Yuxiang, Laoshe founded the Anti-Japanese War Picture Magazine in Wuhan, and then traveled to the southwest and northwest to sketch. Under the influence of the local conditions and human feelings in the northwest, the unique artistic style of simplicity, simplicity and implicitness was formed. In the 1940s, he went to the northwest to depict the scenery of mountains and rivers and rural scenery in the Northwest region, and made a trip to Dunhuang, copying grotto murals. After 1949, Vice-Director of Northwest Artists Association, Chairman of Shaanxi Branch, Director of Cultural Relics Department of Northwest Culture Ministry, Executive Director of China Artists Association, Chairman of Xi'an Branch of China Artists Association, Vice-Director of Shaanxi Cultural Bureau, etc. Famous painters Huang Huan, Fang Jizhong and Xu Shuzhi are his disciples. In the 1950s and 1960s, Shilu went deep into the northwest and Qinling forest areas in southern Shaanxi and Sanmenxia Reservoir construction sites many times, creating works with a sense of life and the times. He has visited Egypt to sketch. Put forward "one hand to tradition, one hand to life" and create "Chang'an Painting School".

Zhao Wangyun was an apprentice at the beginning of his graduation. In the autumn of 1925, Wang Xiqu, his cousin, sponsored him to study painting at Beijing Huamei Private College. Six months later, he transferred to Beijing National Art College for Chinese Painting. He graduated from Beijing Huamei Art College. In 1928, he taught in Beijing Normal University and in 1930, he was editor-in-chief of Beijing Houhong Society. He was editor of Shanghai Zhonghua Book Bureau in 1932, travel reporter of Tianjin Dagong Daily from 1933 to 1935, and sketched in rural areas of Hebei Province in 1933.

Zhao Wangyun devoted all his life to the creation of Chinese painting, facing life, simple and honest painting style, high-minded. It is famous for its characters and landscapes. The content of the works is very extensive: peasants, workers, the working life of ethnic minorities, rural pastoral scenery, vast grasslands outside the fortress, snow-covered Qilian Mountain, windy and sandy Yibi Beach, Sanmenxia Water Conservancy Project, Baocheng Railway Construction Site, South China Sea Coast, Northwest Plateau... Wherever he travels, he retains his masterpieces reflecting the style and features of his motherland.

His subjects are seldom presented by predecessors, so there is no way to follow them. This made him make great efforts in the practice of sketching. According to the needs of content and form, the traditional brush and ink expression methods of Chinese painting are explored and innovated. In his early works, he attached great importance to capturing people's emotions and attitudes, and painted vivid images with endless charm. Since the mid-1940s, his pen and ink have matured, and they are both physical and spiritual, whether they are freely sprinkled or exquisite in craftsmanship. After the 1950s, the brush and ink skills have reached the level of mastery. The lines are rigid and soft, and the ink melts and moisturizes.

Zhao Wangyun painted many characters in his early years, and then gradually gave priority to landscapes. However, his paintings of landscapes are also aimed at reflecting the real social life and the spiritual outlook of human beings. He inherited and developed the fine tradition of combining landscapes and characters in ancient Chinese paintings. He seldom painted landscape paintings of pure scenery nature, not to mention the leisurely poets, elegant scholars and ladies of high rank. He believed that "all happiness comes from hard work, and the beauty of the scenery is mostly due to human activities". So he can describe the rich and colorful natural images according to different subjects, environments and skillful and changeable methods of expression.

The main works are: rural sketch album, Saisheng sketch album, Yellow River sketch album, Forest area sketch album, Northwest Travel album, Egyptian sketch album, Zhao Wangyun painting album and so on.

Appreciation of the Painting "Late Night Travel"

It has always been quite difficult to express the night scene with Chinese ink painting, because unlike western oil painting, traditional Chinese painting does not directly express light. Previous landscape paintings often mark time by sketching the sun and the moon in the air. However, Zhao Wangyun, who pursues implicit training, is obviously reluctant to repeat this more rigid formula.

In his late years, the painter created "Late Night Travel", with a relaxed pen, using ink splashing and blooming and freehand brushwork, seemingly at will to pursue the realm of cleverness and clumsiness. There are not many brushes in the picture, but they are still very rich. This is achieved by the contrast of the dark color of the cliffs and trees and the ingenious change of the brush strokes. Notably, the painter succeeded in creating a tranquil atmosphere through such pictures: walking alone on the hillside above the sheep's intestines and bird paths, so the cold scene is suggesting the unique time of late night. The ingenuity of the conception, just like the poetry of the predecessor's painting of "deep mountain Tibetan ancient temple", only draws a monk to carry water down the mountain without showing a eaves and tiles. The artist's conception has already acquired the subtlety of Chinese traditional art.

In addition to his achievements in modern landscape and figure paintings, Zhao Wangyun has also made new creations in describing livestock and animals. Especially the donkey he painted is accurate in shape. Bamboo slips are moist, vivid and lovely, so before liberation people gave him a nickname - "Zhaowang Donkey". Huang Qiang, a famous donkey painter, has developed under his influence.

Zhao Wangyun once taught at Xi'an Academy of Fine Arts. He devoted a lot of effort to cultivating artistic talents. Nowadays, famous artists in the national arena, such as Huang Qiang, Fang Jizhong, Hou Shengkai, Xu Shuzhi and Zhao Zhenchuan, are all his disciples in the room. Today, they are still active in Shaanxi and the whole country, such as Cui Zhenkuan, Wang Baosheng, Wang Xijing, and Prince Wu. The representatives of the Anhua School are all his students.

Zhao Wangyun's position in modern Chinese art is very important. Guo Moruo wrote poems as early as the early 1940s and commented, "From the history of painting, Changliu Shulu Zhao. "

Mr. Zhao Wangyun is an outstanding artist in modern China, a pioneer of the popular art trend in 20th century Chinese painting circle, and the founder and founder of Chang'an Painting School. This photograph is the painter's early works. Luo's expression is gentle, his clothes are fluttering. The fluttering clothes set off his traveling clouds slowly over the vast waves of water, giving people a kind of freshness of "clear water comes out of lotus, natural to carve".

Commemorating the Centennial Birthday of Zhao Wangyun, a Grand Master of a Generation

Zhao Wangyun, once neglected by history in the modern Chinese painting circle, is an important painter who absolutely deserves people's strong attention. Zhao Wangyun has become a worthy pioneer of the popularization of art with his unparalleled influence in paying attention to modern society and modern life, and in the tide of the century when art moves towards the masses and expresses the masses.

Zhao Wangyun (1906-1977), born on September 30, 1906 in Zhoujiazhuang, Shulu County, Hebei Province, was a farmer who was engaged in leather business. From childhood, Zhao Wangyun had a strong interest in painting, music, drama and other arts, but his father's death and the decline of his family background forced him to go to a leather store as an apprentice at the age of 15. Only at the age of 20, did he go to Beijing to study art with the help of relatives, and successively studied in Beijing Huamei College and the National Beijing Art College. Zhao Wangyun, who dropped out of school and studied painting by himself in exile society, studied some progressive literary and artistic theories at home and abroad under the influence of Wang Senran. Under the influence of the May 4th New Culture Movement and the art coming from it to serve the people and to get out of the Ivory Tower, Zhao Wangyun decided to use the method of Chinese painting to express real life. Zhao Wangyun, 22, and Li Kuchan, Hou Zibu, among others, organized the Howling Rainbow Art Society, determined to reform Chinese painting. Since then, Zhao Wangyun has begun to create a large number of works directly reflecting real social life, especially rural life and folk suffering, and has become the earliest and most outstanding representative of this century's "art for life" in Chinese painting circles and the tendency to return to the public. Zhao Wangyun's paintings reflecting reality have attracted people's attention. The famous Ta Kung Pao began to invite Zhao Wangyun to act as his "travel sketch journalist" to report the real life of society in the form of painting. His paintings were published in the form of Zhao Wangyun's Collection of Rural Sketches. General Buyi Feng Yuxiang invited Zhao Wangyun to reprint his sketches in the form of Feng Shi and his paintings. Zhao Wangyun's reputation rose for it. Since then, Zhao Wangyun and Feng Yuxiang have worked together for many years to draw "Taishan social sketch stone poems" and edited "Anti-Japanese War Pictures Magazine". From the 1930s to the 1940s, Zhao Wangyun published a series of sketches on Zhao Wangyun Sai, a collection of social sketches on Mount Taishan, a selection of Zhao Wangyun's travel impressions, and a portrait of Zhao Wangyun's northwest travel. He also published a large number of works in Ta Kung Pao, Cosmic Wind, Beiyang Pictorial and Anti-Japanese War Pictorial. Product. This period of long-term travel sketches in the southwest and northwest areas laid a solid foundation for Zhao Wangyun's painting. In the 1950s, Zhao Wangyun once served as the vice director of Shaanxi Cultural Bureau and chairman of Xi'an Branch of the Association of Fine Arts. He led the reception of Dunhuang Grottoes, the preparation of the Northwest History Museum and Banpo Museum, and also sketched in various parts of Northwest China and visited Egypt. In 1957, Zhao Wangyun, a rare painter with advanced ideas and concern for society in Chinese painting circles, was designated as the "right" and his strong political and social pressure cast a heavy cloud over his later life. The "Cultural Revolution" which began in 1966 brought a disastrous long-term blow to Zhao Wangyun. Although he persisted in painting as much as possible, and in this period, the group of Xi'an painters who had been influenced by him gained the reputation of Chang'an School of Painting with their unique style, he died in Xi'an on March 29, 1977 with grievances and illnesses, and his great artistic achievements were also grievances and dusts. 。 At the end of the twentieth century, it is indeed time to evaluate objectively and realistically the "Mass Painter" who was the pioneer of the era. At the beginning of the century, the Chinese painting circle, because of its ancient style and strong inertia, talked about the "art revolution", in the 1920s and 1930s when it talked about art coming out of the ivory tower and going to the folk, organized exhibitions like Lingnan Sanjie, and engaged in artistic movements like Lin Fengmian to educate the people; it was rare to really pick up the painting and go straight to it. There are few folk people, even those who use painting to reflect folk life. Lin Fengmian has a small number of works, such as Pain, Rest, which shows laborers; Pan Dawei in Guangzhou has edited the Folk Painting Page; Pan Dawei and Huang Shaomei have painted the Picture of Refugees, which reflects the folk in 1912... However, Zhao Wangyun is undoubtedly the pioneer and representative of the popularization of modern Chinese painting in terms of the early creation time, the consciousness of creative thought and the great number and influence of his works.