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说实在的,过去,我们对赵望云的认识只限于四十年代乃至五十年代的写生作品,人们自然不会知道其中有什么历史缘故。所以,常常听到有人讲,赵望云的作品没有提炼、没有高度,总脱不掉写生的意味。这实在是庐山境外的感叹了。今年六月开始,我先后四次在赵振川先生家读了赵望云先生大量的六十年代之后的作品,更确切地说,大部分属于七十年代后的作品,震动很大。十月初的一个下午,我和孙美兰先生一起看画,孙先生一边看,一边惊叹赵望云先生的作品的确是现代画史上的一个丰碑。他对于现代美术史的意义,不仅以其独辟的美学思想体系树起了一座大山,而且晚年作品风格化语言流露出的智性与简约,我认为足以与黄宾虹并肩比峰。可以说,黄宾虹以其至繁、赵望云以至简两向达到的都是中国绘画美学史上的至高境界。
To be honest, in the past, our understanding of Zhao Wangyun was limited to sketching works in the 1940s and 1950s. People naturally do not know any historical reasons. Therefore, it is often heard that some people say that Zhao Wangyun’s work is not refined, there is no height, and the total can not afford the meaning of sketching. This is really a sigh of Lushan outside. Since June this year, I have been studying the large number of Mr. Zhao Wangyun’s works after the 1960s at Mr. Zhao Zhenchuan. To be more exact, most works belonging to the seventies have been greatly shaken. In the afternoon of early October, I took a picture with Mr. Sun Meilan. While watching this, Mr. Sun exclaimed that Mr. Zhao Wangyun’s work is indeed a monument in the history of modern art. His significance to the history of modern art not only established a big mountain with its unique aesthetic system, but also the wisdom and simplicity of the stylistic language of his later years. I think it is enough to match the peak of Huang Binhong. It can be said that Huang Binhong reached the highest level in the history of Chinese painting aesthetics with its breeze, Zhao Wangyun and Jane’s two-way directions.