当代著名画家赵英斌油画作品赏析
赵英斌艺术简介
赵英斌，河北省晋州市人。天津美术学院本科毕业，中国美术家协会会员。原天津市群众艺术馆研究馆员，退休后广州私立华联大学美术设计系教授。出版有艺术理论专著《画余论画》，艺术专著《中国写意人物画技法》《中国写意人物画范图》《速写》《速写基础与实训》《风景写生基础与实训》等。
庄周梦蝶
西方十九世纪印象派之前，尽管有无数艺术大师的探索与实践，包括达芬奇的几何透视和色彩透视，然而基本是神外求神，与大自然陌生隔绝，不能沟通交流，焉能得之于神。印象派之后，莫奈发现并表现了巴黎雾的紫色，如杜威所言，此功劳莫次于天文望远镜和显微镜的发明，使人类可以看到了以前没有看到的东西。当此之时，西方印象派运用外光色彩表现光影和空气，通过色彩写生实现了与大自然母亲的真正沟通与对话，于是人类艺术为之神光四溅，神灵毕现。
我十岁学习西方印象派色彩写生，深刻受到俄国列宾、科洛温，法国莫奈、毕莎罗、西斯莱，美国萨金特等人的艺术影响。学习几何透视学和光学、色彩学，渴望学会与大自然沟通对话，凡六十年。然而，此时不过春蚕食桑，餐风饮露，必须待得吐尽千丝万缕，洗涤胸中块垒，作茧自缚，酝酿自化，得到一片虚无恬澹，方可以破茧而出，舞动彩翅，自由飞翔。斯特拉文斯基紧张与轻松的作曲把握过程，即是艺术思想破茧的过程，他在《春之祭》中运用双簧管的偏音、破音，也犹如中国书法用笔中锋之外的破锋、破墨和笔根，以及对传统成熟理念的突破和新的发现，方进入了艺术创作的自由境界。
当此期间，我日夜浸润于中西方美学的比较，尤其是王夫之的现量观，罗马尼亚格列高莱斯库的写生理念，都影响着我的艺术思维。老子的大象无形，大音希声，归根到底说的是为腹不为目。文以载道，摒弃表面的彫琢粉饰，讲究朴实自然。谢赫讲中国画的骨法用笔，骨法者，即孙过庭的翰不虚动，下必有由，齐白石的下笔直取，下刀直干，潘天寿的不雕，强其骨。道法自然，几种境界，首先是得之自然，其次是自然得之，最高境界是自然而然。凡此种种，都支配和影响着我从事油画色彩写生的取景，色调，笔触，刀法，以及由此形成的作品气韵，格调和境界。
人类就像一个淘气的孩子，神赐予自己的不珍惜，随意丢掉，眼睛盯着得不到的，别人手里的东西，一天到晚哭哭啼啼，闹得世界纷纷扬扬，神都不得安宁。这是人类永远的苦难深渊。人生如此，艺术也是如此。东跑西颠找感觉，眼前物，身边景却熟视无睹。油画写生摆脱不了旅行意识、新闻猎奇，大师模式，或者画照片，无能力与大自然促膝谈心，直接沟通和交流，舍本求末，不能自化而破茧，就永远不能进入创作的自由状态。僧粲法师说，至道无难，惟嫌拣择。信然也。
庄周梦蝶的艺术境界，是一幅作品的创作过程，也是艺术家从事艺术一生的奋斗挣扎和终极理想追求。
2015年11月29日于广州绿屏闲堂
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