赵云龙十五岁始习水彩画，对水彩艺术的热爱流淌在他的血液中，早已融入了他的生命中。数十年沉潜于艺海笔耕不辍，他的画渐入佳境，成为中国水彩画坛一道亮丽的风景。

　　云龙的水彩画作品深得学院派绘画的精髓，不计其数的创作积累，使他在处理画面时游刃有余，既具备了扎实严谨的造型功力，又深谙水彩自身的特点，把“水”和“彩”拿捏把握得恰到好处。无论是丰富繁杂的大场景，还是言简意赅的海边一隅，无论是景物、静物还是人物，赵云龙都能驾轻就熟地把握画面的空间构图和颜色层次，让水彩的材料属性得以充分显现，使轻薄明快的水性材料成为承载情感与观念的丰厚载体。下笔之运筹帷幄，大气洒脱，有着东北汉子的阳刚与率性的一面，体现了他深厚的绘画修养和对画面的自信;而画中不经意间流露的优雅抒情又散发着画家诗性的情怀，水痕、笔痕、心痕在纸面上自由交错。

　　赵云龙的水彩画作品以风景写生为主要题材。对于风景画的喜爱既源自他对大自然和故乡黑土地的热爱，也基于他对写生这一传统创作方式的重视，以及零距离触摸生活，直抒胸臆的创作态度。艺术需要专注，需要耐得住寂寞，需要抵御潮流的坚守。尽管风景画在艺术观念更迭频仍的今天不再“时髦”，写生这种方式也被很多画家所摈弃和曲解，但赵云龙始终坚持着自己的艺术信仰，以超然平和的心态跋涉于艺海，不懈挖掘着自然之美，将写生作为连接艺术表达与现实生活的纽带。车尔尼雪夫斯基曾在《艺术与现实的审美关系》中提出“美就是生活”的论断。赵云龙就是在对客观物象的提炼与概括中，在对光与色的认识与表现中，在对水彩材料的娴熟运用中，将自然界中具有偶然性、时限性和无意图性的自然美，提升为具有感人力量的艺术美。与很多被动描摹照片的画家不同，他的户外写生有感而发，寄情于景，为平凡景物赋予了生动的气韵和鲜活的生命。虽然醉心于自然，但他从不囿于自然主义的巢臼，在用水彩体现生活和自然实质的同时，探索着水彩艺术的精神内核，不断深化着对画面形式和绘画语言的认识。

　　成长于有着深厚传统文化艺术的中国，水彩画这一舶来的艺术品种在很多中国画家的笔下被赋予了东方精神。“再现”和“表现”一向是理论界对中西方艺术本体论的观念和差异探讨的焦点。我认为，赵云龙的水彩艺术，从语言上既秉承了西方绘画的造型和空间观念，在境界上又深得中国传统绘画“气韵生动”“得意忘形”的意蕴，于自如流畅的运笔描画间挥洒着中国画毛笔书写的独特的笔墨韵味。他将客体的内在精神与主体的精神情感交融在水气氤氲的画面中，将“有我之境”与“无我之境”融会在造化之中，在现实主义的情境中植入浪漫主义的情怀。如果依谢赫的“六法论”来赏鉴赵云龙的画，我们不难在他的作品中找到与“气韵生动，骨法用笔，应物象形，随类赋彩，经营位置，传移模写”等品评标准充分契合的精彩之处。从画面的形式语言本身来看，这些风景画实现了克罗齐所说的从直觉到表现的过程，达到了形式与内容的统一。他的一幅幅风景如同一盏盏味道迥异、飘香隽永的茶，值得我们细细品味。每张作品都张扬着自身的生命力量，渗透着画家真挚热烈的性情，引领观者解读的深入，让这种震撼由审美体验的感性层面渗透到我们心灵的深处。

　　在赵云龙的水彩画作品中，我们可以看到中西方绘画融合与碰撞的火花，在二者和谐的共生中，画家不随声附和，体现了“立乎其大”“和而不同”的中国智慧，使东西方绘画的对话更加精彩有趣。在汇集古今、多元融通的绘画语境中，体现了鲜明的文化身份和艺术视角，在认识情境与他者的同时逐渐实现艺术的自知与自觉。正是“立乎其大”，使云龙的绘画表现超越了笔墨点线的玩味，以“诗凭写意不写工”，笔随心意地写照着自然与生命，让我们在面对他的水彩作品时，即便是观赏小画，也觉得小中有大。可见，文化汇通、精神提升和艺术创造在云龙不懈的个人修为后得到了充分融合。

　　借助西方水彩艺术语言的精妙运用，赵云龙引入了中国画写意的画法，以毛笔的勾勒点染，落笔留痕，构建出一位中国水彩画家的个性化表达。让观者会沉醉于他的作品笔墨水迹的流淌之间、疏密得宜的韵律之中;浸淫在那种酣畅淋漓的率性挥洒的豪情中，在斑驳的光影下、静谧的晨雾中、绵长的细雨里，不知不觉被引入画面，通过艺术的观照达到心灵与自然的相通。

　　莎士比亚之所以被赞美，是因为他在很多最重要的场景中舍弃了矫揉造作的缛说繁词。云龙的画中看不到对自然机械的模仿，看不到为形式而形式的画面制作，看不到浮光掠影的苍白文饰，更看不到毫无生机的模式化陈述。物质性与技术性在艺术作品里起着载体的作用，艺术家的观念、认识和价值取向应该驾驭对媒材的使用，以观念和情感带动技术。正如刘勰在《文心雕龙》里所说的“缀文者，情动而辞发”;苏格拉底提倡的艺术应"现出生命”，“ 现出心灵状态” ，即所谓“外师造化”终需“中得心源”，赵云龙为人的虚怀若谷、豪爽大气和艺术根基的扎实厚重，使他对艺术的热爱与虔诚自然流淌在笔墨之间，使得朴实无华的抒情成为高尚而纯粹的抒情，让平凡的景物变得不平凡。

　　多年耕耘于水彩艺术的田野，云龙在不断完善自身的同时，也悉心培养了一大批卓有成绩的中青年水彩画家，让水彩艺术得到传承和发展，使黑龙江的水彩队伍成为在中国水彩界颇有影响的先锋力量。我国的水彩画就是在像他这样有着博大的时代胸怀和强烈的历史使命感的开拓者的推动下前行的。

　　赵云龙在描绘自然和生活的同时，也同样接受着自然和生活的丰厚馈赠，进而不断丰富和完善着自己的艺术创作。行走于艺术与自然之间，执着地坚持写生的现场感、心灵的在场感，让画家的艺术表现愈发成熟和深化。我相信，赵云龙的水彩人生会更加精彩多姿!

　　Zhao Yunlong began to paint when he was 15 years old. Since then，the love for watercolor painting has been running in his vessels and has been absorbed into his body. Through decades of paintings，his painting skill has improved to a higher level and becomes a beautiful scenery in Chinese watercolor painting circle.

　　Zhao’s watercolor works have inherited the essence of Academism painting. The accumulation of numerous works have improved his skills so that he could handle the pictures with ease.With outstanding skills and a good understanding of the characteristics of watercolor itself，he has dealt with the “water” and “color” perfectly.No matter he is painting complicated sceneries or small beach corners，landscaped，still life or figures，Zhao Yunlong can deal with structure and color in a skilled way，so that the material properties of watercolor could be fully exploited，and thin and bright watercolor material become the vehicle which carries feelings and conceptions.His skilled and free-style strokes，which embodies his masculine and the unrestricted nature as a Northeastern man，represent his skillful training in painting and his confidence when drawing pictures;on the other hand，the elegant expression of feelings revealed in the pictures，that is，the water marks and strokes interlacing with feelings freely，demonstrates a poetic temperament of the painter.

　　The main topic of Zhao Yunlong’s watercolor paintings is scenery sketching. This love for landscape painting is originated from his love to the nature and his hometown—the rich black earth. It is also based on his high celebration of sketching，the traditional creative method，and also a creative attitude of “touching life and expressing feelings directly”. Art requires full attention，and an artist is supposed to be able to stand loneliness and hold back from current trends. Though landscape painting is no longer popular in today’s world where artistic ideas change rapidly，and sketching has been abandoned and misunderstood by many painters，Zhao Yunlong still insists on his own belief. He enjoys the art world with a detached and quiet mood. He keeps on tapping the beauty of nature，regarding sketching as the bridge between artistic expression and actual life. Chernyshevsky once put forward an argument “Beauty is life” in his works Aesthetic Relation of Art to Reality. Zhao Yunlong elevates the natural beauty exactly through extracting and summarizing objective images，realizing and representing light and colors and skillful using water color material. Different from those painters who copy from photos，Zhao’s works are inspired by sences;he vents his feelings in scenery description and endows common sceneries with lively aroma and vivid life. Though engrossed in the nature，he is not limited to the stereotype of naturalism. He represents the life and nature and explores the spiritual core of watercolor painting，meanwhile he is constantly enhancing his understanding of the pictorial form and the painting language.

　　The western watercolor is the origin of Chinese watercolor paintings field. Grown up in China，a country of a time-honored tradition of cultural and art，this exotic art is bestowed with an eastern spirit of many Chinese painters. In my view，on one hand，Zhao Yunlong’s watercolor paintings has inherited the spatial conception of western painting in terms of language;On the other hand，it has incorporated the soul of traditional Chinese painting，that is，lively aroma and unrestrained charm，so the smooth strokes in his works could represent the unique appeal of Chinese brushes and ink.In his pictures，he integrates the internal spirit of the subjects with the spiritual feelings of the subject;he combines the “world with me” and the “world without me” ;he implants romantic feelings in realistic contexts.If we appreciate Zhao’s works according to Xie He’s “Six Methods Theory”，i.e.“lively aroma，bone strokes，drawing from nature，drawing color by adhering to the type，managing positions and re-presenting”，we can find out the certain excellent parts matching these criteria in Zhao’s paintings without doubt.In terms of pictorial forms，these landscape painting have realized what Croce called “the process from intuition to representation”，and have achieved the unity of form and content. These scenery paintings are worthy of careful explanation，just like varied good tea with different tastes. Each piece reflects its own vitality and embodies the sincere and enthusiastic temper of the painter. It leads readers into deep understanding where the shock penetrates through the perceptual level of aesthetic experiences and infiltrates in our souls.

　　In Zhao’s paintings，we can see sparkles. In such a harmonious symbiosis，Zhao uses his works to explain the wisdom of “focusing on the big picture” and “integral but different” in Chinese painting. It makes the communication between eastern and western paintings more exciting and interesting. In such a diverse painting context which includes the ancient and the modern ，his works reflect his distinct cultural identity and artistic view，that is，while understanding the situation and others，he come to gain his self-awareness and self-consciousness gradually. It is the principle of “focusing on the big picture”，that makes Zhao Yunlong’s paintings surpass the simple play of brush，ink，dots and lines. Adhering to the theory of “expressing the meaning and not just the image”，he is able to paint the nature and life with his heart. It is clear that through Zhao Yunlong’s persistent efforts，the combination of cultures，the elevation of spirit and the artistic creation are perfectly blended together.

　　With the aid of western watercolor painting’s expressive skills，by adopting Chinese freestyle painting’s skills，as one Chinese watercolor painter，Zhao Yunlong uses Chinese writing brushes to stroke and line out the personnel expression. Readers can easily be intoxicated with his running inks.，right rhyme and free feelings，and then be led into the pictures through colorful lights and shadows，quiet morning mist and lingering drizzle etc. They communicate with the nature by watching his works.

　　Shakespeare was praised because he discarded artificial and overelaborate expressions in many important contexts. In Zhao’s painting you cannot find out mechanical copy，form or blank decoration，let alone stereotyped lifeless expression. Objects and skills are carriers in artistic works. The artist’s conception，awareness and value orientation determined how we use material. An artist should use concept and feeling to promote improvement in skills. Liu Xie said in his writing Wen Xin Diao Long，“When your emotion is ready，then you can write with ease”. Socrates said that art should be “representing life”，“representing the state of heart”. That is to say，“learning outward from nature” should be combined with “getting inward from heart.” Because Zhao Yunlong is such a open-minded and straightforward person，and his artistic basic is so solid，his love and sincerity for art can be naturally seen among his strokes，and this changes plain expression into noble and pure expression，and makes common sceneries uncommon.

　　During years of painting in the watercolor painting field，Zhao Yunlong has not only improved himself，but also has inspired many young and middle-aged watercolor painters who begin to amaze the audience. Watercolor painting is inherited and developed by many new faces under his influence. He also helps the Heilongjiang provincial watercolor painting group to be an influential group and a pioneer around the country. Thanks to the great efforts made by exploiters like Zhao Yunlong，Chinese watercolor painting career has undergone great development.

　　While Zhao Yunlong depicts nature and life，he accepts the abundant gifts bestowed by nature and life so that he can enrich and perfect his artistic creation.Roaming between the art and the nature.，he insists on the sense of existence and the sense of presence durning sketching，which makes his artistic expression more profound. I believe，Zhao Yunlong’s life of watercolor painting world will be more colorful!