泰山崩于前而目不瞬 [凝目叶兆信的泰山之作]

　　叶兆信,1959年9月生于山东夏津,现为大众报业集团业务总监,高级编辑(国家一级美术师)、八、九届山东省政协委员、山东省新闻美术家协会主席、山东省书法家协会会员、中国当代工笔画学会会员、中国工艺美术学会民间专业委员会委员、中国汉画学会会员、山东工艺美术学院客座教授、济南大学客座教授、南京博物院特聘研究员。
　　
　　泰山之巅的玉皇庙红墙绿瓦,像是一顶美丽的桂冠。2008年8月底,庙内壁画经过重新创作、绘制,以崭新的面目迎接来自国内外的游客。当时,担纲“玉皇大帝”主题壁画创作的,是山东省新闻美术家协会主席叶兆信。
　　壁画是庙宇文化不可或缺的一个组成部分。玉皇庙供奉的是道教最高的神――玉皇大帝,明成化年间重修,殿内祀玉皇大帝铜像,同时绘制有玉皇大帝主题壁画。因年代久远,壁画于1994年重新绘制,但由于多种原因,壁画的构思、题材、人物造型并不尽如人意。十几年来,众多泰山文化研究专家一直主张重绘壁画。当这一工作提上日程,首先是在全国范围内选择一位优秀画家,他不但要有过硬的中国传统人物绘画功底,还必须有相应的庙宇壁画创作经验。经过多方研究,专家们认为,曾成功在肥城“玉都观”绘制壁画的叶兆信是最合适的人选。
　　出生于山东夏津的叶兆信,从事新闻美术工作多年,现为山东省新闻美术家协会主席,擅长线描人物画。著名老画家许麟庐先生认为:其白描人物功底深厚,当代中青年画手未之有也。著名学者冯其庸先生曾为之撰文,“以极精极细之心,极静极稳之情,极坚极毅之力⋯⋯写祥龙嘉凤之鳞羽,猛虎斑豹之毫毛,而无一笔之失;如沧海洪波,洞庭银粼,万千涟漪,环环相生,环环相续,而无一环之差,此等笔力,如花开天成,云出无心,直是化工之笔,吾不得不赞叹之,感佩之,念颂之⋯⋯”
　　早在1994年,叶兆信就曾应邀参与泰山岱庙遥参亭等庙宇壁画的草图绘制,创作经验丰富,但是此次的任务却让他感到压力很大。
　　“接到电话后,真是喜忧参半。到泰山极顶绘制壁画,把自己的艺术展现在来自世界各地的游人面前,这是令人万分激动的,但是,压力也伴随着喜悦接踵而至。泰山为五岳之尊,不仅自然景观雄奇险秀,人文景观更是悠久与丰富,我感觉自己对泰山文化了解得太少了。”回想起当时的心情,叶兆信说。
　　2008年6月初,泰山玉皇庙壁画线描稿讨论会上,汤贵仁、刘慧、吕继祥、何树华、姜丰荣、史欣等泰山文化研究专家对画稿进行了研讨,根据专家的建议,画稿中增加了文字说明,并从《永乐宫壁画》《八十七神仙卷》等经典作品中借鉴了许多。刘慧先生提出,最好和岱庙天贶殿风格接近。于是按照刘先生意见在第二稿增加“玉帝故事图”。
　　画稿确定后,紧接着就开始壁画的绘制。这时山东工艺美术学院段建华、孟祥翠老师带领田英、王有文、郑家琪、张亚南、杨祥、贺斐、叶德舜等学生,组成一支创作团队。2008年7月10日,他们到达山顶开始了壁画的绘制。上山时,谁也没有想到泰山极顶的条件那么艰苦。“经费仅够生活开支和绘画材料的购置。饭菜简单、住宿条件简陋大家都毫无怨言,但山上的低温却令大家感到有点吃不消。由于时间紧任务重,我们常常早晨四五点钟就起床工作,往往是画到晚上11点才休息。山上一早一晚温度非常低,且空气十分潮湿,好在服务人员为大家准备了羽绒服御寒。”谈起那段创作历程,叶兆信说,40多天连轴转,对自己的体力确实是个挑战,“但是想到自己正在做一件有意义的事,又不敢有丝毫懈怠。”
　　“神话传说在流传过程中逐渐被社会化和人格化,因此,壁画上画的是神,亦是人。”叶兆信说。
　　专家们看完泰山顶玉皇庙壁画后评价:人物灵活自然,线条均匀流畅,笔法刚劲有力,衣纹、飘带自如。画面整体色调以山西严山金代壁画、永乐宫元代壁画接近,为泰山顶玉皇庙增添了一道丰富的人文景观。
　　
　　The Jade Emperor Temple at the summit of Mount Tai, with its red walls and green tiles, is like a beautiful laurel crown of the mountain.At the end of August 2008, after being re-painted, the mural inside of the Jade Emperor Temple was open to the tourists from home and abroad. Ye Zhaoxin, President of Shandong News Artists Association, was responsible for the creation of the theme mural “Jade Emperor.”
　　As early as 1994, Ye Zhaoxin was invited to paint the drafts of the murals of the Dai Temple at the foot of Mount Tai, which enabled him to accumulate rich experience. However, the duty of painting the “Jade Emperor” in the Jade Emperor Temple made him feel great pressure.
　　Despite the legendary stories of the Jade Emperor being very popular in China, it is difficult to transform these intangible legends into artistic images. Therefore, after making an on-the-spot survey, Ye Zhaoxin did not eagerly set about painting the drafts. He spent a lot of energy on collecting and compiling the materials concerned. “I did this work by citing chapter and verse. While extensively listening to the advice of the experts, I carefully referred to a lot of classical works, which made my creative thinking very clear. I thought that the mural should not only tell stories but also have an artistic nature. So the entire composition should start with the overall scene. As far as the details are concerned, prominence should be given to the expressions of the figures and their interaction relations. This creative goal has won approval from the experts.”
　　“In their popularizing course, the myths and legends have been gradually socialized and personalized. Therefore, the pictures in the mural are both gods and human beings,” said Ye Zhaoxin.
　　After viewing the mural in the Jade Emperor Temple, the experts commented in their review that the figures were vivid and natural, the lines were uniform and smooth, and the brush skills were energetic. The tone of the entire work adds a rich cultural scene to the Jade Emperor Temple on Mount Tai.

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