葉兆信,1959年9月生于山東夏津,現(xiàn)為大眾報業(yè)集團業(yè)務(wù)總監(jiān),高級編輯(國家一級美術(shù)師)、八、九屆山東省政協(xié)委員、山東省新聞美術(shù)家協(xié)會主席、山東省書法家協(xié)會會員、中國當(dāng)代工筆畫學(xué)會會員、中國工藝美術(shù)學(xué)會民間專業(yè)委員會委員、中國漢畫學(xué)會會員、山東工藝美術(shù)學(xué)院客座教授、濟南大學(xué)客座教授、南京博物院特聘研究員。
　　
　　泰山之巔的玉皇廟紅墻綠瓦,像是一頂美麗的桂冠。2008年8月底,廟內(nèi)壁畫經(jīng)過重新創(chuàng)作、繪制,以嶄新的面目迎接來自國內(nèi)外的游客。當(dāng)時,擔(dān)綱“玉皇大帝”主題壁畫創(chuàng)作的,是山東省新聞美術(shù)家協(xié)會主席葉兆信。
　　壁畫是廟宇文化不可或缺的一個組成部分。玉皇廟供奉的是道教最高的神――玉皇大帝,明成化年間重修,殿內(nèi)祀玉皇大帝銅像,同時繪制有玉皇大帝主題壁畫。因年代久遠,壁畫于1994年重新繪制,但由于多種原因,壁畫的構(gòu)思、題材、人物造型并不盡如人意。十幾年來,眾多泰山文化研究專家一直主張重繪壁畫。當(dāng)這一工作提上日程,首先是在全國范圍內(nèi)選擇一位優(yōu)秀畫家,他不但要有過硬的中國傳統(tǒng)人物繪畫功底,還必須有相應(yīng)的廟宇壁畫創(chuàng)作經(jīng)驗。經(jīng)過多方研究,專家們認(rèn)為,曾成功在肥城“玉都觀”繪制壁畫的葉兆信是最合適的人選。
　　出生于山東夏津的葉兆信,從事新聞美術(shù)工作多年,現(xiàn)為山東省新聞美術(shù)家協(xié)會主席,擅長線描人物畫。著名老畫家許麟廬先生認(rèn)為:其白描人物功底深厚,當(dāng)代中青年畫手未之有也。著名學(xué)者馮其庸先生曾為之撰文,“以極精極細之心,極靜極穩(wěn)之情,極堅極毅之力⋯⋯寫祥龍嘉鳳之鱗羽,猛虎斑豹之毫毛,而無一筆之失;如滄海洪波,洞庭銀粼,萬千漣漪,環(huán)環(huán)相生,環(huán)環(huán)相續(xù),而無一環(huán)之差,此等筆力,如花開天成,云出無心,直是化工之筆,吾不得不贊嘆之,感佩之,念頌之⋯⋯”
　　早在1994年,葉兆信就曾應(yīng)邀參與泰山岱廟遙參亭等廟宇壁畫的草圖繪制,創(chuàng)作經(jīng)驗豐富,但是此次的任務(wù)卻讓他感到壓力很大。
　　“接到電話后,真是喜憂參半。到泰山極頂繪制壁畫,把自己的藝術(shù)展現(xiàn)在來自世界各地的游人面前,這是令人萬分激動的,但是,壓力也伴隨著喜悅接踵而至。泰山為五岳之尊,不僅自然景觀雄奇險秀,人文景觀更是悠久與豐富,我感覺自己對泰山文化了解得太少了�！被叵肫甬�(dāng)時的心情,葉兆信說。
　　2008年6月初,泰山玉皇廟壁畫線描稿討論會上,湯貴仁、劉慧、呂繼祥、何樹華、姜豐榮、史欣等泰山文化研究專家對畫稿進行了研討,根據(jù)專家的建議,畫稿中增加了文字說明,并從《永樂宮壁畫》《八十七神仙卷》等經(jīng)典作品中借鑒了許多。劉慧先生提出,最好和岱廟天貺殿風(fēng)格接近。于是按照劉先生意見在第二稿增加“玉帝故事圖”。
　　畫稿確定后,緊接著就開始壁畫的繪制。這時山東工藝美術(shù)學(xué)院段建華、孟祥翠老師帶領(lǐng)田英、王有文、鄭家琪、張亞南、楊祥、賀斐、葉德舜等學(xué)生,組成一支創(chuàng)作團隊。2008年7月10日,他們到達山頂開始了壁畫的繪制。上山時,誰也沒有想到泰山極頂?shù)臈l件那么艱苦。“經(jīng)費僅夠生活開支和繪畫材料的購置。飯菜簡單、住宿條件簡陋大家都毫無怨言,但山上的低溫卻令大家感到有點吃不消。由于時間緊任務(wù)重,我們常常早晨四五點鐘就起床工作,往往是畫到晚上11點才休息。山上一早一晚溫度非常低,且空氣十分潮濕,好在服務(wù)人員為大家準(zhǔn)備了羽絨服御寒�！闭勂鹉嵌蝿�(chuàng)作歷程,葉兆信說,40多天連軸轉(zhuǎn),對自己的體力確實是個挑戰(zhàn),“但是想到自己正在做一件有意義的事,又不敢有絲毫懈怠�！�
　　“神話傳說在流傳過程中逐漸被社會化和人格化,因此,壁畫上畫的是神,亦是人�！比~兆信說。
　　專家們看完泰山頂玉皇廟壁畫后評價:人物靈活自然,線條均勻流暢,筆法剛勁有力,衣紋、飄帶自如。畫面整體色調(diào)以山西嚴(yán)山金代壁畫、永樂宮元代壁畫接近,為泰山頂玉皇廟增添了一道豐富的人文景觀。
　　
　　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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