葉兆信,1959年9月生于山東夏津,現(xiàn)為大眾報(bào)業(yè)集團(tuán)業(yè)務(wù)總監(jiān),高級(jí)編輯(國(guó)家一級(jí)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(huì)主席、山東省書(shū)法家協(xié)會(huì)會(huì)員、中國(guó)當(dāng)代工筆畫(huà)學(xué)會(huì)會(huì)員、中國(guó)工藝美術(shù)學(xué)會(huì)民間專(zhuān)業(yè)委員會(huì)委員、中國(guó)漢畫(huà)學(xué)會(huì)會(huì)員、山東工藝美術(shù)學(xué)院客座教授、濟(jì)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(huà)經(jīng)過(guò)重新創(chuàng)作、繪制,以嶄新的面目迎接來(lái)自國(guó)內(nèi)外的游客。當(dāng)時(shí),擔(dān)綱“玉皇大帝”主題壁畫(huà)創(chuàng)作的,是山東省新聞美術(shù)家協(xié)會(huì)主席葉兆信。
　　壁畫(huà)是廟宇文化不可或缺的一個(gè)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(shí)繪制有玉皇大帝主題壁畫(huà)。因年代久遠(yuǎn),壁畫(huà)于1994年重新繪制,但由于多種原因,壁畫(huà)的構(gòu)思、題材、人物造型并不盡如人意。十幾年來(lái),眾多泰山文化研究專(zhuān)家一直主張重繪壁畫(huà)。當(dāng)這一工作提上日程,首先是在全國(guó)范圍內(nèi)選擇一位優(yōu)秀畫(huà)家,他不但要有過(guò)硬的中國(guó)傳統(tǒng)人物繪畫(huà)功底,還必須有相應(yīng)的廟宇壁畫(huà)創(chuàng)作經(jīng)驗(yàn)。經(jīng)過(guò)多方研究,專(zhuān)家們認(rèn)為,曾成功在肥城“玉都觀”繪制壁畫(huà)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(huì)主席,擅長(zhǎng)線描人物畫(huà)。著名老畫(huà)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(huà)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(xì)之心,極靜極穩(wěn)之情,極堅(jiān)極毅之力⋯⋯寫(xiě)祥龍嘉鳳之鱗羽,猛虎斑豹之毫毛,而無(wú)一筆之失;如滄海洪波,洞庭銀粼,萬(wàn)千漣漪,環(huán)環(huán)相生,環(huán)環(huán)相續(xù),而無(wú)一環(huán)之差,此等筆力,如花開(kāi)天成,云出無(wú)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(huà)的草圖繪制,創(chuàng)作經(jīng)驗(yàn)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(huà),把自己的藝術(shù)展現(xiàn)在來(lái)自世界各地的游人面前,這是令人萬(wàn)分激動(dòng)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(xiǎn)秀,人文景觀更是悠久與豐富,我感覺(jué)自己對(duì)泰山文化了解得太少了�！被叵肫甬�(dāng)時(shí)的心情,葉兆信說(shuō)。
　　2008年6月初,泰山玉皇廟壁畫(huà)線描稿討論會(huì)上,湯貴仁、劉慧、呂繼祥、何樹(shù)華、姜豐榮、史欣等泰山文化研究專(zhuān)家對(duì)畫(huà)稿進(jìn)行了研討,根據(jù)專(zhuān)家的建議,畫(huà)稿中增加了文字說(shuō)明,并從《永樂(lè)宮壁畫(huà)》《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(jiàn)在第二稿增加“玉帝故事圖”。
　　畫(huà)稿確定后,緊接著就開(kāi)始壁畫(huà)的繪制。這時(shí)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(tuán)隊(duì)。2008年7月10日,他們到達(dá)山頂開(kāi)始了壁畫(huà)的繪制。上山時(shí),誰(shuí)也沒(méi)有想到泰山極頂?shù)臈l件那么艱苦�！敖�(jīng)費(fèi)僅夠生活開(kāi)支和繪畫(huà)材料的購(gòu)置。飯菜簡(jiǎn)單、住宿條件簡(jiǎn)陋大家都毫無(wú)怨言,但山上的低溫卻令大家感到有點(diǎn)吃不消。由于時(shí)間緊任務(wù)重,我們常常早晨四五點(diǎn)鐘就起床工作,往往是畫(huà)到晚上11點(diǎn)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(shuō),40多天連軸轉(zhuǎn),對(duì)自己的體力確實(shí)是個(gè)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(shuō)在流傳過(guò)程中逐漸被社會(huì)化和人格化,因此,壁畫(huà)上畫(huà)的是神,亦是人。”葉兆信說(shuō)。
　　專(zhuān)家們看完泰山頂玉皇廟壁畫(huà)后評(píng)價(jià):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(huà)面整體色調(diào)以山西嚴(yán)山金代壁畫(huà)、永樂(lè)宮元代壁畫(huà)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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