1968  出生于四川南充
1990  毕业于四川美术学院
现工作、生活在北京、成都

个展

2007  幻影-赵能智作品展  张江当代美术馆  上海
      幻觉-赵能智作品展  曼谷当代唐人艺术中心  曼谷
      幻觉-赵能智作品展  北京当代唐人艺术中心  北京
2006  “换形”赵能智个展，朱屺瞻艺术馆，上海
      “赵能智个展”，艺术季节画廊，雅加达，印度尼西亚  
      “脸”赵能智个展，LA 画-廊，法兰克福，德国
2005  “张开嘴，睁大眼”赵能智个展，紫禁轩画-廊，北京
2004  “记忆的碎片”--赵能智纸上作品，斯民艺苑，新加坡
2001  “赵能智个展”，中国当代画廊，伦敦，英国
2000  “表情”个展，香格纳画廊，上海

群展

2007  超越图象-中国新绘画  上海美术馆 上海  
      “ 天行健―――中国当代艺术前沿展”亚洲艺术中心北京 北京
      “重构的世界图景”  K画廊  成都  
      “革命”    中国广场  纽约  
      “黑白灰”    今日美术馆  北京
      “从新具象到新绘画”  北京唐人当代艺术中心  北京
      “口传和耳闻的四方”  –第三届贵阳双年展  贵阳 中国
      “幻影中的巨人”——中韩现代美术展 世宗文化会馆 汉城
      “新西南当代绘画展” K画廊 成都 中国
      “从西南出发”--西南当代艺术展1985-2007，广东美术馆，广州
      “中国细语”，奥沙艺术中心，香港
2006  “变异的图像”，上海美术馆，上海
      “张江当代艺术馆开幕展”，张 当代艺术馆，上海
      “身体”，恒艺术中心，南京
      “超越的维度”-中国新绘画-，四方美术馆，南京
      “虚虚实实”，首尔，韩国
      “巴塞尔艺术博览会”，巴塞尔，瑞士
      “纸的至上”，季节画-廊，北京
      “赤裸真相”，当代唐人艺术中心，曼谷，泰国
      “冷能”，表画-廊，北京
      “自我造局”，上海证大现代艺术馆，上海
2005  “十点十色”，索卡当代空间，北京
      “着陆现实”，首尔艺术中心，韩国
      “麻将”-SIGG收藏展，伯尔尼美术馆，瑞士
      “明日不回眸”，关渡美术馆，台北
      “第一届蒙彼利埃‘中国当代艺术双年展’”，蒙彼利埃，法国
      “未来考古学￡-第二届中国艺术三年展”，南京博物院，南京
      “第二届成都双年展”,世纪城美术馆,成都
2004  “2004在成都”,蓝顶艺术中心, 成都
      “4+1”中国当代艺术展, 台北亚洲艺术中心，台北
      “居住在成都”, 深圳美术馆，深圳
      “中国先锋艺术”第六部分, 旧金山, 美国
2003  “相互影响”-中国当代艺术, 雅加达，印度尼西亚
      “图像的图像”2003中国当代油画-邀请展, 深圳美术馆，深圳
      “新生代￡-后革命”, 炎黄美术馆，北京
2002  “青春残酷绘”,上海东大名创库,北京炎黄美术馆
      “中国新观念摄影展”第二届平遥国际摄影节,平遥
      “苏黎世国际当代艺术博览会”，苏黎世，瑞士
      “千年之缘：来自中国的新艺术”，纽约，美国；伦敦，英国
2001  “艺术大不同”--以往中国前卫艺术家的大作, 新加坡
      “男孩女孩”，上河车间，昆明，中国；斯民艺苑, 新加坡
      “巴塞尔艺术博览会”, 巴塞尔, 瑞士
2000  “表情”-中、港、台的表[面]艺术, 台北
      “世纪之门”1979-1999中国艺术邀请展，成都
      “成都运动”，阿姆斯特丹，荷兰
1999  “99世界财富论坛”--当代艺术展，上海
      “99国际艺术展(Featherstone)”，波士顿，美国
      “解放￡-开放的边界”，伦敦，英国
      “像物质一样的美丽-中国新观念艺术展”，上海
      “上河美术馆‘99学术邀请展”，成都
1998  “三张年轻面孔”，香港，台北
      “困惑-中国当代绘画-摄影展”，阿姆斯特丹，荷兰
      “KunstRAL98”,阿姆斯特丹,荷兰
      “黑与白”中国当代艺术展, 伦敦,英国
1996  “新人奖”,《江苏画-刊》
1994  “切片”艺术展,重庆
1993  “首届中国油画-双年展”, 中国美术馆,北京

1968  Born in Nanchong, Sichuan Province, China
1990  Graduated from Sichuan Academy of Fine Art, Chongqing
Lives and works in Beijing and Chengdu.

Zhao Nengzhi

1968 Born in Nanchong, Sichuan Province, China
1990 Graduated from Sichuan Academy of Fine Art, Chongqing
Lives and works in Beijing and Chengdu.

Solo Exhibition

2007 “phantom”zhaonengzhi Solo Exhibition Z-art Center? shanghai
     “Hallucination” zhaonengzhi Solo Exhibition Tang Contemporary Art, Bangkok,      Thailand
     “Hallucination” zhaonengzhi Solo Exhibition Tang Contemporary Art beijing ，
     beijing
2006 “Transforming” zhao Nengzhi Solo Exhibition, Zhu Qizhan Museum, Shanghai
     “Zhao Nengzhi Solo Exhibition”, Art Seasons, Singapore
     “FACES” -Zhao Nengzhi, L.A.Galerie, Frankfurt
2005 “Open your Mouth Open your Eyes Wide” Zhao Nengzhi Solo Exhibition, LA
     Gallery, Beijing
2004 “Fragments of Memory“ Zhao Nengzhi’s Work on Paper, Soobin Gallery,
     Singapore
2000 “Expression”, ShanghART Gallery, Shanghai
2001 “Zhao Nengzhi”, London, UK

Group Exhibition

2007 China’s Neo Painting，A Triumph Over Images Shanghai museum Shanghai
     THE POWER OF THE UNIVERSE –Exhibition of Frontier Contemporary Chinese Art
     Asia art center beijing
     Reconstpuot the world image K Gallery Chengdu
     “Revolution” ChinaSquqre NY
     “black .white and gray” today art musem? beijing
     “From New Figurative Image to New Painting” Tang Contemporary Art beijing
     “word of mouth from four corners ”_Guiyang art Biennale Exhibition 3th 2007      Guiyang Museum Guiyang China
     “Giant in illusion” _Submission of Artworks to the Korea-china Contemporary      art Korea
     New South-West Contemporary Painting Exhibition"? Chengdu China
     “Chinese Whispers”, Osage Kwun Tong, Hong Kong
     “Starting from the Southwest” Exhibition of Contemporary Art in Southwest
     China, Guangdong Museum of Art, Guangzhou
2006 “Z-art Center Opening”, Z-art Center, Shanghai
     “Body Heng”, Contemporary Art Center, Nanjing
     “Beyond Dimension” Chinese New Painting, SQUART Gallery of Contemporary Art
     “Unclear and Clearness”, Seoul, Korea
     “Basel Art Fair”, Basel, Switzerland
     “Cold Energy”, Pyo Gallery, Beijing
     “The Naked Truth”, Tang Contemporary Art, Bangkok, Thailand
     “The Self-Made Generation” Retrospective of New Chinese Painting 2005, ZENDAI      MoMA, Shanghai
     “The Power of Art on Paper”, Art Seasons, Beijing
2005 “Grounding Reality”, Seoul Art Center, Korea
     “Ten Eras Ten Colors”, SOKA Contemporary Space, Beijing
     “Mahjong” Chinsieche Gegenwartkunst Aus Der Sammlung Sigg, Berne Museum,      Switzerland
     “Mc1 Biennale Internationale D’Art Contemporain Chinos Montpellier”,      Montpellier, France
     “Archaeology of The Future” The Second Triennial Of Chinese Art, Nanjing      Museum, Nanjing
     “Always to the Front” China Contemporary Art, Kuandu Museum of Fine Arts,      Taipei??
     “Chendu Biennial’, Chendu Modern Museum, Chengdu
2004 “2004 in Chengdu”, Blue House Art Center, Chengdu
     “4+1” Chinese Contemporary Art, Asia Art Center, Taipei
     “Live in Chengdu”, Shenzhen Museum, Shenzhen
     “China Avant-garde” (Part VI), LIMN Gallery, San Francisco
2003 “Interplay” Chinese Contemporary Art, Jakarta
     “Image of Images”, Shenzhen Art Museum, Shenzhen
     “New Generation and Post-revolution”, Yan Huang Art Museum, Beijing
2002 “The Youth Cruelty Painting”, Shanghai, Beijing
           “International Contemporary Art Fair      Zurich”, Zurich
     “Chinese New Idea Photograph Art”, Pingyao, Shanxi
     “On The Edge of The Millennium: New Art from China”, New York And London
2001 “GELY DIFFERENT” Big Works by 11 Chinese Avant-garde Artists, Singapore
     “ON Boys and Girls”, Kunming and Singapore
     “Basel Art Fair”, Basel, Switzerland
2000 “Expression” Works by Artists from China, Hong Kong, Taipei
     “At the New Century” 1979-1999 China Art Invitation Show, Modem Art Museum,      Chengdu?? ??
     “The Chengdu Movement”, Amsterdam, Netherlands
1999 “International Art Exhibition”, Featherstone, Boston, USA
     “Liberation”, London, UK
     “The Beauty of Materialism”, Huadong Normal College Gallery, Shanghai
     “99’Academic Exhibition”, Upriver Gallery, Chengdu
1998 “Black and White”, China Contemporary, London, UK
     “Three Yong Faces”, Hanat Gallery, Hong Kong
     “Confused”- Reckoning with the Future Contemporary Chinese Paintings &      Photography, Amsterdam, Netherlands
     “Kunst RAL98”, Amsterdam, Netherlands
     “Christie’s Asian Avan-garde”, London, UK
1996 “Best New Artist”, Awarded by Jiangshu Art Monthly
1994 “Fragment”, Chongqing
1993 “Chinese Oil Painting Biennale Exhibition”, China National Gallery, Beijing

赵能智：观看内心不忍看的脸
朱其
观看赵能智的绘画，实际上是观看一幅内心不忍看的脸。那些脸叙述了他内心的青春成长，而后他又借助那些脸，叙述人性和灵魂的挣扎，最终那些脸成为了一个救赎的船体。那些关于脸的画成为一种语言的拯救，语言化的肖像或着那些脸，不再有时间和青春的特征，而成为一个灵魂挣扎的深入而细致的铺陈。 1990年代末以来的几乎所有绘画，都是关于脸的痛苦陈述，它们是灰色的，像水肿一样，带着忧郁、迷惘和恐惧般的眼神，似乎是在观看某一个人或者物品，又好像是在观看镜子，由镜子他看到了自己残忍的面容。 在九十年代末，赵能智找到了一种表现方法，他想将所有的表现力集中在人的脸部，但不是去表现一个真实的肖像，而是让脸成为一个精神肖像，或者说，一张内心的脸。他由此开始将脸的表象陌生化，让这些脸变得肿胀，或者像被水中浸泡了很长时间，人性及其他的灵魂好像经受了极大的折磨，他由此获得了一种深刻的痛感，眼神复杂而恍惚地观看着，既像在看别人，也像在看待自己的镜像。 本来赵能智是有可能将这张脸变得脸谱化，但他没有朝当时绘画的潮流靠，即绘画形式上的符号化和身份的中国特征，而是走向一种精神肖像的表象。最初精神刻画的对象当然是青春成长，这个系列后来参加了“青春残酷绘画”展览。这个展览是九十年代末对于70艺术兴起的一次预演，70后艺术强调一种寓言化的表现方式，没有现实背景，尽管有写实的形象，但这是被用来虚构一个更为内心化的形象。 70后绘画的出场之始就备受关注，这主要在于70后绘画强调自我内心的体验性，在图像上与当时盛行的符号化和版画性特征的绘画风格产生了区别。在“青春残酷绘画”展览中，赵能智的绘画也许不算是最突出的，他的画面没有特别外观的青春形象表现，也没有更叙事的图像情节。赵能智所表现的脸是根据自己的脸改造的，几乎只有一张脸充斥着整个画面，有时候膨胀得使局部的脸出了画面。赵能智的形象元素实际上很单纯，一张脸放大到占据了整个画面，表现了一个诗意的表情。 除了这个表情，实际上再没有别的所要表达的了。由于画面脸部的肿胀和皮肤表层起伏的伤害感，使得这张脸显得极其丑陋，但却体现出一种内心状态的复杂性。画面上的青年男子的全部丰富的内心表情，在于他的眼神似乎同时具有几种挣扎的自我状况，比如他的忧郁、茫然、恐惧、不安、狐疑、愤恨和疲惫。赵能智早期对于自我状况的刻画，具有一种青春的感伤主义的图像特征。他描绘了一种几乎难忍的难言的一层层袭来的痛苦，但是仍然穿透出一种出自痛苦深处的感伤主义诗意。 图像的诗意感，是赵能智的绘画最突出的图像核心，在70后绘画中，几乎很少有人能具有他那样的图像诗意和穿透心灵的形象力量。在九十年代末以后的数年中，赵能智的绘画几乎都保持了一种灰色调和自我病态的图像风格，灰色的表现力和自我的残酷状况是一种诗意的现代基调，在形象上丑陋和痛苦，但依然使这一系列脸的表象让人记忆深刻，具有一种混杂着痛苦而又诗意的穿透力。 赵能智的图像在单一的走向上，也许在70后绘画的早期都不算走得极致。他的形象的自我状态具有一些青春的感伤特征，但又不是完全的青春成长的状态，很大程度还混合着人性的普遍特征的表现。他的图像也不仅是一种青春的成长形象，还渗透着一种图像的诗意化的语言实践。 在早期的灰脸系列，赵能智真正找到了一种属于自己的语言风格，以及图像所表现的自我状态。在图像和自我状态之间，灰脸图像由于自我状况的形式描绘，实际上是一种自我图像的形式。他的肖像按照内心状况的特征变形，形成一个内心的肖像，灰脸系列形成了一种明确的图像语言，但自我状况在这个灰脸中却尚处于一种不确定性。 在灰脸系列创作持续的五年，越来越多的男子以及他们不同的病态但诗意的脸进入灰调的画面中。肿胀的病态的眼神茫然但诗意的脸已经完成了形象模式，对于青春成长和人性存在的描绘促成了这一图像形式的确立。在这一点上，赵能智走出了一条自己的语言道路。1990年代当代绘画的一个主要的图像方式都是使用现成的形象进行符号化的改造，而赵能智则一直力图寻求内心特征在图像上的表征化，图像的形象反映内心的一个寓言特征，它只能从内心体验出发，很少能在现实中找到形式变形的现成形象。 赵能智的画面形象每年都在进行微妙的变化，并且这种变化在产生一种更为深入和内在的力量。在漂亮和几乎病态的脸体形成后，他对脸的表情叙述所针对的内在状态不断进行着一种纯化，感伤主义和青春成长的成分逐渐淡出，人性的病态和灵魂的挣扎越来越被强化至一种普遍意义的表达。 在早期的灰脸系列，赵能智的画面还只是实践图像语言所能达到的诗意呈现，而在之后的红脸女人系列，则开始表现病态和挣扎的意义。红脸系列使赵能智的画面发生显著的变化，灰黑的背景，金黄或者银灰的头发，整个画面像是被迎面而来的强烈得几乎癫狂的浓重的红色调所笼罩。灰脸系列是一种阴沉而感伤的色调，红脸系列则是一种浓重的更接近真实的病态感。赵能智的所有色调几乎都是极其主观化的，但有意思的是，那些男性的脸几乎都放入阴沉的灰色调，而女性的脸则都被赋予浓重激情的红色调。 女人的红脸，她们的形象几乎已经没有了诗意化的调子。在灰色系列中的那些男人，他们的痛苦似乎是被一种诗意的目光所看，那些女人们，则被一阵冷酷的目光所左右。红脸系列试图抛弃图像诗意化的调子，以残酷的真实面目，使画面充斥着病态得绚烂的色调。每个人都被置于一种残酷的真实状态，图像语言显而易见在进行一种反诗意的处理，女人们面目丑陋，表情狰狞，像是着了魔一样，在人性和魔性之间被撕扯得悲喜交集，有的嚎啕，有的痴笑，有的临近神经崩溃，她们的形象处于一种真实的病态，并且病态至一种癫狂失控的境地。 对于表情的病态表现，除了自我深陷其中的魔性状态趋于更细节化，在残酷的自我状态上，红脸系列并未超过灰脸的表现力。但在主观色彩上，红脸形象开始走向一种更极端的色调。灰色调实际上使痛苦变得诗意化，使痛苦在美学上获得自我转化；红色调则相反强化了一种痛苦感，并伴随着一种躁动和挣扎的内在张力，画面似乎并不在意是否转化活美化了痛苦，而是要呈现一种深深的内在分裂和冲突，并为此饱受煎熬的人性真实，似乎对这种真实本身的残酷观看就具有一种意义。 如果说灰脸呈现的内心还是处于一种迷离和浑浊的不确定状态，而红脸所呈现的表情则是走向一种极端的强烈的人性状态。那些女人都不漂亮，她们仿佛在讲述内心所遭遇的人性挣扎是如何类似于面对这种丑陋所产生的自我震荡。在早期灰脸的男人形象，似乎具有一种形象的自传成分。在这些关于女人的寓言形象中，她们实际上并不是关于病态的女人，而是关于所有病态的人和他们的人性挣扎。 赵能智在红脸系列完成了一个形象的转化，从形象的自传性过渡到超越性别和自我的普遍特征，但这主要在于一种人性及其人性挣扎的表达，这个系列的语言意义在于图像对人性深处真实性的残酷揭示。赵能智在之后的“幻影”系列，则试图超越对人性的表达，试图进入到一种对人的核心揭示，即对人的灵魂深处关于恶和消极一面的呈现，比如恨、敌视和冷漠。在幻影系列中，红色调作为一种真实的主观痛苦的情感强度的象征色仍然保留，但脸部和情绪状态又恢复了早期灰色调的风格，脸部形态重新粗笔化，淡化现实性，使其更具有一种暗示灵魂的寓言特征。情感状态的表现也被淡化，而是转向一种对灵魂态度的表现，尽管没有强烈的感情状态，但呈现出人的意识和意志力对峙的紧张状态。 从痛苦的诗意化、病态的真实呈现，一直到灵魂的形象再现，赵能智的绘画在不断走向一种对人的深刻揭示，以及对绘画图像的语言创造。在自我和图像的表达上，他的图像一开始模仿了自我，尔后自我在这个图像上，开始寻求自我真实，以至灵魂的形象逐渐显露，赵能智的画面开始出现拯救的可能和意义。 2007年5月11日写于望京

Zhao Nengzhi: Watch the unbearable faces By Zhu Qi Watching paintings by Zhao Nengzhi, is in fact a process of watching faces your internal response unbearable to see. All those faces describe the grow stage of his adolescence. Through them, Zhao shows the struggle of mind and human nature. Paintings of faces, therefore, become a way of salvation, and the portraits do not have any characteristics of the times, but a detailed and elaborate narrative of the soul’s struggling. Since the end of 1990s, almost all the paintings are about painful faces. They are grey, distended faces, with melancholy, weird and horrid eyes. Sometimes, the faces seem to watch something; moreover, they just look through the mirror to see the cruel face of their own. Zhao found his own way of expression in the late 1990s. He put all his attention to human’s faces, and instead of portrait of a real figure, what he cared about is a spiritual symbol—an inner face. The faces are unfamiliar with the real ones, like being soaked in the water for a long time, hence human nature and the soul seems to suffer a great distortion, and in this way, the artist obtained a penetrating sense of pain. The vacant-looking eyes are always very complex: they seem to watch other people, while at the same time seeing themselves from the mirror image. Zhao could paint the faces in a stereotyped character; however, he did not follow the trend of using symbolic forms or Chinese identity. Instead, his painting dug out the spiritual part of human’s faces. His early paintings, which exhibited on the “Cruel Adolescence Paintings”, were about youth growing up. That exhibition can be regarded as a preview of the Post-70s Art in the late 1990s, for its emphasis on an allegory way of expression. Without a realistic background, though some of those paintings had real figures, all was used for creating a much inner image of heart. As soon as the Post-70s Art came out, it received widespread attentions. Because of its emphasis on one’s inner experience, it had sharp contrasts with the prevalent style of symbolic and print like character. Among the exhibits of “Cruel Adolescence Paintings”, Zhao’s painting may not be the most striking one. The absence of particular adolescence image and narrative storylines made his paintings just a remold of his own face. The whole painting is shot through with a single face, sometimes, the face are so expanded that they even surpass the picture frame. The elements of his works are very simple, with every face showing a poetic expression. Besides this expression, there are no more things to convey in fact. The painfulness caused by turgid skin, made the face extremely ugly, but it also showed a complicated stated of mind. From the young man’s eyes, expressions such as melancholy, weirdness, horror, anxiety, doubt, anger and weary are clearly conveyed. The focus on his own experience, imparted Zhao’s early paintings a sense of adolescence sentimentalism, that is, unbearable painfulness with poetic sentimentalism. This poetic sentimentalism is the prominent feature of Zhao’s painting. Among the Post-70s Art, few people’s work could have the same power as his. For a long time after the 1990s, Zhao maintained a style of grey tone and sickly appearance, which is the keynote of modern paintings. Together with ugly and painful images, the face series left people a deep impression, a mixture of painfulness and poetic penetration. Zhao did not walk very far along the single direction. His paintings are not only about adolescence, but also about prevalent experience shared by every human being. And in addition to creating the image of adolescence growing up, he also keeps experimenting the language of art. Since his early stage of the grey face series, Zhao have found a language of his own, by which his image showed his state of mind. His portrait changed as his mind changed, and eventually it became portrait of his inner heart. Though the gray faces themselves are clear and definite image series, the state of mind is changeable as time goes. During the five years of working on the gray faces series, more and more men’s faces appeared on the canvas, with different kinds of sickly appearance. These images are particular and unique in exploring the existence of human nature, in that case, Zhao finally had a style of his own. In 1990s, the main feature of the contemporary art is remolding the already existed image with symbolic meaning. Zhao, however, just walked on his way. His paintings reflected an allegorical form of heart, which more came from his experience rather than reality. Each year, there are subtle changes in Zhao’s painting, and these changes are producing a kind of deep and inner power. Behind the images of sick faces, Zhao kept trying to purify the state of mind presented by expressions. As a result, sentimentalism and adolescence growing up themes gradually faded away, while human nature’s sickness and struggle of the soul were strengthened to a prevalent height. In his early gray faces series, Zhao’s practice only dealt with the poetic feelings of painting. From the red face women series, he began to put more attentions on the meaning of sickness and struggling themselves. This series marked a tremendous change in his painting. The gray black background, and golden or silver gray hair, are all immersed in a strong crazy color of red. If the gray series is regarded as dark and sentimental tones, the red series is almost the true sickness. Zhao used colors subjectively, and what’s interesting, he painted all the men’s faces in dark gray, while almost all the women faces were painted in enthusiastic red. Women’s red faces are no longer in the poetic tones. Comparing with the gray face men, whose panic are watched by a poetic eye, the only thing can be seen in these women is cruelty. The artist abandoned the poetic tone, instead, reproducing the cruel reality with colorful sickness. The ugly faces, crazy expressions, almost seemed to be possessed, and the images are torn by human nature and evil spirit. Among them, some cries, some laughs, some are at the edge of mental collapse. Their crazy is a real, a sick state that hard to control. Besides the detail description of human’s deep involvement in evil spirit, the presence of sickly appearance in the red series is not as cruel as the gray faces series. Through subjective approach, the red face image went to another extreme tone. The gray tone made the whole picture poetic, transforming painfulness into aesthetic beauty; while the red color on the contrary strengthened the panic feelings, along with some inner tensions of struggling and restless. The focus of painting is not poetic beauty any more, but deep rooted conflict and division, and human nature that suffered all kinds of torments. It seems that, watching the cruel reality itself is meaningful. If the gray face is still about uncertain state of blurred and turbid mind, the red face presented goes to an extremely strong state of human nature. Women in his paintings are not beautiful at all, and they seem to narrate the struggle of human nature by themselves such as their confronting to the ugly faces. The early gray face men are a kind of autobiography, these women images, however, are not only sick women but every human being’s struggle. That is to say, Zhao’s red face series marked his change from autobiography to the concerning of prevalent destiny of human beings, though it was still about human nature and the struggle, revealing the cruelness of humanity. In his then following series of “Phantom”, Zhao tried to surpass the express of human nature and began to reveal the essence of life. Paintings of this series focused on the evil and negative side of human spirit, such as hate, hostility and indifferent, with red color kept as a symbol of real panic suffered by artist, and early gray style of describing the face and expression. Bold lines are used to describe the shape of face, and the sense of reality is diluted, which emphasize an allegorical feature. Emotional state also becomes less important, giving prominence to the spiritual attitude. Though without strong emotional rise and fall, this series highlighted the tension of conflicts of human’s spirit and willpower. From poetic painfulness, realistic description of sickness, to representation of the soul itself, Zhao keeps to experiment the language of art and reveal the deep side of human beings in his paintings. His image initially was an imitation of himself, but later on, he surpassed this stage and searched for the true self. As a result, images of the soul gradually appear. From that time on, Zhao’s painting began to have possibility and meaning of salvation. May 11, 2007, in Wangjing Translation: Yang Fangfei