作品介绍

无刃之威 · 铁骑将军

画面描绘了一位身披铠甲、策马而立的古代将军。战马昂首奋蹄，鬃毛随风飞扬，将军身姿挺拔，神情沉稳而坚毅，仿佛刚刚穿越战场，正立于风尘之中。

在这幅作品中，我刻意没有为将军安排任何武器。他没有手持长枪，也没有挥舞刀剑，只是自然地端坐于马上。然而，正是这种看似平静的姿态，反而赋予了人物更强烈的气势。将军的威严并不依赖手中的兵器，而是来自他的胆识、气魄与内在力量。真正的勇武，有时并不需要通过挥刀舞剑来表现。

在绘画表现上，采用较为奔放的笔墨，以简练而有力的线条勾勒人物与战马的动态，通过浓淡墨色、粗细笔触之间的变化，突出铠甲的厚重感与战马的力量感。局部加入赭红色调，使画面在水墨的沉稳之中增添几分历史的厚重与战场的气息。

我希望通过这样的表现，塑造的不是一位正在厮杀的武将，而是一位历经风雨、胸有成竹、仅凭自身气度便足以令人敬畏的将军。

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Chinese Ink Painting by Wang Kewei | Iron Steed, Unarmed (2018)

Artwork size: 123 × 123 cm (image only, unmounted)

A Warrior’s Authority Without a Blade

The painting depicts an ancient general clad in armor, seated proudly upon his horse. The horse raises its head and lifts its hooves, its mane flowing in the wind. The general sits upright, his expression calm and resolute, as though he has just emerged from the battlefield, standing amid the dust and turmoil of war.

In this painting, I deliberately chose not to give the general any weapons. He holds neither a spear nor a sword, yet his seemingly composed posture conveys an even greater sense of power and authority. His commanding presence does not depend on the weapons in his hands, but rather comes from his courage, spirit, and inner strength. True valor does not always need to be demonstrated through the swing of a blade.

In my artistic approach, I used expressive and vigorous brushwork, with concise yet powerful lines to capture the movements of both the general and his horse. Variations in ink density and brushstroke thickness emphasize the solidity of the armor and the strength of the horse. Subtle touches of reddish-brown add historical depth and the atmosphere of the battlefield to the calm, restrained quality of traditional ink painting.

Through this work, I wanted to portray not a warrior in the midst of combat, but a seasoned general who has endured countless trials, possesses unwavering confidence, and commands respect through his presence alone.

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王可偉先生 中国画作品『鉄騎無鋒』（2018年制作）

画心サイズ：123cm × 123cm（未表装）

刃を持たぬ威厳・鉄騎の将軍

画面には、甲冑を身にまとい、馬上に堂々と座る古代の将軍が描かれています。馬は頭を高く上げ、力強く駆け出そうとし、たてがみは風になびいています。将軍は背筋を伸ばし、落ち着きと揺るぎない意志を感じさせる表情で、まるで戦場をくぐり抜け、戦塵の中に悠然と立っているかのようです。

この作品では、将軍にあえて一切の武器を持たせませんでした。長槍を手にすることも、刀剣を振るうこともなく、ただ自然な姿勢で馬上に座っています。しかし、その一見静かな姿こそが、かえって人物に強い存在感と迫力を与えています。将軍の威厳は手にした武器によるものではなく、その胆力、気迫、そして内に秘めた力から生まれるものです。本当の勇猛さは、必ずしも刀を振るうことで示す必要はないと考えています。

絵画表現においては、伸びやかで力強い筆致を用い、簡潔でありながら勢いのある線によって人物と馬の動きを描き出しました。墨の濃淡や筆線の太細の変化によって、甲冑の重厚感と馬の力強さを表現しています。また、部分的に赭色（赤褐色）を加えることで、水墨画の落ち着いた趣の中に、歴史の重みと戦場の空気を感じさせる表現を試みました。

この作品を通じて描きたかったのは、戦いの最中にある武将ではなく、幾多の経験を重ね、揺るぎない自信を備え、自らの風格だけで人々に畏敬の念を抱かせる将軍の姿です。

1998年，参与创作儿童读物《杨贵妃之死》，收录于《中华五千年经典故事连环画·隋·唐·五代卷》，由江苏美术出版社出版。

连环画创作是我艺术经历中一段重要的积累。通过历史题材的绘画实践，我不断探索人物造型、服饰细节与画面叙事之间的关系，尝试用生动直观的画面讲述历史故事。这些创作经历，也丰富了我对传统人物绘画的理解与表现。

Lianhuanhua (Chinese Picture Storybook) | The Death of Yang Guifei (Published February 1998)

In 1998, I participated in the creation of The Death of Yang Guifei, a children’s illustrated book included in Classic Stories from Five Thousand Years of Chinese History: The Sui, Tang and Five Dynasties, published by Jiangsu Fine Arts Publishing House.

Creating lianhuanhua was an important part of my artistic journey. Through illustrating historical subjects, I continued to explore character design, costume details, and visual storytelling, seeking to bring historical narratives to life through vivid and accessible imagery. These experiences also deepened my understanding of and approach to traditional Chinese figure painting.

連環画作品｜『楊貴妃之死』（1998年2月刊行）

1998年、私は児童向け読み物『楊貴妃之死』の制作に参加しました。本作は、江蘇美術出版社から刊行された『中華五千年 伝統名作物語連環画・隋・唐・五代巻』に収録されています。

連環画の制作は、私の芸術活動において重要な経験の一つです。歴史を題材とした絵画制作を通じて、人物の造形や衣装の細部、画面による物語表現の関係を探求し、生き生きとした分かりやすい絵によって歴史物語を伝えることを目指してきました。こうした創作経験は、中国伝統人物画への理解を深め、その表現の幅を広げることにもつながりました。

作品介绍

英雄相对·楚汉风云

这幅作品是王可伟先生为自己的连环画封笔之作《楚汉之战》第二版绘制的封面。作品以楚汉争霸为历史背景，将两军交锋的惨烈与英雄人物的命运凝聚于同一画面，既展现了战争的宏大气势，也体现出对历史人物内心世界的深入探索。

画面前景中的项羽，身披战甲占据了重要位置。头盔上斑驳的血迹、紧锁的眉头、锐利而警觉的目光，以及紧抿的双唇，共同构成了一个历经鏖战、仍不肯退让的战士形象。画家以丰富而有力的油画笔触表现铠甲的金属质感与战场留下的痕迹，使人物不仅具有鲜明的视觉冲击力，更流露出直面生死的坚毅与悲壮。

画面右上方的刘邦，气度沉雄的将领以近乎特写的方式出现。浓密的眉毛、深邃的眼窝、坚毅的鼻梁与紧绷的嘴角，构成了极具辨识度的面部形象。不同于项羽的紧张与警觉，刘邦的神情更显沉着、威严，仿佛在战火与硝烟之外，仍然保持着统御全局的气度。

这幅作品的独特之处，在于它并未单纯追求战争场面的宏大，而是将历史的重量落在了具体的人物身上。通过面部细节、眼神、肌肉轮廓、铠甲纹饰与色彩变化，让英雄不再只是历史叙事中的符号，而成为有血有肉、有意志也有命运的人。宏大的战争背景与细腻的人物塑造相互映衬，展现了王可伟先生在历史题材创作中兼顾造型功力、戏剧张力与人物精神的艺术追求。

更值得珍视的是，这幅油画与画家的连环画创作生涯有着直接而特殊的联系。王可伟先生曾倾注多年心血创作大型历史题材连环画《楚汉之战》，以严谨的造型、细致的历史场景和富有感染力的人物刻画，构筑出波澜壮阔的楚汉历史画卷。这部作品也成为他连环画创作生涯的重要收束，并为其后来的中国古代历史题材油画创作积累了深厚的艺术经验。

因此，2008年创作的这幅《楚汉之战》，不仅是一件独立的油画作品，更是画家与自己代表性连环画创作之间的一次深情呼应。它将原本延展于连环画中的历史叙事，浓缩为一幅具有强烈戏剧性与纪念意义的油画封面，记录了画家从连环画到历史题材油画的艺术脉络。

对于喜爱王可伟先生作品的藏家而言，这幅作品的珍贵性，不仅来自其精细的人物刻画与鲜明的历史题材特色，更来自它与画家封笔之作《楚汉之战》第二版之间不可分割的创作渊源。它承载着一段重要的艺术经历，也凝结着画家对历史、英雄与战争命运的长期思考，具有独特的艺术纪念意义与收藏价值。

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Wang Kewei’s Oil Painting *The Battle of Chu and Han

Created in 2008 | Dimensions: 60 × 80 cm

Heroes in Confrontation, The Epic of Chu and Han

This painting was created by Mr. Wang Kewei as the cover artwork for the second edition of his own comic-book masterpiece, The Battle of Chu and Han, the final work of his career in traditional Chinese comic-book illustration. Set against the historical backdrop of the Chu–Han Contention, the painting brings together the brutality of warfare and the destinies of legendary heroes in a single composition. It captures not only the grandeur of battle, but also the complex inner worlds of the historical figures.

In the foreground, Xiang Yu stands prominently in battle armor. The bloodstains across his helmet, his furrowed brows, his sharp and vigilant gaze, and his tightly pressed lips combine to portray a warrior who has endured fierce combat yet refuses to yield. Through vigorous and richly layered brushwork, the artist renders the metallic texture of the armor and the traces left by battle. The figure possesses a powerful visual presence, conveying both unwavering resolve and the tragic grandeur of a hero confronting life and death.

In the upper-right portion of the painting, Liu Bang appears in a commanding close-up, his bearing solemn and imposing. His thick eyebrows, deep-set eyes, strong nose, and tense mouth create a highly distinctive facial portrait. Unlike Xiang Yu’s tension and vigilance, Liu Bang’s expression appears more composed and authoritative, suggesting a leader who maintains his command even amid the chaos of fire and war.

The distinctive strength of this work lies in its refusal to rely solely on the spectacle of warfare. Instead, the weight of history is embodied in the figures themselves. Through subtle facial details, expressive eyes, muscular contours, ornamental armor, and nuanced shifts in color, the artist transforms these heroes from mere figures in a historical narrative into living individuals shaped by will, destiny, and conflict. The contrast between the expansive battlefield and the finely rendered characters demonstrates Mr. Wang’s ability to unite technical mastery, dramatic tension, and psychological depth in historical painting.

Of particular significance is the painting’s direct and unique connection to the artist’s career in traditional Chinese comic-book illustration. Mr. Wang devoted years of painstaking effort to creating the large-scale historical comic The Battle of Chu and Han. Through rigorous figure construction, meticulously depicted historical settings, and compelling character portrayals, he built a sweeping visual narrative of this turbulent period. The work marked an important culmination of his career in comic-book illustration and provided a profound artistic foundation for his subsequent oil paintings on ancient Chinese historical themes.

Created in 2008, this painting is therefore more than an independent work of art. It represents a meaningful dialogue between the artist and one of the defining projects of his own career. By condensing the extended historical narrative of the comic into a single, dramatically charged cover painting, it records an important chapter in Mr. Wang’s artistic journey from traditional Chinese comic-book illustration to historical oil painting, giving the work a distinctive artistic and commemorative significance.

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王可偉 油彩画作品《楚漢の戦い》

制作年：2008年｜サイズ：60 × 80 cm

英雄相対す、楚漢の風雲

本作は、王可偉氏が自身の連環画（中国の伝統的なストーリー漫画）の最終作となった歴史大作『楚漢之戦』の第2版のために描いた表紙用油彩画です。楚漢争覇の歴史を背景に、両軍が激突する戦場の凄惨さと、英雄たちの運命を一つの画面に凝縮しています。戦争の壮大なスケールを描き出すと同時に、歴史上の人物たちの内面にも深く迫った作品です。

画面の前景には、甲冑を身にまとった項羽が大きく描かれています。兜に残る生々しい血痕、深く寄せられた眉、鋭く周囲を警戒する眼差し、そして固く結ばれた唇。その一つひとつが、激戦をくぐり抜けてもなお屈することのない武人の姿を浮かび上がらせています。力強く重ねられた油彩の筆致によって、甲冑の金属的な質感や戦場の痕跡がリアルに表現され、死生を懸けて戦う者の不屈の意志と悲壮感が鮮烈に伝わってきます。

画面右上には、劉邦の姿が威厳に満ちたクローズアップで描かれています。濃い眉、深い眼窩、力強い鼻筋、そして緊張感を帯びた口元が、強い個性を備えた人物像を形づくっています。緊迫感と警戒心を漂わせる項羽に対し、劉邦の表情には、より沈着で威厳のある風格が感じられます。戦火と硝煙が渦巻く状況にあっても、全体を見据え、統率する者の落ち着きが表現されています。

本作の大きな魅力は、戦争の壮大な情景だけに頼るのではなく、具体的な人物描写を通して歴史の重みを伝えている点にあります。顔の細部、眼差し、筋肉の輪郭、甲冑の装飾、そして色彩の繊細な変化によって、英雄たちは単なる歴史上の記号ではなく、意志と運命を背負って生きる人間として描き出されています。壮大な戦場の背景と緻密な人物表現との対比には、造形力、劇的な緊張感、そして人物の精神性を融合させる王可偉氏の歴史画家としての力量が表れています。

さらに本作を特別なものにしているのは、画家の連環画制作の歩みと直接的かつ深い結びつきを持つ点です。王可偉氏は、歴史大作『楚漢之戦』の制作に長年にわたり心血を注ぎ、確かな人物造形、緻密な歴史的情景、そして豊かな表現力を備えた人物描写によって、楚漢争覇の壮大な歴史絵巻を築き上げました。この作品は、同氏の連環画創作の重要な集大成となり、その後の中国古代史を題材とした油彩画制作にも、深い芸術的基盤をもたらしました。

2008年に制作された本作は、単独の油彩画作品であるだけでなく、画家自身の代表的な連環画作品との間に生まれた、特別な芸術的対話ともいえます。連環画の中で展開される壮大な歴史物語を、一枚のドラマ性豊かな表紙絵へと凝縮した本作には、連環画から歴史を題材とする油彩画へと続く王可偉氏の芸術的歩みが刻まれています。その背景こそが、本作に独自の芸術的意義と記念性を与えています。

作品介绍

一人一骑·横展天地

王可伟先生笔下的将军，并不只是一个人物形象。

在这幅横幅作品中，画家有意突破传统人物画纵向构图的限制，将将军、战马、飞鹰与辽阔的荒野横向铺陈开来。人物策马向前，战袍随风而动，飞鹰猎犬紧随身后，使整个画面形成由近及远、由实入虚的空间层次。

横向构图带来的最大变化，是让“人物”变成了“风景中的人物”，让一个瞬间拥有了更广阔的时间与空间感。

相比竖幅作品所强调的人物威仪与英雄气概，这幅横幅更强调的是驰骋、辽阔与自由。

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Wang Kewei — Chinese Ink Painting Qilian Wind (2013)
Image size: 123 × 70 cm
Framed size: 195 × 85 cm

About the Work

Qilian Wind

One Rider, One Horse · Across the Vast Land

In Wang Kewei’s paintings, a general is never merely a figure.

In this horizontal-format work, the artist deliberately breaks away from the traditional vertical composition often used in figure painting. The general, his warhorse, a soaring eagle, and the vast wilderness are spread across the canvas, creating a broad sense of movement and space.

The figure rides forward, his battle robe flowing in the wind, while the eagle and hunting hound follow closely behind. The composition creates layers of space that gradually shift from near to far, and from solid forms into the more atmospheric distance.

The greatest change brought by the horizontal composition is that the “figure” becomes a figure within the landscape, giving a single moment a much greater sense of time and space.

Compared with vertical compositions, which tend to emphasize the dignity and heroic presence of the individual, this horizontal work places greater emphasis on movement, vastness, and freedom.

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王可偉氏 中国画《祁連風》2013年制作
画心サイズ：123 × 70cm
表装後サイズ：195 × 85cm

作品紹介

《祁連風》

一人一騎・天地を駆ける

王可偉氏が描く将軍は、単なる人物像ではありません。

本作では、人物画における伝統的な縦構図からあえて離れ、将軍、軍馬、空を舞う鷹、そして広大な荒野を横方向へと大きく展開しています。

人物は馬を駆って前へ進み、戦袍は風になびき、その後ろには鷹と猟犬が続きます。画面全体には、近景から遠景へ、そして具体的な形から空間の彼方へと移りゆく、奥行きのある空間構成が生まれています。

横長の構図によって最も大きく変化するのは、「人物」が単独の存在ではなく、**「風景の中の人物」**として描かれることです。それによって、一瞬の情景に、より広がりのある時間と空間が与えられています。

人物の威厳や英雄的な存在感を強調する縦構図に対し、本作の横構図では、疾走感、広大さ、そして自由がより強く表現されています。

作品介绍

仙乐凌空·群仙入画

《天籁》描绘天宫之上仙女乐队奏乐的场景。画面中，一群身着飘逸霓裳的仙女凌空而行，或吹笛、或拨弦、或击鼓、或抚琴，仿佛一场来自云端的盛大乐舞正在缓缓展开。

画面没有将人物简单地排列在画面之中，而是通过前后错落、疏密相间的构图，使众多人物形成富有节奏感的整体。前景中的仙女姿态更加鲜明，人物动作舒展而自然；后方人物逐渐隐入云雾，层层叠叠，既丰富了空间，也营造出天宫仙境若隐若现的神秘感。

人物刻画是作品的重要看点。笔下的仙女姿态各异，有的低头吹奏，有的专注抚弦，有的侧身而行，每个人物都有自己的动作和神情，却又共同沉浸在音乐之中。她们面容清秀、神态宁静，既有古典仕女的柔美，又带有超脱尘世的仙气。

在技法上，作品融合了扎实的人物造型与富有表现力的油画笔触。白色、浅绿、淡紫与金红等色彩交相呼应，轻盈的衣裙通过层层叠加的笔触表现出柔软、透明的质感。尤其是人物衣袂和长袖的处理，笔触舒展流动，与脚下翻涌的云雾相互呼应，仿佛衣带和云气都随着仙乐一同飘动。画面上方的蓝天与云彩开阔明净，人物从云雾之间穿行而过，远处荷花、乐器与人物相互点缀，使整个空间充满空灵、祥和而浪漫的东方幻想色彩。

《天籁》所表现的并不仅仅是一支天宫乐队，更是一种对理想世界的想象——仙乐随风，云气为伴，众仙凌空，仿佛天地之间只剩下悠扬乐声。

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Oil Painting “Celestial Music” by Wang Kewei

Created in 2008**

Dimensions: 350 × 170 cm**

Artwork Introduction

Celestial Music · Immortals in Harmony

Celestial Music depicts a celestial ensemble of heavenly maidens performing music high above the clouds. Dressed in flowing, ethereal garments, the figures appear to drift gracefully through the heavens. Some play flutes, others pluck stringed instruments, beat drums, or play the qin, creating the impression of a grand celestial performance unfolding among the clouds.

Rather than arranging the figures in a simple row, the artist creates a dynamic composition through layered positioning, varied density, and carefully balanced spacing. The figures in the foreground are more clearly defined, with graceful and natural movements, while those in the distance gradually dissolve into the mist. The overlapping figures create a sense of depth and rhythm, while the hazy atmosphere evokes the mysterious beauty of a celestial realm.

The portrayal of the figures is one of the highlights of the work. Each heavenly maiden has a distinct pose: some bow their heads as they play, some concentrate on their instruments, while others turn gracefully as they move through the clouds. Although their gestures and expressions differ, they appear completely immersed in the music. Their delicate features and serene expressions combine the elegance of classical Chinese beauties with an otherworldly sense of grace.

In terms of technique, the work combines solid figure drawing with expressive oil-painting brushwork. White, pale green, soft violet, and touches of golden red interact harmoniously across the composition. Layer upon layer of brushwork gives the flowing garments a soft and almost translucent quality. Particularly striking is the treatment of the long sleeves and flowing robes: broad, fluid strokes echo the movement of the clouds below, making it seem as though the garments and mist are both moving to the rhythm of the celestial music.

The expansive blue sky and luminous clouds create an open and tranquil space. Figures drift through the mist, while lotus flowers, musical instruments, and distant figures enrich the composition. Together, these elements create an atmosphere that is ethereal, peaceful, romantic, and deeply rooted in the imagination of traditional Chinese culture.

Celestial Music is more than a depiction of a heavenly orchestra. It expresses an idealized vision of a world beyond the ordinary—celestial music carried on the wind, clouds as companions, and immortals floating among the heavens, as though nothing remains between heaven and earth but the lingering sound of music.

作品介绍

威镇邪魅·一剑凌风

钟馗，是中国传统民间传说中极具代表性的驱邪神祇。相传唐玄宗梦见钟馗手持宝剑捉拿恶鬼，自此钟馗逐渐成为民间信仰中驱鬼辟邪、镇宅护佑的象征，也是中国人物画中极具表现力的经典题材。

此作品以大写意笔墨表现人物的威猛与神韵。画面以浓墨、淡墨与朱红交织，大片红色衣袍挥洒而出，黑色线条穿插其中，看似率意奔放，却牢牢把握住人物的动态与结构。钟馗浓眉紧蹙、双目圆睁、须髯张扬，寥寥数笔便刻画出嫉恶如仇、威严刚烈的性格。夸张的五官与强劲的墨线相结合，使人物充满力量感和震慑力。

作品中衣袍的表现。没有拘泥于细密的衣纹，而是通过疾速勾勒、大笔挥写、干湿浓淡相间，将衣袖与袍角向四周铺展开来。红色衣袍仿佛随风翻卷，使静止的画面呈现出强烈的动态感。手中长剑斜向伸展，与红袍形成鲜明对比，更增强了画面的视觉张力。

以墨写神，以色写势；不拘形似，更重神韵。

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Chinese Ink Painting “Zhong Kui” by Wang Kewei
Created in 2011
Image size: 60 × 68 cm
Mounted size: 98.5 × 75.5 cm

Artwork Introduction

Subduing Evil Spirits · Sword Against the Wind

Zhong Kui is one of the most iconic demon-quelling figures in traditional Chinese folklore. According to legend, Emperor Xuanzong of the Tang Dynasty once dreamed of Zhong Kui wielding a sword and capturing evil spirits. Since then, Zhong Kui has become a symbol of warding off evil, protecting the home, and bringing peace and safety, as well as a classic and highly expressive subject in Chinese figure painting.

This work uses freehand ink painting techniques to capture Zhong Kui’s imposing presence and spiritual vitality. Rich and pale ink tones are interwoven with vivid vermilion. Broad strokes of red sweep across his robes, while bold black lines flow through the composition. Although seemingly spontaneous and vigorous, the brushwork carefully captures the figure’s movement and structure.

With furrowed brows, wide-open eyes, and a fierce, flowing beard, Zhong Kui’s character is conveyed through only a few decisive strokes. His exaggerated facial features, combined with powerful ink lines, create an image of strength, fearlessness, and commanding presence.

The treatment of the robes is particularly striking. Rather than depicting every fold in meticulous detail, the artist employs swift outlines, sweeping brushstrokes, and variations in ink density and moisture to make the sleeves and robe flare outward. The flowing red garments seem to billow in the wind, giving the static painting a strong sense of movement. The long sword extends diagonally from his hand, contrasting sharply with the red robes and further enhancing the visual tension of the composition.

Using ink to express spirit, and color to convey momentum; seeking not mere likeness, but the essence and vitality of the figure.

20世纪80年代的中国连环画，兼具文学叙事与绘画艺术的特点，以连续画面讲述完整故事，注重人物造型、情节推进和画面构图。
这一时期的作品在传统绘画基础上，也开始吸收西方绘画的光影、造型和镜头语言，人物形象更加生动、现代。
尤其是改革开放初期，题材和表现手法逐渐丰富，既有历史题材，也开始出现都市生活、爱情与社会现实等内容。
这部作品中，就能看到那个时代连环画中较明显的写实人物造型与现代审美结合的特点。

Twin Lotuses — True Love Through Trials, Finally United

Originally published in July 1985, Twin Lotuses was later serialized in the renowned Chinese comics magazine Lianhuanhua Bao.

Chinese lianhuanhua (picture-story books) of the 1980s combined literary storytelling with visual art, using sequential images to tell complete stories while placing great emphasis on character design, narrative development, and composition.

During this period, artists continued to draw upon traditional Chinese painting while increasingly incorporating Western approaches to light, form, and cinematic visual language, resulting in more vivid and contemporary character portrayals.

Especially in the early years of China’s reform and opening-up, both subject matter and artistic techniques became increasingly diverse. Alongside historical themes, artists began exploring urban life, romance, and contemporary social realities.

This work reflects the distinctive characteristics of 1980s Chinese lianhuanhua, particularly the combination of realistic character portrayal and modern aesthetic sensibilities.

作品介绍

暮色苍茫·孤骑踏雪

《暮风》描绘了一位身披战甲、携弓佩箭的古代骑士，策马行于苍茫辽阔的荒原之上。暮色笼罩大地，残雪与枯草交错铺陈，远方天际空旷而寂静，一只鹰停驻于将军肩头，仿佛与主人一同穿越这片苍凉天地。

作品没有刻意营造激烈的战争场面，而是将人物置于广阔、寂寥的自然环境之中，以荒原、残雪、暮色和孤独的骑行姿态，营造出一种苍凉而深沉的历史气息。将军身上的铠甲、弓箭、羽饰与战马构成画面的视觉中心，人物坚毅沉着的姿态，与身后无边的荒野形成鲜明对照。

“暮风”二字，也恰好概括了作品的精神气质——风从暮色中来，吹过荒原，也吹过历史。

以扎实的造型能力和厚重的油画语言，将人物、战马与自然环境融为一体。画面色调沉郁而富有层次，笔触在人物与环境之间形成丰富变化，使作品既具有历史题材的叙事性，又保留了油画本身强烈的质感与表现力。

创作于1995年的《暮风》，亦体现了王可伟先生早期历史人物题材油画创作中的重要特点：以人物承载历史，以环境营造气氛，以沉默的画面表达英雄人物内在的坚韧与孤独。

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Wang Kewei – Dusk Wind
Created in 1995
Image Size: 162 × 102 cm

Artwork Description

Under the Dusk Sky · A Lone Rider in the Snow

Dusk Wind depicts an ancient warrior clad in armor, carrying a bow and arrows, riding across a vast and desolate wilderness. Dusk settles over the land, where patches of snow mingle with withered grass. The distant horizon stretches into silence, while an eagle rests upon the warrior’s shoulder, seemingly accompanying him as he journeys through this austere and timeless landscape.

Rather than depicting the intensity of battle, the work places the figure within a vast and solitary natural environment. The wilderness, lingering snow, fading light, and solitary rider create a profound atmosphere of desolation and historical depth. The warrior’s armor, bow and arrows, feathered adornments, and the powerful horse form the visual focus of the composition. His calm and resolute presence stands in striking contrast to the boundless wilderness behind him.

The title Dusk Wind captures the spirit of the work: a wind rising from the fading light, sweeping across the wilderness and carrying with it the echoes of history.

With his solid command of figure drawing and a rich, weighty oil-painting technique, Wang Kewei integrates the warrior, horse, and natural surroundings into a unified composition. The subdued yet layered palette, together with the varied brushwork across the figure and landscape, gives the painting both the narrative power of historical art and the distinctive texture and expressive quality of oil painting.

Created in 1995, Dusk Wind reflects important characteristics of Wang Kewei’s early historical-figure paintings: using the figure to embody history, the environment to create atmosphere, and silence to express the inner resilience and solitude of the heroic figure.

作品介绍

墨写神骏，意驰千里

王可伟先生以写意笔墨描绘唐太宗李世民的著名战马——飒露紫。

飒露紫是唐太宗李世民南征北战时所骑的战马，也是著名的“昭陵六骏”之一。其名因毛色带紫而得名。公元621年前后，李世民率军与王世充争夺洛阳，曾骑乘飒露紫深入敌阵。激战之中，飒露紫胸前中箭，李世民在部将丘行恭的协助下突围。后来，李世民为纪念这些陪伴自己征战天下的战马，下令将六匹战马雕刻成石刻，立于昭陵之前。

作者没有拘泥于战马的细部刻画，而是以简劲、洒脱的线条捕捉飒露紫的神态与气势。马首低昂，鬃毛飞扬，四肢健硕，笔墨浓淡相间，在简练的黑白之间表现出骏马的雄健、沉着与蓄势待发。

尤其值得一提的是，飒露紫在“昭陵六骏”中具有独特的历史意义：现存的飒露紫石刻上，还刻有将军丘行恭为受伤战马拔箭的形象，是六骏中唯一带有人物形象的一件。

一笔一势见骨力，一马一神见风云。
这不仅是一匹骏马的绘画，也是作者对中国古代英雄时代与尚武精神的一种艺术追忆。王可伟先生借飒露紫之形，写骏马之神，也寄寓了中国古代英雄时代的豪迈气魄。

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Wang Kewei — Saluzi

2014 | Chinese Ink Painting
Image size: 69 × 70 cm
Mounted size: 80 × 165 cm

Artwork Description

A Divine Steed in Ink, Galloping Across a Thousand Miles

In this work, Wang Kewei depicts Ziluzi, the famous warhorse ridden by Emperor Taizong of the Tang Dynasty, Li Shimin, through expressive Chinese ink painting.

Ziluzi was one of Li Shimin’s renowned warhorses during his military campaigns and is also one of the famous “Six Steeds of the Zhao Mausoleum.” Its name, meaning “Purple Dew,” is said to have derived from the purplish color of its coat.

Around 621 AD, Li Shimin led his troops in the campaign against Wang Shichong for control of Luoyang. He rode Ziluzi deep into the enemy ranks. During the fierce battle, Ziluzi was struck by an arrow in the chest, and Li Shimin escaped with the assistance of his general, Qiu Xinggong. Later, in memory of the warhorses that had accompanied him through his military campaigns, Li Shimin ordered six of his celebrated steeds to be carved in stone and placed before the Zhao Mausoleum.

Rather than focusing on meticulous details, the artist uses vigorous and spontaneous brushwork to capture the spirit and power of Ziluzi. With its lowered head, flowing mane, and powerful limbs, the horse appears poised for action. Through the interplay of varying shades of ink and concise lines, the painting conveys the horse’s strength, composure, and restrained energy.

Of particular historical significance is the stone relief of Ziluzi among the “Six Steeds of the Zhao Mausoleum.” It uniquely depicts the general Qiu Xinggong removing an arrow from the wounded horse, making it the only one of the six reliefs to feature a human figure.

Every stroke reveals strength; every gesture captures the spirit of the steed.

This is not merely a painting of a magnificent horse, but also an artistic remembrance of the heroic age and martial spirit of ancient China. Through the image of Ziluzi, Wang Kewei captures the spirit of the legendary steed while expressing the grandeur and heroic character of an age of ancient Chinese heroes.