赵嘉赋是我的老朋友。20世纪80年代,工笔画家在全国也不多,我们自发组织成立了当代工笔画学会,所走过的历程、所经历的困难,我都忘不了赵嘉赋在其中所作的贡献。他是个热心人,不仅为工笔画学会大展承揽了好几次赞助,而且自己也不断努力在工笔画上探索。他的画以工为主、兼工带写,既传统又现代。像作品《万峰千山》,画得好、很有韵味,画面的山形、构图、皴法、颜色、随类赋彩都做得很到位,他不拘泥于山的五色,而是根据其内心的审美心理任意配置色彩,例如作品《长寿山图》《高秋图》等,留白多、有意境。赵嘉赋画得不一定和真山一样,但 Zhao Jiafu is my old friend. In the 1980s, there were not many painters in the whole country. We spontaneously organized the Society of Contemporary Fine Brushwork, and the journey we have gone through, the difficulties we have experienced, I can never forget the contribution made by Zhao Jiafu. He is an avid person who has not only sponsored the Meticulous Society Exhibition for several times, but also continuously strives to explore the fine brushwork. His paintings are mainly workmanship and work-area writing, both traditional and modern. Like the painting “Wan Feng Qianshan”, it is well painted and very attractive. The Yamagata, composition, method, color, and color grading of the painting are well done. He does not rigidly adhere to the five colors of the mountain but according to his innermost Aesthetic psychology arbitrary color, such as works “longevity Hill” “high autumn” and so on, leaving more than white, with the mood. Zhao Jiafu is not necessarily the same as true mountain painting, however