Zhao Li: The early form of Dunhuang fresco is of central tower style with a major character surrounded by continuous variations of murals.
赵力：敦煌壁画的早期窟型是中心塔柱式的，有一个主像，周围是连续变化的壁画。Zhao Li: To paint something on the face is called "Double Mirror" in art history, which is to express a relationship through one part.
赵力：在脸上画一些东西，美术史里叫双重镜像，就是在一个部分去表现一种关系。Zhao Li: The color of Dunhuang fresco is very profound, but "the Providers" shows more refined variations of black, white and gray colors.
赵力：敦煌壁画的颜色非常丰富，但“供养人”更多是黑白灰的微妙变化。Zhao Li: But why is there no face, and no facial expression?
赵力：为什么没有脸，没有脸部表情的表现？。Zhao Li: What is the most important relationship between the series of "Intellectual Youth" and your previous series?
赵力：“知识青年”和之前系列的最大关系是什么？。Zhao Li: In the 90s, maybe you looked back for origin and base.
赵力：在90年代你可能主要是往回看，找根源和基础。Zhao Li: You just mentioned themes in Buddhism, so what's your opinion on Buddhism, are you a Buddhist?
赵力：你提到了佛教主题性的问题，你对佛教是怎样认识的，你是佛教徒吗？。Zhao Li: One question is about technique, and I think another question is about the language of oil painting in China;
赵力：一个是技法，我觉得还有一个考虑是油画语言在中国的问题。Zhao Li: The clue to the themes in your former works is clear in the four phases: "to Rebuild Providers" is from 1994 to 1999;
赵力：你之前的作品线索还是比较清晰的，主要有四个阶段：“再造供养人”，94年到99年；