姚天沐: 1930年出生于福建省莆田市。1951年考入东北鲁迅美术学院绘画系，1955年毕业分配到山西工作， 历任山西省美术家协会秘书长、副主席、主席等职。现任中国美术家协会理事、中国版画家协会常务理事、山西省美术家协会名誉主席、李耕画院名誉院长、国家一级美术师，享受国务院政府特殊津贴。

 作品被选入《中国现代美术全集》、《中国当代美术》（外文版）、《中国扇子艺术精品集》、《毛主席纪念堂珍藏书画作品集》等大型画册中。1996年被中国版画家协会评为五、六十年代优秀版画家并获鲁迅版画奖。

姚天沐画作

 姚天沐擅长中国画、版画，作品参加第三、四、六、七、八、九届全国美展，第五至十五届全国版画展，第一、二届中国美协会员中国画精品展，第十一、十二、十三届全国花鸟画邀请展。曾获全国第八届美展最高奖，全国第十二届版画展银奖，第七届国际版画双年展获优选奖，《正义和平》国际美展获特别奖，纪念建党80周年全国美展获优秀作品奖。作品被中国美术馆、人民大会堂、毛主席纪念堂、鲁迅博物馆、神州版画馆及国外许多博物馆、美术馆收藏。作品被选入《中国现代美术全集》、《中国当代美术》（外文版）、《中国花鸟画百家》、《中国美术家协会第六届理事会理事作品》(中国画卷)、《当代中国画精品选》、《毛主席纪念堂珍藏书画作品集》、《中国百年版画》等大型画册中。出版有《姚天沐国画》、《姚天沐版画》等多种个人画册。曾在沈阳、大连、厦门等地举办个人国画作品展。

姚天沐画作

 姚天沐先生是一位擅长于画松鼠的花鸟画大家。

谈起数十年来在国画领域的耕耘，姚天沐先生充满了感慨。他说自己是一个苦学派。在治学态度上为自己总结了五个字：废品换精品。要想把国画画到一定质量，必须不断地揣摩、实践，平时在心里默写、默记，画画时要多领悟其中的窍门。

姚先生的花鸟画有他自己的特点。

第一是生活气息浓厚，但又不失写意的精神。枇杷、荔枝、芭蕉、松鼠是他最喜欢表现的题材。他为什么要画诸如枇杷、荔枝这类对象，这里面寄托了他对故乡深深地眷恋之情。他用较为写实的方式画这些内容，但是又不会过于留恋于生活景象的复制。长期的艺术实践活动，使他懂得提炼在艺术创作中的重要性。另外，对于国画的认识，也让他不会轻易地陷入到极度现实的情境中。他说：“国画所表现的既不是纯主观的内容，也不是纯客观的内容，而是主客观结合后的内容，是似与不似的境界。”所以，他画的画，一方面情真意浓，体现出他对生活的热爱；另一方面又出其不意，在构图、题材的组合、色彩的对比上体现出审美的意境，于昂然的生机中展示出高远的意趣。

第二是结构严谨，用笔挺括，有金石味。结构严谨是姚先生在绘画艺术创作中的一贯作风。在姚先生的心中，审美意识始终是非常强烈的。他的用笔，骨力十足，而且意到笔到，毫无拖泥带水的感觉。这样的表现，我想是跟他曾经搞版画有关。国画用笔发展到明清，特别强调笔力的意义，于是，用笔要有金石味就成为了人们评判画艺高低的一个重要标准。姚先生从版画刀法中感悟用笔之道，触类旁通，将金石篆刻的感觉融入国画用笔之中，别有一番滋味，颇得老辣之态。

第三的特点就是大胆实验，冲破窠臼，格调清新，弘扬精神。在我看来，姚先生的花鸟画虽然在体态上貌似传统，但是实际上他是在尝试着突破传统，他是一种现代国画。他的国画创作无意于一步一趋地遵循古人，而是以情率法，根据自己的绘画经验和理解来展开。这种做法，有时会呈现不成熟的一面，但却会给人一种探索的活力。对于艺术实践活动来说，十个优点，不如一个特点。有特点个性的作品总是容易被人记住，而且不会陷入自足僵死的境地。姚先生的画不仅在题材上有自己的选择，而且在画法风格上也能具有个人的面貌，这一点是非常难能可贵的。

对于现代中国艺术的发展，姚先生的看法是乐观的。他主张艺术家不应害怕现实的变化。历史的发展不以人的意志为转移，艺术世界的发展会带来品种和风格样式上的改变，但是艺术追求的格调或境界是不会因此而改变的。正是带着这种信念，姚先生的国画求的是小中见大，表现的是天人合一的宇宙精神。站在这个视点上看问题，姚先生的艺术不能不大气，不能不饱满，当然也不能不微妙。

姚天沐画作

姚天沐 - 艺术评价 天沐心成 兀然自立 姚天沐先生是一位擅长于画松鼠的花鸟画大家。 谈起数十年来在国画领域的耕耘，姚天沐先生充满了感慨。他说自己是一个苦学派。在治学态度上为自己总结了五个字：废品换精品。要想把国画画到一定质量，必须不断地揣摩、实践，平时在心里默写、默记，画画时要多领悟其中的窍门。姚先生的花鸟画有他自己的特点。 第一是生活气息浓厚，但又不失写意的精神。枇杷、荔枝、芭蕉、松鼠是他最喜欢表现的题材。他为什么要画诸如枇杷、荔枝这类对象，这里面寄托了他对故乡深深地眷恋之情。他用较为写实的方式画这些内容，但是又不会过于留恋于生活景象的复制。长期的艺术实践活动，使他懂得提炼在艺术创作中的重要性。另外，对于国画的认识，也让他不会轻易地陷入到极度现实的情境中。他说：“国画所表现的既不是纯主观的内容，也不是纯客观的内容，而是主客观结合后的内容，是似与不似的境界。”所以，他画的画，一方面情真意浓，体现出他对生活的热爱；另一方面又出奇不意，在构图、题材的组合、色彩的对比上体现出审美的意境，于昂然的生机中展示出高远的意趣。第二是结构严谨，用笔挺括，有金石味。结构严谨是姚先生在绘画艺术创作中的一贯作风。在姚先生的心中，审美意识始终是非常强烈的。他的用笔，骨力十足，而且意到笔到，毫无拖泥带水的感觉。这样的表现，我想是跟他曾经搞版画有关。国画用笔发展到明清，特别强调笔力的意义，于是，用笔要有金石味就成为了人们评判画艺高低的一个重要标准。姚先生从版画刀法中感悟用笔之道，触类旁通，将金石篆刻的感觉融入国画用笔之中，别有一番滋味，颇得老辣之态。第三的特点就是大胆实验，冲破窠臼，格调清新，弘扬精神。在我看来，姚先生的花鸟画虽然在体态上貌似传统，但是实际上他是在尝试着突破传统，他是一种现代国画。他的国画创作无意于一步一趋地遵循古人，而是以情率法，根据自己的绘画经验和理解来展开。这种做法，有时会呈现不成熟的一面，但却会给人一种探索的活力。对于艺术实践活动来说，十个优点，不如一个特点。有特点个性的作品总是容易被人记住，而且不会陷入自足僵死的境地。姚先生的画不仅在题材上有自己的选择，而且在画法风格上也能具有个人的面貌，这一点是非常难能可贵的。对于现代中国艺术的发展，姚先生的看法是乐观的。他主张艺术家不应害怕现实的变化。历史的发展不以人的意志为转移，艺术世界的发展会带来品种和风格样式上的改变，但是艺术追求的格调或境界是不会因此而改变的。正是带着这种信念，姚先生的国画求的是小中见大，表现的是天人合一的宇宙精神。站在这个视点上看问题，姚先生的艺术不能不大气，不能不饱满，当然也不能不微妙。

 Personal profile

Yao Tianmu: Born in Putian City, Fujian Province in 1930. In 1951, he was admitted to the Painting Department of Northeast Luxun Academy of Fine Arts. In 1955, he graduated and assigned to work in Shanxi Province. He served as Secretary-General, Vice-Chairman and Chairman of Shanxi Artists Association. He is currently the director of China Artists Association, the executive director of China Printers Association, the honorary chairman of Shanxi Artists Association, the honorary president of Li Geng Painting Academy and the first-level artist of the state, and enjoys the special allowance of the State Council.achievement

His works have been selected into such large-scale albums as Complete Works of Modern Chinese Art, Contemporary Chinese Art (Foreign Version), Fine Works of Chinese Fan Art and Collections of Collections and Paintings of Chairman Mao Memorial Hall. In 1996, he was awarded the Luxun Print Print Award by the Chinese Print Artists Association as an outstanding printmaker in the fifties and sixties.

personal honor

Yao Tianmu is good at Chinese painting and printmaking. His works participated in the third, fourth, sixth, seventh, eighth and Ninth National Art exhibitions, the fifth to fifteenth national printmaking exhibitions, the first and second Chinese fine painting exhibitions of members of the Chinese Aesthetic Association, and the eleventh, twelfth and Thirteenth National Flower and bird painting Invitational exhibitions. He has won the highest prize of the 8th National Art Exhibition, the silver prize of the 12th National Print Exhibition, the best prize of the 7th International Biennial Print Exhibition, the special prize of the Justice and Peace International Art Exhibition and the prize of excellent works of the National Art Exhibition in commemoration of the 80th anniversary of the founding of the Communist Party of China. His works have been collected by the Chinese Art Museum, the Great Hall of the People, Chairman Mao Memorial Hall, Lu Xun Museum, Shenzhou Printing Museum and many foreign museums and art galleries. His works have been selected into Complete Works of Modern Chinese Art, Contemporary Chinese Art (Foreign Version), Hundreds of Chinese Flower and Bird Paintings, Works of the Sixth Board of Directors of the Chinese Artists Association (Chinese Painting Scroll), Selection of Contemporary Chinese Paintings, Collection of Collections of Exquisite Paintings of Chairman Mao Memorial Hall, and Chinese Centennial Prints. In large albums. He has published many personal albums such as Yao Tianmu's Chinese Painting and Yao Tianmu's Printing. He has held individual exhibitions of Chinese paintings in Shenyang, Dalian and Xiamen.

Artistic evaluation

Mr. Yao Tianmu is a great painter of flowers and birds, who is good at drawing squirrels.

Speaking of decades of hard work in the field of traditional Chinese painting, Mr. Yao Tianmu was full of emotion. He said he was a bitter school. In terms of academic attitude, I summed up five words for myself: scrap for quality goods. If you want to achieve a certain quality of Chinese painting, you must constantly speculate and practice, usually write in your heart, memorize, and when you draw, you should understand more of the tricks.

Mr. Yao's flower and bird paintings have their own characteristics.

The first is the spirit of life, which is full of flavor, but not without losing the spirit of freehand brushwork. Loquat, litchi, banana and squirrel are his favorite subjects. Why did he paint such objects as loquat and lychee, which placed his deep attachment to his hometown. He draws these contents in a more realistic way, but not too nostalgic for the reproduction of life scenes. Long-term artistic practice made him understand the importance of refinement in artistic creation. In addition, his understanding of traditional Chinese painting also makes him not easily fall into the extreme reality of the situation. He said: "Chinese painting is not a purely subjective content, nor a purely objective content, but a combination of subjective and objective content, is similar and different realm." Therefore, his paintings, on the one hand, are full of true feelings, reflecting his love for life; on the other hand, they are unexpected, reflecting the aesthetic mood in composition, theme combination and color contrast, showing a high level of interest in the vigorous vitality.

Second, the structure is rigorous, straightforward with the pen, there is a stone flavor. Rigorous structure is Mr. Yao's consistent style in painting art creation. In Mr. Yao's mind, aesthetic consciousness is always very strong. His pen is full of bone, and he knows that there is no sense of mud and water. This kind of performance, I think, has something to do with the printmaking he used to do. With the development of Chinese painting brush in Ming and Qing Dynasties, the significance of brush force was emphasized. Therefore, the use of brush with golden stone flavor has become an important criterion for people to judge the level of painting. Mr. Yao realized the way of using brushes from the method of printmaking knife, touched the analogy by analogy, and integrated the feeling of stone seal carving into the brush of traditional Chinese painting. He had a different taste and a rather hot attitude.

The third characteristic is bold experiment, breaking through the stereotype, fresh style and carrying forward the spirit. In my opinion, although Mr. Yao's flower-and-bird painting looks traditional in body, in fact, he is trying to break through the tradition. He is a modern Chinese painting. His Chinese painting creation does not mean to follow the ancients step by step, but unfolds according to his own painting experience and understanding. Sometimes this approach will present an immature side, but it will give people a kind of exploratory vitality. For artistic practice, ten advantages are inferior to one feature. Works with distinctive personality are always easy to remember and will not fall into the situation of self-sufficiency and deadlock. Mr. Yao's paintings not only have their own choices in subject matter, but also have personal features in painting style, which is very valuable.

For the development of modern Chinese art, Mr. Yao's view is optimistic. He advocated that artists should not be afraid of changes in reality. The development of history does not depend on people's will. The development of the art world will bring about changes in varieties and styles, but the style or realm pursued by art will not change accordingly. It is with this belief that Mr. Yao's Chinese painting seeks to see the big in the small, reflecting the cosmic spirit of the unity of man and nature. From this point of view, Mr. Yao's art can not be too ambitious, not too full, of course, not too subtle.

Yao Tianmu - Art Evaluation of Tianmu Xincheng Independence Mr. Yao Tianmu is a master of squirrel flower and bird painting. Speaking of decades of hard work in the field of traditional Chinese painting, Mr. Yao Tianmu was full of emotion. He said he was a bitter school. In terms of academic attitude, I summed up five words for myself: scrap for quality goods. If you want to achieve a certain quality of Chinese painting, you must constantly speculate and practice, usually write in your heart, memorize, and when you draw, you should understand more of the tricks. Mr. Yao's flower and bird paintings have their own characteristics. The first is the spirit of life, which is full of flavor, but not without losing the spirit of freehand brushwork. Loquat, litchi, banana and squirrel are his favorite subjects. Why did he paint such objects as loquat and lychee, which placed his deep attachment to his hometown. He draws these contents in a more realistic way, but not too nostalgic for the reproduction of life scenes. Long-term artistic practice made him understand the importance of refinement in artistic creation. In addition, his understanding of traditional Chinese painting also makes him not easily fall into the extreme reality of the situation. He said: "Chinese painting is not a purely subjective content, nor a purely objective content, but a combination of subjective and objective content, is similar and different realm." Therefore, his paintings, on the one hand, are full of true feelings, reflecting his love for life; on the other hand, they are unexpected, reflecting the aesthetic mood in composition, theme combination and color contrast, and showing a high level of interest in Grand vitality. Second, the structure is rigorous, straightforward with the pen, there is a stone flavor. Rigorous structure is Mr. Yao's consistent style in painting art creation. In Mr. Yao's mind, aesthetic consciousness is always very strong. His pen is full of bone, and he knows that there is no sense of mud and water. This kind of performance, I think, has something to do with the printmaking he used to do. With the development of Chinese painting brush in Ming and Qing Dynasties, the significance of brush force was emphasized. Therefore, the use of brush with golden stone flavor has become an important criterion for people to judge the level of painting. Mr. Yao realized the way of using brushes from the method of printmaking knife, touched the analogy by analogy, and integrated the feeling of stone seal carving into the brush of traditional Chinese painting. He had a different taste and a rather hot attitude. The third characteristic is bold experiment, breaking through the stereotype, fresh style and carrying forward the spirit. In my opinion, although Mr. Yao's flower-and-bird painting looks traditional in body, in fact, he is trying to break through the tradition. He is a modern Chinese painting. His Chinese painting creation does not mean to follow the ancients step by step, but unfolds according to his own painting experience and understanding. Sometimes this approach will present an immature side, but it will give people a kind of exploratory vitality. For artistic practice, ten advantages are inferior to one feature. Works with distinctive personality are always easy to remember and will not fall into the situation of self-sufficiency and deadlock. Mr. Yao's paintings not only have their own choices in subject matter, but also have personal features in painting style, which is very valuable. For the development of modern Chinese art, Mr. Yao's view is optimistic. He advocated that artists should not be afraid of changes in reality. The development of history does not depend on people's will. The development of the art world will bring about changes in varieties and styles, but the style or realm pursued by art will not change accordingly. It is with this belief that Mr. Yao's Chinese painting seeks to see the big in the small, reflecting the cosmic spirit of the unity of man and nature. From this point of view, Mr. Yao's art can not be too ambitious, not too full, of course, not too subtle.