梁时民，国家二级美术师。1959年生于四川绵阳，擅长中国画。1984年毕业于四川美术学院，后在四川省三台县文化馆工作；1985年后在成都市红旗商场美术广告公司任经理、二级美术师。作品多次参加国内外各种大展，并多次分别获金、银、铜、优等次的奖项。部分作品被中国博物馆、中国历史博物馆、钓鱼台国宾馆、中国军事博物馆、毛主席纪念堂、天津艺术博物馆、四川省博物馆、广东省虎门博物馆、可园博物馆、澳大利亚艺术中心、澳洲中国美术馆、马来西亚现代艺术馆等几十家文博单位收藏。现为中国美术家协会会员、中国青年书画协会理事、四川美术家协会副秘书长、四川省花鸟书会副会长兼秘书长、四川省文联会员、四川省诗书画院、南京书画院特聘画师。

 作品《秋酣图》入选首届全国花鸟画展；《窗外》、《国色天香》入选第十三次全国新人新作展；《山赛金秋》入选全国写生画展；《秋韵》获第二届全国花鸟画展优秀作品奖。出版有《梁时民画集》1、2集，《梁时民作品选》、《陈志峰、梁时民画集》等专辑。

梁时民画作

 如果要对梁时民先生的绘画艺术用中国美学思维常用的语言来评论，可用南朝谢赫在《古画品录》中对陆绥的评价来比喻。谢赫说：“陆绥，体韵遒举，风彩飘然；一点一拂，动笔皆奇；传世盖少，所谓希见卷轴，帮为实也。”谢赫评估前贤，能有如此之高的说法的不多。就连后人公认的旷古不可多得的大画家顾恺之，在他笔下也成了三品画家，最高评价也不过是“格体精微，笔无妄下”而已。

一幅画，体势完整有力，韵致隽永高雅，并且又能在“一点一拂”之间，焕发奇妙的笔墨技巧的精神，自然才能具有“风彩飘然”的艺术感染力。这恰好可用来形容梁时民先生绘画艺术给人的感受。梁时民先生艺术中的那种亲和力，完全得益于他对时代与生活的关注，他绝不是那种超验类型的画家。与他从来对人对事的那种“真诚”与“和善”相一致的就是他的艺术的张力。这两种力量，构成他的“体韵遒举，风彩飘然”的艺术特色和至臻上乘的高格调。梁时民先生艺术的挽力和潜力或许到此有止这两股力量的合力之中。

观梁时民作画，有一种淋漓痛快之感，他下笔神速，大笔挥洒，转瞬之间即奖一幅作品的构成框架落成。此时，无论是他用焦墨快速画出主干，还是用淡彩写出体物的粗形，都是一种泼墨泼彩的变式，都是分分秒秒的笔墨色纸相撞击的快速动作。紧接着他熟练地用破彩破墨之法让前面的泼墨泼彩呈现出一种斑驳，幻化而且更加丰富的绘画效果。看到此处，已是令一些很有绘画功力的画家瞠目了，因为，此时的画面呈现出了潘天寿式的构成崎崛之美，这往往是需要深思熟虑、谋篇布局，而后才可能出现的效果，但在梁时民笔政却成了一种快速的艺术律动。在细部处理上，他也滋补品和谈健挺的线描与冲、破之法结合，便线条变化于隐约含蓄之中。当他整幅画完成挂贴于墙面之时，就连多年富于创作经验的中、老年画家也无不频频点首，远观近详，为他画面的多变构成和精妙处理所形成的强烈艺术冲击力和富于大美、强健的气象感佩不已。

梁时民每年总有一批具有高难度制作功夫和具有思想性的巨幅创作。这时的梁时民，表现出的沉着与耐力与前面叙述的才情横溢的状态迥然相异。那是立意要留给美术史的一种拼搏，是一位真正的艺术家的艺术责任感和历史使命感。大家会从他的成名作《包谷林》、《聚》、《秋晴》中感受这种境界。

 Liang Shimin is a second-class national artist. Born in Mianyang, Sichuan in 1959, he is good at Chinese painting. He graduated from Sichuan Academy of Fine Arts in 1984 and worked in Santai County Cultural Museum of Sichuan Province. After 1985, he worked as a manager and a second-level artist in Chengdu Red Flag Market Art Advertising Company. His works have participated in various exhibitions at home and abroad, and won many awards of gold, silver, copper and first class respectively. Some of the works are by China Museum, Chinese History Museum, Diaoyutai State Guest House, Chinese Military Museum, Chairman Mao Memorial Hall, Tianjin Art Museum, Sichuan Museum, Guangdong Humen Museum, Keyuan Museum, Australian Art Center, Australian Chinese Art Museum, Malaysian Modern Art Museum, etc. Ten cultural and Museum units. Now he is a member of China Artists Association, director of China Youth Calligraphy and Painting Association, deputy secretary-general of Sichuan Artists Association, vice-president and secretary-general of Sichuan Flower and Bird Calligraphy Association, member of Sichuan Literary Association, specially appointed painter of Sichuan Poetry and Painting Academy and Nanjing Academy of Calligraphy and Painting.

The work "Autumn Picture" was selected in the first National Flower and Bird Painting Exhibition; Outside the Window and National Sky Fragrance were selected in the thirteenth National New Artists Exhibition; Shan Sai Jin Qiu was selected in the National Sketch Exhibition; and "Autumn Rhyme" was awarded the Excellent Works Award of the Second National Flower and Bird Painting Exhibition. He has published 1 and 2 albums of Liang Shimin's Paintings, Selected Works of Liang Shimin, Chen Zhifeng and Liang Shimin's Paintings.

If we want to comment on Mr. Liang Shimin's painting art in the language commonly used in Chinese aesthetic thinking, we can use the Southern Dynasty's Sheikh's evaluation of Lu Sui in Ancient Paintings Record. Sheikh said: "Lu Sui, body rhyme, elegant style; a little touch, writing is legendary; few handed down, so-called rare scrolls, help is also true." Sheikh's assessment of the former sages is not so high. Even Gu Kaizhi, a great painter recognized by later generations as rare in ancient times, has become a three-tasting painter in his works, and the highest evaluation is only "subtle style, no arrogance in writing".

A painting, full and powerful, meaningful and elegant, and can glow the spirit of wonderful brush and ink skills between "one touch at a time", can naturally have the artistic appeal of "elegant style". This can be used to describe the feelings of Mr. Liang Shimin's painting art. The affinity in Mr. Liang Shimin's art is entirely due to his concern for the times and life. He is by no means a painter of transcendental type. The tension of his art is consistent with the "sincerity" and "kindness" that he always treats people and things. These two forces constitute his artistic characteristics of "vigorous body rhyme and elegant style" and his excellent high style. The strength and potential of Mr. Liang Shimin's art may end in the combination of these two forces.

When viewing Liang Dynasty's paintings, there was a kind of vivid and pleasant feeling. He wrote with great speed and sprinkled with great brush strokes. In a twinkling of an eye, the composition frame of a prize work was completed. At this time, whether he uses burnt ink to draw the backbone quickly or uses light color to write the rough shape of the body, it is a variation of splashing ink and splashing color, and it is a fast action of minute-second impact of ink-ink paper. Then he skillfully used the method of breaking the color and breaking the ink to make the splashing of ink in front of him present a mottled, illusory and richer painting effect. See here, it has made some painters with great painting skills startled, because at this time, the picture presented Pan Tianshou-style composition of the Qiqi unique beauty, which often requires careful consideration, planning layout, and then may appear after the effect, but in Liang Dynasty, civil writing has become a fast art rhythm. In detail, he also nourishes and talks about vigorous lines combined with the method of punching and breaking, and the lines change implicitly. When he finished hanging the whole painting on the wall, even the middle-aged and old artists who had many years of creative experience frequently nodded their heads and looked far and near, admiring the strong artistic impact and strong atmosphere formed by the changeable composition and delicate treatment of his pictures.

Every year, Liang Shimin has a large number of creative works with high difficulty and ideological quality. At that time, Liang Shimin's composure and endurance were quite different from those described above. It is a kind of struggle that intends to leave to the art history. It is a true artist's sense of artistic responsibility and historical mission. You will feel this realm from his masterpieces Baogulin, Ju and Qiuqing.