姚伯齐，字秦生，一字清悦，号荆南山人，1940年生于西安，成长于河南南阳，工作于祖籍湖北监利县文化系统，1998年入郑州画院。现任中国书画研究院副院长，郑州大学客座教授。著有《中国当代名家画集——姚伯齐》、《中国近现代名家画集——姚伯齐》等。
姚伯齐先生毕生致力于中国山水画的研究创新，在焦墨、泼彩画领域，开创出了新的中国画表现形式，同时，他以独特的“树皮皴”，建构了极其鲜明的艺术语言和姚氏图式，确立了自己的学术地位。 (2013年国家画院主办姚伯齐画展所撰简介)
Yao Boqi, a word Qin Sheng, a word of Qing Yue, was born in Xi'an in 1940, grew up in Nanyang, Henan, worked in the cultural system of the ancestral Hubei Jianli County, and entered the Zhengzhou Academy of painting in 1998. He is currently the vice president of the Chinese Academy of painting and calligraphy and a visiting professor of Zhengzhou University. It is written by Yao Boqi, a famous contemporary Chinese artist, and Yao Boqi, a collection of modern Chinese masterpieces.
Mr. Yao Boqi devoted his life to the research and innovation of Chinese landscape painting. He created a new form of Chinese painting in the field of ink and color painting. At the same time, he established his own academic status with unique artistic language and Yao's schema with his unique "bark chapped". (2013 National Academy of painting hosted the Yao Boqi exhibition).
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品读伯齐先生的作品，总能感受到一股浑朴、强烈的生命元气，尤以其焦墨作品直接、强烈。枯焦的墨色、苍劲的用笔，在疏密的点线编织中，用深刻的哲理支撑起画面有机统一的效果，令人在单纯中领略到丰富的意蕴。焦墨山水在伯齐先生的笔下是自然生命与艺术创造的综合性表现，金石般的笔墨语言，表现了万象的巍峨雄浑，书写出“天地有大美”的境界。伯齐先生用一种苍老、自由的焦墨阵线，达到了既雄浑而又润泽的效果。穿插在群山众水间的细小事物亦功力到位，未见苟且，使观者既可见气势雄姿，又可见细节内容；既见山峦刻印的肌理，又见连绵苍秀的山脉。
Reading Mr. Berzi's works, we can always feel a simple, strong vitality of life, especially his Jiao Mo works directly and strongly. The blight and blight of the pen, in the dense point of the line weaving, with a profound philosophy to support the picture of the organic unity of the effect, a simple understanding of the rich meaning in the simple. It is a comprehensive expression of natural life and artistic creation. The gold and stone style of the pen and ink language shows the majestic and majestic nature of the world, and writes the realm of "great beauty in the world." Mr. birch used a kind of old and free coke ink line to achieve the effect of both vigorous and smooth. The fine things that are interspersed in the mountains and water are also in place, and the viewer can see both the magnificent posture and the details.
姚伯齐作品2
如果说焦墨山水展现的是山川之“骨”，泼彩山水则表现了山川之“影”，它由近观变成远望，由恢弘变成了清丽，由峥嵘变成了迷离。前者壁立千仞，震撼心魄，创造的是令人亢奋的崇高感；后者翠色可人，如梦如幻地表达悲欣交集的追思怀念。焦墨和泼彩扮演了不同角色，发挥了各自优长，都取得了形式与精神的统一。
伯齐先生数十年致力于中国山水画的探索，始终坚持研究创新走正道，最终开创出新的中国画表现形式。他用真诚、执着的理想追求探索表现“天地大美”的语言，为艺术历史增添了新的元素，也给正在变革中的中国画坛带来诸多有益的启示。
If the mountains and rivers show the "bone" of the mountains and rivers, the splash landscape shows the "shadow" of the mountains and rivers. It turns from a close view to a long distance, from the magnificent to the beautiful, and from the extraordinary to the lost. The former stands in a thousand walls, shaking the soul, creating an exciting sense of sublime; the latter is lush, dreamlike expression of sad and happy memories. Jiao Mo and splash color have played different roles and played their respective advantages and have achieved the unity of form and spirit.
For decades, Mr. Boqi devoted himself to the exploration of Chinese landscape painting, always insisted on the right path of innovation, and eventually created a new form of expression of Chinese painting. With his sincere and persistent pursuit of the pursuit of the language of "the great beauty of heaven and earth", he added new elements to the history of art, and brought many beneficial revelations to the changing Chinese painting world.
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