金文伟

Yao Yongkang is open in passion, courageous in love and hatred , and easy to excite. He is always satisfied with current situation, or doesn't obey written laws. As far as his age is concerned, he can cognize and personally feel Chinese people's spirit reality, but Yao Yongkang always uses honest and natural attitude to treat life and art. He thinks that only wholehearted dedication to living in nature can just experience humanism, object nature and essence of life, just feel the essence of art and just create natural pottery works. Therefore, he is always looking for super-substantial and outer-secular things.

He frequently works with his mind and causes mental figure for little improvement in his creation and consolidation of expressing depiction. All of his domestic and foreign personages of the same trade, who had read his works, appraised him. From his "Century Boy" serial, "Emptiness" and "Silence", etc,it's not difficult to see there is relative grumous eastern classic complex in his body; actually he is especially enthusiastically fond of modern art; he is a young man essentially, modern form-going and behavior-free and easy artist. He makes up his own spiritual garden with his own art and intelligence.

姚永康的激情是开放的，敢爱敢恨，很容易激动。倘若感到痛苦，绝不会故作轻松，他会让人看出他的不快。或许是燕赵慷慨悲歌的历史赠予，使他的内在气质有一种超脱的精神。在艺术探索过程中，他没有重复自己，而是不经意地改变自己，这使得他总是不安现状，不循成法。

尽管人生变化莫测，潮流倏忽即逝，社会物欲横流，一切都是那样的繁琐杂乱，人们越来越少了那份应有的自然本性，但姚永康一直用诚实自然的态度对待生活和艺术。“生活在自然里，为自然而生活”是他从事艺术的理念归宿。他认为唯有全身心地生活在自然中，才会体会到人性、物性与生命的真谛，才会触摸到艺术的本质，才会创造出格调自然的陶艺作品。因此，他一直在寻觅一种超物质和世俗外的东西。他像但丁笔下的苦海中飘荡的精灵，渴望能登上心灵的彼岸，他把这种心灵的重负诉之于作品，使负重的精神能得到相对的适缓和慰藉。“自喻”系列让人感触颇多，似乎包容着无限的内涵和遐想，有一种难以言表的感觉在回荡，更有一种神秘的力量在触动着人们的神经。

他时常为了创作中点滴的进展和表现刻画的加强而劳心费神，而大凡看过他作品的中外艺术同行都有一咏三叹的感觉。他有着非同一般的艺术感觉和悟性。审视“世纪娃”系列、“空”、“静”等作品，我们不难看出他身上有着相当浓厚的东方古典情结，实际上他又特别酷爱现代艺术，他本质上是个年青人，是趋于现代方式的行为洒脱的艺术家。……