从某种意义上说，绘画是一种塑造的艺术，作者通过对物象的描绘，塑造不同的情境，以记录和传递内心的感受。对于不同的作者面对相同的对象也会有着不同的心境，优秀的画家就是擅于捕捉这种滋生于自己内心的情感并能准确地将这种情境记录下来。这也是为什么自古至今艺术家们可以不厌其烦地对于同一对象（同一题材）进行反复地描绘，仍能打动观者，因为画家描绘的不是物象本身而是自己的“心源”。这也是作者所谓的“化景为境，以气领形，抒情言志”吧。当然，已有的经典图示和文化的认同都会使这种表达的独特性变得越来越为困难，这也是今天写实性绘画面临着的巨大挑战。

　　唐寅的作品大都是在自然的直接写生中完成的，在与自然的共呼吸，同体悟的过程中，进入物我合一的境界，笔随心至，画随神出，一气呵成。由此可见，自然物象不过是作者通向内心，发现自我的桥梁，成为观者和作者情感沟通的媒介，所谓真正的艺术是要能打动人心的这一似乎是早已为人们所熟知的道理却往往被当下的人们所忽视，或者说这些看似简单的道理能真正做到却并不容易，我们看到的是大量以摹写照片，追求视觉逼真为能事，以炫耀技巧为趣味的千人一面、毫无生气的媚俗之作。我个人比较喜欢唐寅笔下的花卉系列，特别是玉兰，洒脱流畅而又不失法度的笔触总使我想到中国的书法，朦胧的色调营造出的空气感使画面平添了一种灵动、流淌的情境，中国式的书写使物象脱离了具体的真实而更接近了心灵，这种“抽象”的意味扩大了想象和体验的空间，直接感染着观者的情感，较之西方印象派绘画多了一分中国式的气韵和生动，也体现出作者的人文素养和情怀，这种中国式的书卷气在当下也并不多见了。

　　唐寅还年轻，但却有了难得的定力，这份执着和坚守一定会有所回报。

中国文化部艺术司副司长 诸迪

2013年3月

Going beyond Image

　　In a sense, painting is an art of creation. Through describing an image, the painter creates different contexts, records and conveys his inner feeling. In front of the same object, different people may have different feelings, while outstanding artists are usually good at capturing the inner feeling and ccurately recording it. That is why the ancient and modern artists can always touch audience deeply even if they tirelessly depicted a same object (a same subject matter) again and again. Because what they depicted is not the image itself but their "inner feeling." That also echoes back what the artist Tang Yin used to say "to express the atmosphere through depicting the target object, to make the sprit be the core while creating image, and to express thinking and feeling by drawing". Definitely, the existing classic presentation and cultural identification makes the uniqueness of such an expression harder and harder, which is the great challenge in the face of today's realistic painting.

　　Tang Yin created most of his works through going to the outside and directly painting in the Nature. Breathing in the natural air and personally feeling the Nature, he finally integrated with the natural world. His brush moved to herever his mind reached, and delivered images from his soul without stopping. Consequently, natural objects become a bridge leading to the artist's heart, helping the artist to find his true self, and a media communicating the viewer's and the artist's emotion. The truth, seemingly known to all, that true art touches people's inside is often ignored by today's people. Or, probably, such kind of apparently simple truth is difficult in practice. Therefore, the works we often saw were lifeless and vulgar works seeking for visual exactness through copying pictures, and showing off skills as an interest. Personally, I like Tang Yin's flowers series, especially his Yulan magnolia. With the free, smooth, unrestrained but proper brushwork, they always reminded me of Chinese calligraphy, since the hazy color tone created a sense of being in air, adding a kind of lively and flowing atmosphere to the context. The Chinese-style writing detached the image from specific reality, getting closer to the soul. Such an "abstract" implication broadened the margin of imagination and experience, as well as directly interacted with the viewers' emotion. In contrast with Western Impressionistic Painting, they outweighed with such kind of Chinese charm and liveliness. Also, they reflected the artist's humanistic attitude, delivering a kind of Chinese scholar's style which can hardly be seen today.

　　Preciously, Tang Yin trained himself with such persistence at such a young age. He should be rewarded by his obsession and devotion.

　　Zhu Di

　　The Deputy Director of the Bureau of Art, the Ministry of Culture, P.R.C.

　　March, 2013