唐寅，一个好熟悉的名字，都因为明代那个书画兼擅的风流才子吧!但是此唐寅非彼唐寅，却都醉心绘事，以画扬名立世。唐寅擅长油画，以博士学衔毕业于强手如云的中央美术学院油画系，并留校任教。在校学习期间师从前辈油画家靳之林，得靳师中西融合且朴素无华的品格精粹，亦以油画与中国意蕴之结合为创作宗旨。唐寅的作品题材，往往缘自平常生活的日积月累，不追求新奇的景致和浮夸的物象，大多是普通人能够接触到的但是又平凡得让所有人熟视无睹或者视而不见的。

　　唐寅擅画海景，这无疑与他少年时期的家乡生活密不可分。在创作中，唐寅笔下的海景变得更加多情，可见画家不是就事论事式的描摹自然，而是将自己的情感记忆融入其中，并升华为一种理想而真诚的画面气质。

　　唐寅也擅长画花，这里既有像牡丹、芍药、月季、玫瑰、玉兰等富贵、浪漫、娇艳的题材，还涉猎了前人很少致力的对象如鸡冠花、迎春花等。鸡冠花，平凡但热烈，就像是普通百姓的情感生活，唐寅以此为题反映的仍是艺术家对平凡生活和朴素情感的认同体察，并借助这样的画面去礼赞生活、关怀人生。唐寅很喜欢描写像迎春花、梨花、桃花这样的木本花卉，他不仅仅将在春日中盛开绽放的气氛烘托到了极致，更将这些花朵在自然环境之中的“野生”状态表达出来，彰显的还是热烈的情绪、自由的格调。

　　睡莲，是唐寅最钟情的画题，创作的灵感最初源于艺术家对法国印象派大师莫奈晚期风格的喜爱。晚年的莫奈隐居巴黎郊区，掘池架桥而广植睡莲，终日以睡莲为画题，风格走向疏朗写意。唐寅画莲，在钟情睡莲盛开之时婀娜多姿的同时，也更着眼于从学习莫奈出发而归于东方的写意精神。事实上立意于东方写意精神的中西融合才是唐寅艺术创作的终极目的，为此艺术家有意识地减弱了画面光影和透视效果，转而强调了平面化的处理，增强了对意境的营造和诗意化的抒情。与此同时，艺术家唐寅也有意识地去结合中国绘画的传统，譬如以“圆光”、“竖长”和“横长”作为画面的构图，在一定程度上就是受到了中国画传统形制的影响。除了这些表像上的取径之外，唐寅更以中国化的意境表达作为自己的致力方向，譬如在针对花卉的描写中，艺术家刻意将所要描写的“玉兰”、“梨花”、“迎春花”与“故宫的一隅”、“宫墙的一段”等特定场景联系在一起，冲破了西方静物画的固有局限，将传统的花卉题材与风景画相融合，达成了某种的画面意蕴。

　　唐寅还通过联想的方式穿越时空的制约，在历史和现实之间搭建起了诗意化的联系。对历史的关注，或许已经成为了唐寅的下一个目标，艺术家不断云游四方，徜徉于东西方文化的遗址遗迹之中，以画笔去记录下刹那间的灵感激情。譬如，唐寅在意大利威尼斯的写生之作就是如此，面对的是西方的景物，表达方式更多的是“以我为主”的东方式的文化思考和文化立场。这就是唐寅自己的艺术渴望，并在一点一滴地体味之中最终凝结成了自己的绘画语言和表达形式。

　　对于像唐寅这样的中青年画者而言，一切或许刚刚开始，而一旦大幕已经徐徐拉开，精彩的剧情也将随即展开!我们祝愿唐寅也成为一位“桃花庵里桃花仙”式的画者，以自己的多情画笔画尽天下的浪漫抒情，给我们奉献出美好的画卷意境。

　　中央美术学院教授、AMRC艺术市场分析研究中心主任、CCAD中国现当代美术文献研究基金执行长，赵力

　　Tang Yin, what a familiar name! It is the name of a romantic scholar whowas good at both handwriting and painting in Ming Dynasty. However, thisTang Yin is not that Tang Yin, although both are fascinated with paintingand famous for it. This Tang Yin is good at oil painting, who graduated fromthe Department of Oil Painting of the China Central Academy of Fine Arts,which is full of talented artists, with Ph.D degree and eventually teacheshere. Learning painting under a senior oil painter-Mr. Jin Zhilin, he inheritsthe plainness and simpleness of Mr. Jin’s art, and aims at integrating theChinese cultural meaning into oil painting. Tang Yin usually chooses subjectmatters from life experience. Never focusing on novel landscape or pompousimages, he often sets his eyes on common and ordinary things familiar withbut ignored by all.

　　Tang Yin prefers seascape, which is closely related tohis boyhood life in hometown. In Tang Yin’s paintings, seascape becamesentimental. It is thus clear that the artist not only depicts the nature, but alsoexpresses his emotion and memory, and then lifts them up into an ideal andsincere atmosphere in the painting. Tang Yin also prefers to paint flowers,including the dainty ones, such as peony, Chinese herbaceous peony, monthlyrose, rose and Yulan magnolia, which are symbolic of romance and prosperity,as well as some other flowers which were seldom presented by predecessorartists, such as cockscomb and winter jasmine. The ordinary but glowingcockscomb is just like the common people’s emotional life. With the subjectmatter, Tang Yin expresses an artist’s identification and personal experienceof ordinary life and plain emotion. With the painting, Tang Yin tries to praiselife and express his care about life.

　　Tang Yin likes woody flowers verymuch, such as winter jasmine, pear blossom and peach blossom. Not onlydoes he perfectly depict the atmosphere of flowers blooming in springtime,but also does he vividly deliver the "wild" state of the flowers in the naturalenvironment, in order to highlight his strong emotion and free style. Waterlily is his most favorite subject matter. His inspiration on this subject is arisenfrom his favor of French impressionistic master-Monet’s style in his latedays. Monet lived in seclusion in the suburb of Paris in his old age, where hebuilt a pool and a bridge, planted water lilies and depicted them every day.

　　Gradually, he established his freehand style. While appreciating the grace andelegance of water lily in full bloom, Tang Yin paid attention to the easternemotional expression while learning from Monet. Actually, combiningthe east art with the west art on the basis of eastern spiritual expressionis the ultimate target of Tang Yin’s artistic creation. For the purpose, theartist consciously weakened the light, shadow and perspective effect, buthighlighted planarization, and intensified the creation of artistic conceptionand poetic expression of emotion. Meanwhile, the artist also consciouslycombined the traditions of Chinese painting. For example, he composedthe painting with "circular," "vertical" and "horizontal" structure, whichwere all influenced by the traditional structure of Chinese painting to someextent. Except the experiments on artistic forms, Tang Yin further dedicatesto expressing Chinese artistic conception. The artist intentionally related"Yulan Magnolia,""pear blossom" and "winter jasmine" to "a corner of thePalace Museum" and "a section of the Palace wall," which break throughthe intrinsic limitation of western still life and integrates traditional flowersubjects into landscape painting, so as to realize certain art implications.

　　Through associative imagination, Tang Yin transcends the restriction of timeand space, and establishes a poetic connection between history and reality.

　　The concern of history maybe becomes the next focus of the artist. He keepstraveling and wandering through eastern and western cultural relics, andrecords the transient inspiration and passion with his brush. His paintingscreated in Venice, Italy, for example, express more about the "self-centered"eastern cultural contemplation and standpoint while describing westernscenes. This is Tang Yin’s artistic pursuit, through which he eventually shapedhis painting language and expression form in each bit of personal experience.

　　As a mid-aged artist, maybe everything of Tang Yin’s art career just started.As the curtain is slowly drawn, the fantastic drama will be on! May TangYin become a painter like the "peach blossom fairy in peach blossom hut,"presenting romantic sentiment with his affectionate brush and providing uswith splendid artistic conception.

Zhao Li

Professor of China Central Academy of Fine Arts,

Director of AMRC,Director of CCAD