当“霾”这个生僻字在今天成为了常用字，“自然”的概念在时空中就离我们远了，而在情感中却离我们近了。本来觉得不是灰调子、酱油色的画面就不深刻，此时却感到那太做作、太阴暗了。花朵在阳光下本真的色彩衬以毫无掩饰的蓝天，才是晴朗的心情，今天的主题，自然的本色。没有考证过印象派的生成是否与工业生产以及污染有关，但对于透明的空气、光与色彩的追求恐怕是人类共有的喜好。

　　唐寅的作品在此时就这样摆在面前，松动的笔触、响亮的色彩，的确有净化情绪的能量，扫去了萦绕在心中的阴霾，让我长长的出了一口气。的确，画是用来感受的，不是用来做长篇大论进行逻辑思考的，唐寅的画里面有情感的温暖、有对生命的关怀，笔出诚恳，就如同远方朋友带来的一份礼物，写给自然的一封家书。

　　唐寅即将在家乡青岛举办的个展是他六年来创作的回顾，他画花朵、画青岛海边的堤岸、画自己的父母兄弟，画可触碰的世界与人，表达着个性化的感悟，创造着自我的世界，传递出一份浓浓的爱意。

　　因此，我想借“致敬”之音，“致·境”之意，表达两重思考。首先是在对自然、家乡、父母、师友的一份致敬中所蕴涵的雅致与品质，再有就是作品所呈之境所透露出东方人对世界的理解与表态。

　　唐寅的绘画创作以写生入手，用眼睛提炼着物象的精髓。他没有用高清晰度的照相设备在直接摄取图像后，回到画室享受着空调，面对着液晶屏进行对“二手自然”的再创作，而是走入自然，享受阳光的炙热、海风的吹拂，把真切的感受直接转化并注入他的画布之中。这份生动，自然中独有的生动是写生所特有的。至于写生这一课题，这几年由于工作关系为许多20世纪的大师举办展览，写生也是我们的研究、展览对象。甚至我们会将写生稿与艺术家之后创作的作品一并展出，有趣的是那些最终的大创作虽然完整、有说服力，但却缺少了写生中的那份生鲜与活性。因此，唐寅将许多大幅面的作品依然坚持如不少印象派画家一样在户外完成，恐怕是希望通过这一方式最大限度地保持写生的新鲜感，活化他的画面，将他对自然物象的感受有效地表达出来。吴作人先生有一句很有名的话“师造化，夺天工”。所谓“师造化”自然是以造化为师，摸索自然世界的规律，寻到其中艺术的妙处，而“师造化”的重点是为了“夺天工”。“夺”是一种理念化的行动，“天工”是超出自然的力量，正是艺术家主观创造核心。因此，在这里我想强化“写生作品”这四个字在唐寅创作中的重要性。写生在他的系统里不是简单地抓住物象性情的图稿，而是直接在户外在阳光下解决感性的扑捉与逻辑创作的关系，将写生升华为创作，这其中的难度在于熟练的写生同时配以熟练的创作，所以非借吴作人先生的这个“夺”字来表达方才准确。而此处也必须承认，因为是“夺”也就有几许运气的成分，而“可控与不可控”的结合也恰恰是艺术的魅力。“无他，但手熟尔”没有其他捷径可走，需要艺术家的勤奋。唐寅曾和我提到一件小事让我有几分感动。在他的欧洲写生中，大多是夜景，为什么呢？唐寅的解释是白天要去美术馆，只有晚上的时间来画了。这让我想到齐白石的一个题跋：“昨日大风，不曾作画，今朝制此补足之，不教一日闲过也。”这当然可以解释为一位成功艺术家的刻苦，但更可理解为艺术家对画画这件事的爱甚至是痴迷。一日不画是多么难受，一定要在第二天画一张补上，方能心安。我想唐寅恐怕也有同样的感受。他身在异地，更加珍惜那份直接的感受，不画不足以心安。所以，唐寅作品的数量是可观的，这在很多油画艺术家中并不多见。

　　更需关注的是唐寅在“夺”的过程中用了不少“中国功夫”。唐寅的作品写意的成分是占到较大比例的，他有“似”的能力，又有“意”的追求，再加上借油彩写出的“笔墨”状态，使其作品增加了几分东方的味道。无论是表现海浪的起伏、还是黄河的汹涌抑或是花瓣的舒展，他的笔触有“写”的状态，是有弹性的、甚至是在跳动的，如拨弦的波尔卡，多了几分音乐的旋律，清脆、响亮。这样有乐动的笔触即吸收了他导师靳之林先生的优长，又有其独有的味道。因此，唐寅的“油彩笔墨”成为他作品形式感的重要组成部分，是其艺术风格的标签。

　　在唐寅的创作中，无论西方的分类方式静物、人物、风景，还是用中国画的分类山水、花鸟、人物，他都涉及到了，这种全能恐怕是博士画家的必备。他虽然画的是油画，但我更觉得他画的风景是山水、他画的静物是花鸟。尤其是他画的花，无论整株的玉兰还是几枝芍药，是有些许人文的意蕴含在其中的。总的印象是这些花朵的雅致是有厚重感的，沉甸甸的，非常男性化，少有“婉约”，应属于是“豪放”的路子，甚至有山东人的大气。有收有放，大开大合，“一花一世界”，在唐寅这里并非是某种幽幽的伤情而是火热的祈愿。尤其是那些“红得发紫”的鸡冠花，用一句歌词形容恐怕是最恰当的，那是“怒放的生命”。

　　2008年，唐寅曾在北京画院美术馆举办过一次个展，或许是场地所限我未能见到大幅的作品。整体感觉五年前他的作品还停留在认真地绘制一幅一幅的物象，在画他直面对象时的感悟，而五年后当我看到两幅宽近6米的荷塘时，我感到唐寅已经开始“造境”了，而且迈入了他创作的新境界。看到这样全景式的莲花作品，所有初具西方美术史知识的观者都无法回避，要联想到莫奈最后的、安放在巴黎橘园的巨幅睡莲。那是莫奈向生命、向东方艺术致敬的作品。唐寅的这两幅睡莲一曰：《问蝉》，一曰：《莲说》，可视为一位东方的年轻艺术家对莫奈的致敬。将这两幅作品的名字连起来是一问一答，无所谓空间与时间，借物传意，述说的是唐寅的一份心境。这里的“笔底生花”，少了他之前作品中的热度，多了几分醇情的厚度。无论如何，绘画是人类用画笔表达情感的方式之一，她的魅力是以形象的方式浓缩凝固了某种诉求、表达出某种意念。当观者的眼睛停留在那些物象中时，如果能产生些许共鸣，那应该是绘画的力量。这两张大作品，给我这个观者的感受是对前人与自然的一份尊敬。

　　唐寅2013年的展览应视为他创作的阶段性呈现，游于艺，路漫漫，至于此，而不会止与此。

　　北京画院美术馆馆长，吴洪亮

　　Dedication to Atmosphere

　　--The Impression of Tang Yin's Oil Paintings

　　When "霾"(pronounces "mai", means "haze")--a rarely used Chinese word is frequently mentioned in a day, the concept of "natural" must be further away in terms of time and space, but really closer in terms of emotion. Originally, a painting without gray tone and sauce-like color was considered as no depth, but now it makes you feel too artificial and dark. Only flowers blossoming under the sun, with their true colors against the clear sky, can create the sunny mood the theme of nowadays and the true colors of nature. It was never verified whether the rise of Impressionism was related to industrial production and pollution. But the pursuit of transparent air, light and color is human's common wish. At the moment when Tang Yin's works are right in front of you, the loose brushwork and the striking colors may sweep off the hazes lingering in your mind with their energy of cleansing soul, and relax me to take a deep breath. Indeed, painting is something needs to be felt, not to be taken for logical thinking as a lengthy monologue. Tang Yin's works reveal warmth of emotion and concern to life. The brush stroke of sincerity makes his painting like a gift from a friend afar or a letter to the nature.

　　This solo exhibition to be held in Tang Yin's hometown, Qingdao, is a retrospective of his creations in the past 6 years. During these years he painted the world and people within his reach, expressed individualized perception, created his own world and delivered the deep affection by depicting flowers, the bund on the seaside, his parents and brothers. Therefore, I named the exhibition as "Dedication to Atmosphere" to reflect the double thinking, firstly the grace and quality implied by the respect to the nature, hometown, parents, teachers and friends, and secondly the Chinese understanding and attitude towards the world revealed by the works.

　　Tang Yin's creation starts with painting from nature, extracts the essence of image with his eyes. He never directly takes images with hi-definition camera and then recreated the "second-hand nature" in front of a LCD screen in air-conditioned studio, but exposes himself in the glaring sunshine and sea wind in the nature and inputs his vivid experience into the paintings instead. This unique vividness can be found only in paintings from nature. In recent years, we have held several exhibitions for the masters belonging to the 20th Century since the painting from nature has been the subject of our research and exhibition. We even displayed the sketches from nature together with their consequent creations. Interestingly, the final creations often have lost the freshness and vitality appeared in sketches, despite their integrality and convincingness. For this reason, Tang Yin persisted in creating large-scale works outdoors as many impressionist painters, maybe in expectation to maintain the vividness of sketch from nature furthest, to activate the painting and efficiently express his passion towards natural image. As Mr. Wu Zuoren said, "Only by learning from the nature can win the natural creation." The said "learning from nature" certainly means the nature (or the Creator) is our teacher, and we should explore the law of nature and discover the art in it. To "learn from the nature" is aiming to "win the natural creation". "Win" is a kind of conceptualized action, and "natural creation" is a supernatural power and just the core of the artist's subjective creation. Therefore, I want to intensify the importance of "painting from nature" in Tang's creation. For him, painting from nature does not mean brief drafts featuring the basic characteristics of a scene, but direct solution to the relationship between emotional capturing and logical creation under the outdoor sunshine. To distill the creation of the sketch, the difficulty lies on combining skillful sketches with skillful creation, so only the word "win" from Mr. Wu Zuoren is the appropriate choice. But it has to be admitted that "win" may depend on some good luck, but the "controllable or uncontrollable" combination is just what the charm of art is. "Only by practice, nothing else", no shortcut and only diligence required. Tang Yin once told me a story which touched me. In Europe, most of his paintings from nature depict night scenes, why? He explained that he spent all the daytime in museum and could work only at nights. I was immediately reminded of one of Mr. Qi Baishi's self-comments, "Yesterday I did not paint due to the strong wind, and today I finished this one as a makeup, never letting one day stay in idle." It can be attributed to the hard work of a successful artist, but also to the artist's obsession on painting. No painting for one day is a torture, so making it up on the next day can be a comfort. I guess Tang Yin shares the same feeling. Staying abroad, he did cherish the direct feeling, without working he could not get peace of mind. So, Tang Yin finished considerable creations, which is rarely seen in some oil painters.

　　What is more, Tang Yin adopted the spirit of "Chinese Kungfu" in the process to "win." The freehand brushwork seeking for artistic conception and self-expression takes a dominating proportion in his works. With his "imitating" ability, his pursuit after "artistic conception," plus the "ink and brush" effect with oil paints, his works are added with oriental taste. No matter depicting the fluctuation of sea wave, the surging of the Yellow River, or the spreading of petals, his strokes remain in a state of " rhythmical moving" on the canvas, which is flexible, even jumpy, with musical rhythm, just like a piece of Polka played by string plucking, clear and resounding. The melodious brushwork reflects both Mr. Jin Zhilin's art style and Tang Yin's own unique taste. Thus Tang Yin's "ink-style oil paintings" constitute an important part of the artistic form in his works, and become the label of his artistic style.

　　In his art practice, Tang Yin tries every painting subject, including still life, portrait and landscape, as categorized in western painting, as well as mountain and river, flower and bird, and figure, as categorized in Chinese painting. This is may be the basic quality of an artist with Ph.D. Although taking the form of oil painting, I feel that his landscape looks like the mountain and river of Chinese painting, and his still life looks like the flower and bird of Chinese painting. Especially the flowers in his paintings, no matter a tree of Yulan magnolia or several branches of Chinese herbaceous peony, all contain humanity thinking inside. All the flowers generally impress me with their thick, heavy but decorous grace, more masculine but less "effeminate". These works follow a kind of "bold and unconstrained" manner, even with Shandong people's generosity. They are intensive and extensive. "One flower is a world," to Tang Yin, is never a kind of sentiment but passionate supplication. Especially the "purplish red" cockscombs, I could only find a sentence of song lyrics to describe them properly: they are "blooming life".

　　In 2008, Tang Yin once held a solo exhibition in the Art Museum of Beijing Fine Art Academy. I did not see any large-scale painting in that exhibition, may be because of the limitation of space. In my memory, his work at five years ago still focused on carefully depicting images one after another, and expressing his perceptions in front of the subject matters. But today, after five years, when I saw his two pieces of lotus pond painting with six meters wide, I realized that he had already begun to "create an atmosphere" , and consequently stepped onto a new stage of creation. In front of the panoramic lotuses, the audience with preliminary knowledge about western art history cannot help recalling Monet's last large-scale water lily painting now stored in the Orangerie Museum, Paris, representing Monet's salute to life and oriental art. Tang Yin's two water lily paintings were named as Inquiry to Zen and Ode to Lotus respectively, which can be considered as an oriental young artist's salute to Monet. The titles of the two works indicate a question and an answer. It does not matter with time or space. The subject conveys the artist's inner feeling. The works in this exhibition show less passion that we could see in his previous works, but more profoundness in emotion. Anyhow, painting is one of the ways for people to express feeling with brushes. Its charm comes from the fact that it fixes and condenses people's appeals and delivers ideas in a visual manner. If there are resonances being aroused when the audiences' eyes fix on the image, that is because of the power of painting. The two large-scale works make me feel the respect to ancestors and the nature.

　　Tang Yin's Solo Exhibition in 2013 is a reflection of one phase of his creation. The way of art pursuit is long and tough. His career reaches the point, but never ends at the point.

　　Wu Hongliang

　　Director

　　Art Museum of Beijing Fine Art Academy