唐寅是一位勤奋、智慧的画家，更是一位有灵气和才情的画者。看唐寅不同时期的作品，我们不难发现对自然生态的观察与表达是他画面里始终延续着的情愫。画家在对自然的凝想、体悟中，把真切的视觉感受和心灵气息全部物化为艺术的形象，在西方油画的科学人文精神与中国绘画的哲学自然理念之间研习出入，作品中蕴涵着画家特质的美感价值和笔墨意趣。因此，无论是幽深静谧的荷塘、粼粼波光的水面；还是高洁冰清的玉兰、雍容火红的鸡冠花，这种特质一直都在。它不是现场记录，不是自然临写，而是在张弛有序、自由自律的氛围中捕捉最能承载自我情感的物象，在审视与被审视的过程中展现那瑰丽而不美艳、洒脱而不浅显、静谧而不静止的审美意蕴和视觉效果。

　　唐寅的风景画创作，是用一种对话的方式展开的，是自然与人的对话。通过对自然界中万物生长，四季变幻的观察、感悟和写照，传递着自然界厚载于我们的恒更不变的能量和美。唐寅的笔下是一种“有距离”的风景，无论是远望海中礁石、雪中长城，还是近观花卉系列的玉兰、睡莲，在人与自然的相互审视、对话中，深入探索艺术本体的诸多问题。唐寅的风景画中鲜有人物出现，但却会让观者有一种人在画外，意在其中的情境。他的花卉条屏创作，将西方油画的造型语言与中国文人画的笔法意境娴熟地融汇贯通，形成自己独特的绘画语言。花卉系列是唐寅创作的一个题材，他注重透过物象的表象去感受物象存在的本真，并力图排除概念的造型手法，将已有的艺术史视觉经验转化为当下的创造。唐寅醉心于充满原发兴味的创作过程，作品的精彩之处不在于细节上的精雕细凿，而是对整体氛围和意境的捕捉与驾驭，尤其是用笔的随机性、情感性和意象性。

　　唐寅对光与色有着独特的敏锐感知力，这是他长期写生经验积累的结果。唐寅的数幅《睡莲》作品和组画，更是他专注同一物象的描绘，敏感地捕捉光的微妙变化在物象上的不同显现。他在对同一图式的反复试验过程中，完成对物象的审视，从而生成内心的视像。他不拘泥套路、酣畅自如的笔触赋予线条和色彩以生机勃勃的动态感觉。无论微风拂面、盎然怡人的春，还是丰硕盈实、萧瑟静寂的秋，他用色彩的魅力，冲破了形质、空间的拘束，传递着画家个性化的视觉表现和自然景物的多重意境。在这其中，我们既能感受到唐寅对印象主义在光与色的分析和把握上的渊源和理解，同时清新柔美的画面境界，又是他对古典的审美观念的倾向和创新。面对这些画作，静静地倾听风拂过水面带起倒影的波动，让我不由得想到印象派音乐大师德彪西的名作《水中倒影》。一系列美妙的滑音和弦正如一阵柔和的微风，使水面泛起粼粼银光。缓慢的旋律在变幻的和声衬托下，纤细得刻划出水中倒影清晰的轮廓。

　　在唐寅的这些风景画作品中，依然延续着他对现实生活的思考和自然理想的参悟，日常生活中随意的一个点，在艺术家的笔下延伸，自然地生成。在当下，我们更多时候是置身于城市景观的丛林之中，我们或许企盼在艺术中能够看到对自然存在的终极思考，我们也会被唐寅作品中单纯而静穆的风景所感动。恰是“彩笔写春秋、且在生花处。”

　　唐斌 中央美术学院美术馆副馆长，副教授，美术学博士

　　Blooming Inspiration:

　　Tang Yin is a diligent and intelligent painter. He is also a talented and passionate artist. From Tang's works in different periods, it is not difficult to see his persistence in observing and describing the natural world in all his paintings. The artist always materializes his visual perception and spiritual inspiration obtained from contemplation and understanding of the Nature into artistic images. He studies and interweaves skillfully the scientific spirit of humanism in western oil painting and the philosophic concept of nature in Chinese painting, through which he has established his unique aesthetic taste and artistic style. Therefore, the unique characteristics always exist, no matter in the paintings of deep and quiet lotus pool, the glittering rippled water, the pure and noble Yulan magnolia, or the red and flaming cockscomb. He neither records on spot nor imitates the nature, but captures the images which could most perfectly convey emotional experience in a relaxed but ordered, free but disciplined atmosphere, as well as presenting a kind of splendid but not dazzling, free but not superficial, quiet but not motionless aesthetic charm and visual effect in observing and being observed.

　　Tang Yin's landscape painting is usually extended with a way of dialoging, a dialogue between human being and the nature. Through observing, feeling and depicting the growth of all creatures in the nature, the change of four seasons, he unfolds in front us the constant energy and beauty of the nature. With his brushes, he delivers a kind of landscape remaining "at some distance." No matter depicting the rocks in the sea, the Great Wall under snow, or depicting the flowers, such as Yulan magnolia or water lily, he always could go deep into the specific issues about art itself in the mutual survey and dialogue between man and nature. In Tang Yin's landscape paintings, man can be rarely seen. But the audience can often feel the inner meaning of the work while staying outside of the painting. His hanging scrolls on flower skillfully combine the artistic language of western oil painting with the brushwork and artistic conception of Chinese literati painting, through which he has established his own unique painting language. The flower series is a subject matter in Tang Yin's creation. He strives to experience the truth of the object, and tries hard to exclude any conceptualized painting skills, but transferring the existing visual experience of art history into current creation. Tang Yin dedicates to original and instinctive creation. His works are excellent not because of refined details, but the capturing and handling of the overall atmosphere and context, especially the free, emotional and image-making brushwork.

　　Due to his long-term accumulation of experience in sketching from life, Tang Yin is sensitive to light and color. His series "Water Lily" all focus on depicting the same image, but sensibly capture the delicate changes of light and their different affects on the objects. In his repeated experiments on a same schema, he has created visible images in his mind after long-time observation. Never being limited to the conventional routine, he makes lines and colors lively with his free and smooth strokes. No matter painting the pleasant spring with cheek-caressing breeze, or the tranquil autumn with plentiful fruits, he, making use of the charm of colors, breaks the restriction from form and space, and delivers the individualized visual expression and abundant meanings of natural scenes. In all this, we can feel Tang Yin's understanding and knowledge on impressionism analysis and control over light and color, and his tendency and innovation in Chinese classical aesthetics. Looking at his paintings and listening carefully to the wrinkled waves when breeze sweeps through the water, I cannot help recalling the impressionist musician--Debussy's Reflections in Water. A string of glide chords are just the soft breeze wrinkling the glittering water. The slowed pace, against the background of changing chords, delicately cuts out the clear outline of the reflections in water.

　　In his landscape paintings, Tang Yin continues his reflection on real life and contemplation over natural ideal. Any point in daily life could be expanded by the artist and fermented in a natural way. Nowadays, we always shuttle through urban landscapes. Maybe we are expecting to see the ultimate thinking over natural beings in art. Also, we are moved by the pure and quite landscapes in Tang Yin's paintings. That is because "his brushwork blooms with endless inspiration."

　　Tang Bin

　　Deputy Director of CAFA Art Museum