唐寅是学设计出身，但他的油画并没有走上抽象的路子;结业于中央美院——瑞典哈苏高级人像摄影大师班，在他的画里却完全看不到人物的活动，而是把目光聚焦在周边熟悉的景物上，颐和园的白玉兰、桌上的花束，抑或海岸的灯塔、池中的睡莲，等等。在中国当代绘画越来越进入一种后现代状况的今天，风景和静物常常给人造成玩票或者市场化的错觉。在16、17世纪风景画和静物画先后成为独立画科之后，从荷兰小画派，到弗里德里希、康斯太勃尔、透纳，再到印象派、巡回展览画派，风景画和静物画道路上曾出现过诸多可供参考的范式，究竟是弗里德里希的心象风景，还是康斯太勃尔的自然主义?唐寅没有屈从于其中的任何一种形式，而是与客观物象之间保持一种微妙的审视与被审视的关系，有时近若繁花，有时又隔着海角般遥远的距离。在萨特眼中，正是人类才创造了距离，在人类之外，距离则毫无意义。这种有距离的风景是唐寅的主动选择，而这种选择无疑又是出于艺术家在个人与社会之间制造主观距离的内心诉求。在后工业社会中人们早已忽视甚至忘却了作品中这些不起眼的角落，精神更多地迷失在过于丰盛的消费景观之中。唐寅选择这种纯粹的风景的同时，实际也选择了一种精神的回归，与当下的现实世界拉开了距离。

　　在这批作品中，唐寅似乎格外钟情于花卉。这并不奇怪，塞尚曾画过一百多幅圣维克多山，艺术家在对同一图式的反复试验过程中，完成对物象的审视，生成内心的视像。这一次，唐寅在风格上更多地接受了印象主义的影响，画面呈现出一种温暖而柔和的色调。粉白、粉红、明黄、粉紫色簇拥在画面中央，在深色枝干的对比之下甚至显得张扬，但却形成一种高调的和谐。相较之下，海中的礁石、灯塔则显得孤寂而低调，却因为承载着艺术家的成长经验而褪去了单纯的形式外壳，被赋予了内在的真实。到了教堂、睡莲那里，画面已然凝聚了浓厚的记忆的味道，没有激烈的色彩，仿佛游离于嘈杂的人事之外，透过真实的物象我们可以隐约看到艺术家真实的自我。

　　唐寅的风景和静物无一例外都有着平和的外表，始终以一种风平浪静的姿态接受审视，我们体会不到后工业时代下的批判和焦虑情绪。日常生活中随意的一个点，在艺术家的笔下延伸，没有刻意的预想效果和形式探索，像是闪回的记忆碎片，自然地生成。这些掺杂着抒情情绪的现实主义风景就存在于我们周围，随处可见，却又只定格于艺术家和所有人的回忆之中，隔着可望而不可即的距离。置身于城市景观的丛林，我们或许企盼在艺术中看到存在与虚无的终极思考，但始终会被那些我们生活过的地方的单纯而静穆的风景所感动。

易英 中央美术学院教授 博士生导师 

　　Tang Yin primarily majored in design, but his oil paintings did not follow abstract art. He completed Master Class on Sweden Hasselbladusa Senior Portrait Photography from Central Academy of Fine Arts, but you can’t see any images of human activities in his painting, instead he puts focus on those objects familiar to us: magnolia in Summer Palace, bouquet on a table, beacon at seaside, lotus in a pond, etc.. In today’s China contemporary painting is growing into a postmodern situation, landscape and still life are often mistaken just for fun or marketing. In 16th and 17th century when landscape and still life successively became independent painting branch, from small school in Holland to Friedrich, Constable, Turner, then to Impressionists and Peredvizhniki, there had ever existed many referable models on the development road of landscape and still life. Landscape of Mind by Friedrich, or Naturalism by Constable, Tang Yin does not follow any of those models but keeps a subtle relationship of examining and being examined with objective physical images: sometimes close as flowers while sometimes remote as separated by sea. In the eyes of Sartre, it is human who creates distance which is meaningless if out beyond human. Tang Yin chose to paint on the distanced landscape out of his inner appeal for subjective distance between individuals and society. In the postindustrial society, people have long ignored or even forgotten these unattractive points in the paintings, while lose themselves in the over abundance of consuming landscapes. When Tang Yin chose this pure landscape he actually selected a spiritual regression which widens the distance between the real world.

　　Seen from these works, Tan Yin has particular interest in flowers. This is not strange at all. Cezanne had ever drawn more than one hundred paintings of Saint Victorie. In the process of repeated trials over the same image, he completed his examination upon the physical image and generated an inner vision. It is very obvious that Tang Yin is influenced greatly by impressionism in style, and thus his paintings take on a warm and soft tone. Pinkish white, pink, bright yellow and pinkish purple cluster at the center and appear even more outstanding against dark branches, however they form a high-key harmony. In comparison, the reefs and beacon in the sea, though lonely and silent, have taken off their simple forms in that they imply Tan Yin’s growing experience, and are endowed with the internal realness. When it comes to the church and lotus, the paintings have concentrated a heavy taste of memory: no vigorous colors as if it was out of noisy crowds, and we can dimly see his real self through real physical image.

　　Both is landscape and still life take on peaceful appearances and unfailingly sustain a quiet state for examination. We can not sense the criticism and anxiety in postmodern era. A random point in daily life is extended by artists’ brush and evolves into a painting quite naturally without deliberate designed effect and form exploration, like memory fragments flashing back. These realistic landscapes mixed with personal expressions just exist around us, and though we can see them everywhere, they are frozen only in the memories of artists and all the other people, within sight but beyond reach. Standing in the jungle of urban landscapes, we desire to see in art the final reflection upon being and nothingness but we may always be moved by the simple and silent landscapes in which we have ever lived.

Yi Ying

Professor of China Central Academy of Fine Arts, Doctor Mentor