唐寅的油画大气磅礴、凝重质朴。由黄河瀑布到青岛海滨，由威尼斯之夜到诺曼底象鼻山，由玉兰、牡丹之春到碧蓝云天黄磷甲的千古银杏，乃至身边桃李瓜果的咫尺之间，其意境之广大，气势之饱满，yi铁烟云，跃然布上，展现宇宙之大，万物之盛。

　　唐寅热爱大自然，热爱大自然的山水花果宇宙万物，他的作品大都是在大自然的直接写生中完成的，在与大自然的情感交融中，进入万物与我合一的境界中，一气呵成的。

　　他重视大自然外光色彩的意境，重视生活感受，着意于由生活感受所引发的情感的抒发，与丰富多彩的情感色彩和笔墨语言。写生是油画的灵魂，艺术的再现与表现是在写生和由生活感受所引发的情感抒发中创造完成的。

　　唐寅多次和我一起写生，作画虽非幅幅如意，但给我印象深刻的是他作画时的感情投入，全神贯注，无论环境如何恶劣，都是一站数小时全力完成。在商品社会大潮中我以为当代艺术家最可贵的是超脱的艺术心态，他不跟风，埋头苦干，扎实实践。

　　唐寅是我国中青年油画家，在中央美术学院是我的博士生。艺无止境，在艺术的进程中，还需要长期的艺术实践、生活实践与文化实践。对于中国油画家来说，油画作为外来的画种，我们首先要得心应手的掌握它的造型与色彩体系的科学规律，以及其相互交融所表现出的独特的表现力。同时更为重要的是深厚的中国文化的素养，长期的社会生活实践和民族文化的实践与熏陶，溶之于生活感受与艺术表现之中，融汇成自己的情感语言符号，由民族本原哲学理念转化为情感的渲泄与抒发，形成民族的、个性的油画艺术。

　　靳之林 中央美术学院教授 博士生导师

　　Tang Yin’s paintings are most impressive for its majestic spirit, simple but grave. His paintings range from Yellow River waterfall to Tsingtao seaside, from Venice night to elephant hill of Normandy, from spring of magnolia and peony to age-old gingko, even to varieties of fruits around us, the broadness and fullness of which he incorporated into his paintings to display a vast universe and an abundant world.

　　Tang Yin loves nature and whatever exists in it. Most of his works were completed while he was drawing directly from nature with which his emotions and even himself blended in.

　　He lays stress upon the light and color of nature, the experience of life and focuses on expressing the emotions arising from such experience via rich colors and painting language. Sketches are the soul of paintings. The artistic reproduction and expression are done through sketching and conveying emotions aroused by life experience.

　　Tang Yin often sketches with me. Not all of his works are satisfactory, but what impresses me most is his devotion to drawing. No matter how ill the conditions are, he will keep standing for hours to complete his work. In my point of view, the most valuable thing for contemporary artists living in the commodity society is an unworldly attitude toward art, like what exists in Tang Yin: hard work, solid practice and firmness in his own track.

　　Tang Yin is a middle-aged Chinese painter, and also my Ph.D. student at China Central Academy of Fine Arts. Art is endless; therefore it will still take long time for him to make practice in art, life and culture. Since oil painting originated from foreign countries, it primarily requires Chinese painters to fully master its scientific laws for shape and color system as well as its distinctive expressive effect generated by their combination. Meanwhile what is more important is to blend the profound understanding of Chinese culture, the long-time practice of social life and nurture of national culture into life experience and art expression as one’s own emotional linguistic symbols, and to convert the primitive national philosophies into emotional expression and finally to form a national oil painting art of individual identity.

　　Jin Zhilin

　　Professor of China Central Academy of Fine Arts, Doctor Mentor