唐寅的油画作品，让你在图象中听到了音乐。

　　唐寅的作品有花卉风景画与海洋风景画二大类。两类作品中，我更喜欢花卉风景画，因为这类作品有着音乐的摇曳感，就像“如歌的行板”，清新自然、烂漫天真而又矜持饱满。

　　音乐具有形而上的意义，其音调与色调，节奏与韵律，让人进入哲学深度的艺术状态，使冥想添上了理性的翅膀，走向了思想的净化和升腾的境界。音乐能畅神，能使人心醉眩晕。唐寅的作品大多具有这种音乐的情致。音乐的那种梦幻感使他的运笔行云流水、自由松闲，充满情绪化的色彩展示出一个完满的情绪化的情感世界。纯粹的音乐审美使人观看他的作品时往往会遗忘他那些笔下的现实物象，沉醉于音乐的迷狂，审美情趣走向朴素。

　　唐寅绘画语言体系中最大的特点就是画面的生气、形的张力与色彩的明快。尤其是画面上那种富于穿透力的响亮色彩，构筑了一个充满浪漫意味的音乐的世界，有红色的热情、活泼，橙色的温暖、华丽，黄色的明朗、快活，绿色的平静、安逸，蓝色的沉静、理智，紫色的优雅、高贵与虚幻。它已不再仅仅附属于形的表面，而是游离于形，成为独立的主体，决定着画面的情感基调，规定画面的格局和层次;同时也成为一个内在情感和自我获得自由表达的世界。

　　唐寅的作品还刻意于笔触的表现力，笔触轻灵、跳宕、随意，与形、色的相互解脱和相互呼应。松动的笔触更像是一种自由的书写，不仅使色彩的叠压相互渗透，而且还使画面气态充盈，富于韵致，充满欢快、凝重、希望、飘逸等情感的变化。在这种自由随意的书写中，他的情绪与情感顺畅抒发，笔触自如轻松地排、压、揉、提、擦，挑，其艺术行为与其说是在“画”，还不如说是在“歌”。他以笔触为声，以色彩为调，吟唱着抒情的诗，节奏美妙，空间深远，视觉创造出丰富的空间想象。

　　这就是才华。才华是一种酒，饮了它一切体验都成了笔下诗的花卉，成就了作品音乐的优美旋律与节奏。

　　才华使他的作品轻松灵巧，想怎么画就怎么画。唐寅画的不是观念，不是主义，画的是自己，是真实的自我。然而，想怎么画就怎么画，画得轻松、自然，这需要某种状态、心境、修养和技巧具备之后才能水到渠成。作为中央美术学院实践类油画博士生，他师从于著名油画家靳之林教授，靳先生的作品也有一种轻松状态，但这种轻松是在沉重与禁锢已久之后达到的，故而深沉浑厚，轻松的表象下隐藏着深层的苍霜感。他们的师承关系似乎没在二者作品之间产生太多的相似的痕迹，但仔细观察，却仍然见出鲜明的共同点——音乐感。两位画家年龄的差距决定他们以不同的心态进入自己所喜爱的音乐世界，如果说靳之林教授作品轻松、舒展的音乐感背后蕴藏着生命的沉厚和丰满的话，那么唐寅则更多地表现出他们这代人所特有的放任、轻松、本真的音乐感，作品也由此带上了这代人才具有的审美率真。

　　罗一平 广东美术馆馆长，美术学博士

　　Andante Cantabile—Impression of Tang Yin’s Oil Paintings

　　Tang Yin’s oil paintings give us the impression that music is being played within the images.

　　His paintings can be classified into two categories: landscape of flower and landscape of ocean, of which I prefer the former, because they embody musical rhythms just like Andante Cantabile, fresh and natural, artless and innocent, reserved and substantial.

　　Music is metaphysical, with its tone and tonality, rhyme and rhythm attract us into a deeper philosophical artistic state, add wings of reason to meditation and finally purify our thoughts. Music soothe our spirit and make people enchanted, which is also the feature of Tang Yin’s works. The dreamlike effect of music contributes to his smooth and free drawing, and the emotional colors depict a fully emotional world. The pure musical aesthetic feeling often makes us forget the real objects in his paintings and lose ourselves in musical enchantment, and thus our aesthetic interest goes toward simplicity.

　　The biggest distinction of Tang Yin’s painting language is the vividness of  images, the strain of structure and the brightness of color. Especially the vibrant colors with penetrating force form a romantic music world filled with the passion and vigor of red color,  warmth and splendidness of orange, brightness and cheerfulness of yellow, peace and comfort of green, quietness and reason of blue, elegance, dignity and fantasy of purple. They no longer merely attach to the surface of the shape but dissociate from it and become an independent subject which decides the emotional keynote of the painting, layout and levels of the picture; at the same time they turn into a world to express inner feelings and freedom.

　　Tang Yin also make painstaking effort to highlight the expression of his brushwork which moves gently, bounces freely, and forms a mutual independence and echo with the structure and colors.  Loose brushwork is more like free writing which  not only makes the overlapped colors penetrate into each other, but also enrich the picture with lasting charm and emotional changes of happiness, graveness, hope and grace. In such free writing his feelings and emotions are well expressed and his brush keeps brushing, pressing, kneading, lifting, rubbing and raising. His artistic acts are more like “singing” than “drawing”. He sings a lyric poem with his brush and color,  its beautiful rhythms , deep and far space with the vision together creates a rich spatial imagination.

　　This is talent. Talent is like wine, after taste of it all experience will become poetic flowers under brush and will form fair-sounding rhymes.

　　The ease and agility shown in his drawing is also attributed to such talent. What Tang Yin paints is his real self rather than concepts or ideas. However, an easy, natural and unconstrained drawing is only possible when the painter have adopted the right attitude and attained enough techniques. His instructor, Professor Jin Zhilin’s works also feature an easy state but achieved over long time of pressure and imprisonment, with an aging sense deeply concealed under an easy appearance. The inheriting relations between Tang Yin and his instructor seem almost traceless between their works, but with closer observation a striking similarity will stand out --- musicality. The gap in their ages determines the different mentality with which they enter their respective beloved music world. If there are heaviness, thickness and richness of life hidden behind the easy and unfolding musicality of Professor Jin Zhilin’s works, then Tang‘s exhibits a more relaxed, light and true musicality which are typical of his generation and thus his works are also characterized by the unique aesthetic straightforwardness.

　　Luo Yiping

　　Professor of Sun Yat-sen University, Doctor of Fine Arts