第一次看到唐寅兄的名号的确一惊，好“牛”。这名如果是父母所赐，或许代表了不少的希冀，也许正是这份希望与动力，唐寅从事了艺术，而且读到了博士。不仅如此，在他的油画创作中，明明透露出太多中国画传统的气质与方法。这也许是心灵暗示的结果，或更应该是艺术创作的主观选择。

　　古人云“心师造化”，早在1400多年前的南朝姚最就已道出绘画与自然之间的不解渊源。此后，不论是清代石涛所言的“搜尽奇峰打草稿”，还是法国柯罗号召的“面向自然，对景写生”，都向我们证明了一件事情，那就是取法自然抑或外出写生已成为古今中外所贯穿一致的创作方式。虽在操作方法与审美意趣上大相径庭，但这种创作选择，不仅是昭示绘画艺术的一种基本精神，也是敢于直面天地万物的一种广阔胸怀。然而进入20世纪，观念的盛行开始将艺术引向另一条道路。就当简单符号不断充斥艺术世界的同时，我们很欣慰地在唐寅的作品中找到了那渐渐远去的写生传统。

　　唐寅的绘画风格深受其师靳之林先生艺术观念的影响。他将中国画的境界和笔墨运用到油画创作之中，创作时眼前的景物在他心中早已经过充分的构想和臆造，这一点很像古人所讲究的“意在笔先”。正因为胸中已有丘壑，唐寅在户外作画时才能在画布上迅疾铺陈，犹如挥写一幅酣畅淋漓的油彩“水墨”。可以说，风景写生在唐寅那里已经从研究色彩关系升华为对情感的抒发。他以“迁想妙得”的方式去观看世间万物的生命变幻，以真切、敏锐的观察去捕捉瞬间最鲜活的映象。当他走出画室在大自然中陶冶性情，在直面生活并与物象进行心灵对话的同时，也完成了从写生对象到艺术语言的转换。

　　或许山东人敦实淳朴的性格多少影响了唐寅严谨的治学方式，让他在日益浮躁、盲从跟风的当代艺术狂涛里自始至终都恪守一份对传统的承袭。如今，越来越多人习惯了在画室中闭门造车，他们寄希望于借助照片来捕捉生活，醉心于在画布上表达观念、图式、技巧或材料。这种创作方式所带来的结果无疑只会让艺术与现实生活渐行渐远，作品沦为“第二现场”(照片)的再现，挥之不去的是画面中死气沉沉的制作感。因为照片是封闭的、带有先验主义色彩，它只是透过有色镜片看到的既定事实。而写生则在现场获取了巨大的信息量，阳光、季节所带来的光色变化，风景、物象所引发的情感冲动，即使是细小微妙的因素也会令画面的意味和境界大为提升。客观景象经过画家心灵的禀赋建构了新造型，山水、植物、建筑都呈现出更鲜活的姿态。因此，看了唐寅不同时期的作品，发现对自然生态的写生是他画面里始终延续着的情愫。在幽深静谧的荷塘、雍容锦簇的牡丹中；在残损斑驳的古寺、异域情调的洋楼中；在波涛翻滚的海边、雄壮激荡的瀑布中，这种传统一直都在。不是现场记录，不是纯然描摹，而是在开放、自由的氛围中锁定最能承载自我情感的物象，将内心感受赋予其中，借此展现那瑰丽而不浮艳、飘逸而不浅显、奔放而不粗泛的审美意蕴和视觉效果。

　　唐寅对光与色的感觉有着独特的敏锐，这是他多年写生经验积累的结果。不拘套路、酣畅自如的笔触赋予线条和色彩以生机勃勃的动态感觉。无论盎然的春还是萧瑟的秋，也无论云蒸霞蔚的海面还是繁花满枝的庭院，都是画家个性化的视觉表现。他用色彩的魅力，冲破了形的拘束，表现出景物的意境。这种解放使我们自然而然联想到巴比松画派以及印象主义对于光与色的分析和把握。艺术上的渊源显示了唐寅与现代相融合的创作风格，而画面中柔美、清新的境界，又在诉说他更倾向于古典的审美观念。在对自然的凝想、体悟中，唐寅摆脱了画室的沉闷，他把真切的视觉感受和心灵的悸动全部物化为艺术的形象，并在其中赋予了抽象的美感价值和写意的笔墨精神。在他的艺术创作旅途中，经历着“生”与“熟”的博弈，“师自然”到“心自然”的愉悦，唐寅用一份艺术家的执着，使我们心怀敬意。因为这些作品融注了画家虔诚的艺术态度和专注的绘画热情，寄托了他遨游于自然与平凡生活之间的真挚情怀。

吴洪亮

北京画院美术馆馆长

齐白石纪念馆馆长

　　At the first sight of his name, which is exactly the same as another famouspainter and literateur in Ming Dynasty, I wonder the expectation and wishesthat his parents put on him in giving his this name and possibly have beenmotivating him to choose art and pursue his doctoral degree. In addition, hisoil paintings clearly exhibit many traditional Chinese painting characters andtechniqus, which perhaps are the results of mental insinuation or more like asubjective option of artistic creation.

　　Our ancestor said, "Draw inspiration from nature." 1,400 years ago inSouthern Dynasty, Yao Zui had already revealed the close relationshipbetween painting and nature. Afterwards, whichever "sketching by visiting allbeautiful mountains" by Shi Tao of Qing Dynasty or "drawing while facingnature" by Corot of France, proved that drawing inspiration from nature orsketching from nature has become a creation method accepted at all times inall countries. Although drawing techniques and aesthetic interests in sketchingare widely divergent, it not only demonstrates the basic spirit in paintingbut also a broad mind facing up to the world. However, the prevalence ofconcepts in the early 20th century started to divert art to another track. Whenthe artistic world is filled with simple symbols, weare very delighted to seethe fading sketching traditions in Tang Yin’s paintings.

　　Tang Yin’s paintings are deeply influenced by the artistic concepts of histeacher, Mr. Jin Zhilin. He applies Chinese painting concepts and bushworkinto oil painting While painting, the things he draw about has already beenvisualied in his mind which follows the past people’s principle "ideas inadvance of drawing". It is just due to his clear thoughts that Tang Yin drawin the open air with ease . We may safely say that scenery sketching has beenenhanced from the level of studying color relations to that of expressingemotions. He watches the changes of the world with "a looser imagination"and captures the freshest momentary image with an honest and perceptiveobservation. Walking out of his studio and enjoying natural cultivation, healso completes the conversion from sketching objects to artistic language byfacing up to life and having mental dialogue with those imgaes.

　　The honesty and simplity that typical of Shangdong people to some extenthave cast some influence upon his artistic pursuit, and therefore he alwaysmaintains a firm pesistence to tradition despite the increasing agitation andblind following in art field. Nowadays more and more people prefer do theirpainting in studio and hope to capture life with the help of photos and arecrazy for expressing concepts, schemata, techniques or materials on canvases.The only result of this is undoubtedly the increasing distance between art andreal life. When a painting reduces to a reproduction of "the second scene" (thephoto), a sign of mechanical production will be consequently rooted in sucha work. Photos are close and bearing transcendental elements, and merelyexisting facts seen through colored lens. However, sketches are done throughenormous information, color and light changes brought by sun and seasons,emotional impulses aroused by scenery and objects, so even a tiny factormay greatly improve the flavor and artistic state of a painting. The objectivescenery is restructured by painters’ thoughts and thus water, mountains,plants and buildings all take on a fresher appearance. Hence his paintingsmade in different periods all display his perseverance to natural scenes. Thispracticeexists unfailingly in the quiet lotus pond and the gorgeous peony; inthe wrecked old temple and the exotic building; in the rolling-waved seasideand the magnificent waterfall. Not just records of the facts or sheer copying,but capturing the objects capable of carrying self-emotions in a open and freeair, and then incorporating the inner feelings into them to display the aestheticcontents and visual effects that are magnificent rather than showy, elegantrather than shallow, wild rathr than vulgar.

　　Tang Yin distinct sensitivity to light and color, which developed through hisyears of sketching experience. The unconstrained and smooth brushworkendows the lines and colors with life. All of the objects in his works are hispersonalized visual expression whether it is the vigorous spring or bleakautumn, sea covered by rosy clouds or courtyard blazing with flowers. Hebreaks the limitation of form and shows the artistic conception of the objectswith his usage of color. This freedom reflected from his works reminds usof the analysis and mastery over light and color by Barbizon School andImpressionism. The artistic origins reveal that Tang Yin’s paintings blendvery well with modern society, while the soft and fresh artistic style ofhis paintings display his preference of classic aesthetics. In the process ofhis thinking and understanding upon nature, Tang Yin has escaped fromthe dreariness of studio and converted all of his real visual experience andmental impulses into artistic images into which he has incorporated abstractaesthetic value and free-sketch spirit. On his journey of artistic creationhe is experiencing a game of "strangeness" and "familiarity", a delightof "following nature" to "natural mind". He wins our admiration with hisdevotion to art, and all of his works reflect his faithful attitude toward art,dedicated passion for painting and his sincere desire for traveling betweennature and plain life.

Wu Hongliang

Curator of Art Museum of Beijing Fine Arts Academy

Qi Baishi Memorial Museum