在这里地自身想深化写生创作那八个字在桃花庵主要创作作中的首要性,写生是歌唱家面临自然生命的种种吟颂和次

  当霾这个生僻字在今天成为了常用字,自然的概念在时空中就离我们远了,而在情感中却离我们近了。本来觉得不是灰调子、酱油色的画面就不深刻,此时却感到那太做作、太阴暗了。花朵在阳光下本真的色彩衬以毫无掩饰的蓝天,才是晴朗的心情,今天的主题,自然的本色。没有考证过印象派的生成是否与工业生产以及污染有关,但对于透明的空气、光与色彩的追求恐怕是人类共有的喜好。

了解艺术史的我们早已熟知写生作品的独立与独特价值,它们虽是画家面对自然物象的直接写照,但它们的生动性和生命力同样蕴含创作的意义。它们记录着画家即兴的感悟和创造性的才情,同样也是画家对外部世界认知的传达。真正体现写生内涵的东西,是画家在艺术上有意识的追求。写生的前提固然是面对物象的描绘,但是画家作为创作主体的取向和探索,则是支配了物象最终成为画作的关键。当下的问题在于我们如何在当代艺术的语境下和绘画传承的道路上重新认识写生的价值,唐寅的这些近作正是他在这一方向上的追求与思索。

  从某种意义上说,绘画是一种塑造的艺术,作者通过对物象的描绘,塑造不同的情境,以记录和传递内心的感受。对于不同的作者面对相同的对象也会有着不同的心境,优秀的画家就是擅于捕捉这种滋生于自己内心的情感并能准确地将这种情境记录下来。这也是为什么自古至今艺术家们可以不厌其烦地对于同一对象(同一题材)进行反复地描绘,仍能打动观者,因为画家描绘的不是物象本身而是自己的心源。这也是作者所谓的化景为境,以气领形,抒情言志吧。当然,已有的经典图示和文化的认同都会使这种表达的独特性变得越来越为困难,这也是今天写实性绘画面临着的巨大挑战。

  唐寅的作品在此时就这样摆在面前,松动的笔触、响亮的色彩,的确有净化情绪的能量,扫去了萦绕在心中的阴霾,让我长长的出了一口气。的确,画是用来感受的,不是用来做长篇大论进行逻辑思考的,唐寅的画里面有情感的温暖、有对生命的关怀,笔出诚恳,就如同远方朋友带来的一份礼物,写给自然的一封家书。

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。在有法与无法之间的写生创作正是唐寅追求的写生实质。

  唐寅的作品大都是在自然的直接写生中完成的,在与自然的共呼吸,同体悟的过程中,进入物我合一的境界,笔随心至,画随神出,一气呵成。由此可见,自然物象不过是作者通向内心,发现自我的桥梁,成为观者和作者情感沟通的媒介,所谓真正的艺术是要能打动人心的这一似乎是早已为人们所熟知的道理却往往被当下的人们所忽视,或者说这些看似简单的道理能真正做到却并不容易,我们看到的是大量以摹写照片,追求视觉逼真为能事,以炫耀技巧为趣味的千人一面、毫无生气的媚俗之作。我个人比较喜欢唐寅笔下的花卉系列,特别是玉兰,洒脱流畅而又不失法度的笔触总使我想到中国的书法,朦胧的色调营造出的空气感使画面平添了一种灵动、流淌的情境,中国式的书写使物象脱离了具体的真实而更接近了心灵,这种抽象的意味扩大了想象和体验的空间,直接感染着观者的情感,较之西方印象派绘画多了一分中国式的气韵和生动,也体现出作者的人文素养和情怀,这种中国式的书卷气在当下也并不多见了。

  唐寅即将在家乡青岛举办的个展是他六年来创作的回顾,他画花朵、画青岛海边的堤岸、画自己的父母兄弟,画可触碰的世界与人,表达着个性化的感悟,创造着自我的世界,传递出一份浓浓的爱意。

写生是画家面对自然生命的种种吟颂和次次感悟。大海是唐寅成长的土地,每一寸沙滩,每一块礁石,一片片美丽的贝壳,一缕缕海洋的气息,赋予唐寅更多瞬间灵感和创作激情。面对大海,被感动的不仅仅是视觉,而且是心灵。当心灵与自然生命相融相合、获得内在的默契时,语言的表现和技法的发挥才成为自然而然的过程。唐寅笔下的大海表现的不是一情一景,而是生命的各种仪态,正是由于这种不落俗套的生,才使其有了自己的位置。展现在我们面前的是一幅幅充满生机,灵魂毕现的作品,让人感到久违的单纯和清新。

  唐寅还年轻,但却有了难得的定力,这份执着和坚守一定会有所回报。

  因此,我想借致敬之音,致境之意,表达两重思考。首先是在对自然、家乡、父母、师友的一份致敬中所蕴涵的雅致与品质,再有就是作品所呈之境所透露出东方人对世界的理解与表态。

写生是画家人生与精神世界的写照,观察自然就是观照人生,体悟自然就是品味生命的价值,表现自然生命就是展现自我的生命体验。唐寅正是从这一意义上来思索绘画传承道路上的写生价值,并赋予它当代艺术的语境写意。这里的写意不是单一地描摹临写自然物象的意境,而是在自由自律自在理念下的写意,意由心生,是物我合一哲学思辨的实践探寻。

中国文化部艺术司副司长 诸迪

  唐寅的绘画创作以写生入手,用眼睛提炼着物象的精髓。他没有用高清晰度的照相设备在直接摄取图像后,回到画室享受着空调,面对着液晶屏进行对二手自然的再创作,而是走入自然,享受阳光的炙热、海风的吹拂,把真切的感受直接转化并注入他的画布之中。这份生动,自然中独有的生动是写生所特有的。至于写生这一课题,这几年由于工作关系为许多20世纪的大师举办展览,写生也是我们的研究、展览对象。甚至我们会将写生稿与艺术家之后创作的作品一并展出,有趣的是那些最终的大创作虽然完整、有说服力,但却缺少了写生中的那份生鲜与活性。因此,唐寅将许多大幅面的作品依然坚持如不少印象派画家一样在户外完成,恐怕是希望通过这一方式最大限度地保持写生的新鲜感,活化他的画面,将他对自然物象的感受有效地表达出来。吴作人先生有一句很有名的话师造化,夺天工。所谓师造化自然是以造化为师,摸索自然世界的规律,寻到其中艺术的妙处,而师造化的重点是为了夺天工。夺是一种理念化的行动,天工是超出自然的力量,正是艺术家主观创造核心。因此,在这里我想强化写生作品这四个字在唐寅创作中的重要性。写生在他的系统里不是简单地抓住物象性情的图稿,而是直接在户外在阳光下解决感性的扑捉与逻辑创作的关系,将写生升华为创作,这其中的难度在于熟练的写生同时配以熟练的创作,所以非借吴作人先生的这个夺字来表达方才准确。而此处也必须承认,因为是夺也就有几许运气的成分,而可控与不可控的结合也恰恰是艺术的魅力。无他,但手熟尔没有其他捷径可走,需要艺术家的勤奋。唐寅曾和我提到一件小事让我有几分感动。在他的欧洲写生中,大多是夜景,为什么呢?唐寅的解释是白天要去美术馆,只有晚上的时间来画了。这让我想到齐白石的一个题跋:昨日大风,不曾作画,今朝制此补足之,不教一日闲过也。这当然可以解释为一位成功艺术家的刻苦,但更可理解为艺术家对画画这件事的爱甚至是痴迷。一日不画是多么难受,一定要在第二天画一张补上,方能心安。我想唐寅恐怕也有同样的感受。他身在异地,更加珍惜那份直接的感受,不画不足以心安。所以,唐寅作品的数量是可观的,这在很多油画艺术家中并不多见。

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,在浮躁于世、光怪陆离的当下画坛,他秉持信守,敏思而行。古语有云:心存高远,意守平常。闲观云卷云舒,笑品世事无常。身体而力行,虽小步终成千里。字里行间,我看到唐寅、唐寅的画、唐寅的路智者无疆。

2013年3月

  更需关注的是唐寅在夺的过程中用了不少中国功夫。唐寅的作品写意的成分是占到较大比例的,他有似的能力,又有意的追求,再加上借油彩写出的笔墨状态,使其作品增加了几分东方的味道。无论是表现海浪的起伏、还是黄河的汹涌抑或是花瓣的舒展,他的笔触有写的状态,是有弹性的、甚至是在跳动的,如拨弦的波尔卡,多了几分音乐的旋律,清脆、响亮。这样有乐动的笔触即吸收了他导师靳之林先生的优长,又有其独有的味道。因此,唐寅的油彩笔墨成为他作品形式感的重要组成部分,是其艺术风格的标签。

唐斌 中央美术学院美术馆副馆长 美术学博士

Going beyond Image

  在唐寅的创作中,无论西方的分类方式静物、人物、风景,还是用中国画的分类山水、花鸟、人物,他都涉及到了,这种全能恐怕是博士画家的必备。他虽然画的是油画,但我更觉得他画的风景是山水、他画的静物是花鸟。尤其是他画的花,无论整株的玉兰还是几枝芍药,是有些许人文的意蕴含在其中的。总的印象是这些花朵的雅致是有厚重感的,沉甸甸的,非常男性化,少有婉约,应属于是豪放的路子,甚至有山东人的大气。有收有放,大开大合,一花一世界,在唐寅这里并非是某种幽幽的伤情而是火热的祈愿。尤其是那些红得发紫的鸡冠花,用一句歌词形容恐怕是最恰当的,那是怒放的生命。

Anyone with some knowledge of history of art knows very well of the uniquefeatures and distinct value of sketch works, though they are drawn directlyfrom nature, their vividness and vitality also demonstrate signs of creation.They are not only accounts of painters momentary perception and passionbut also convey their cognition of the outer world. What actually reflects thevery soul of sketches is painters conscious artistic pursuit. Although sketchesare descriptions drawn from objects, painters orientation and explorationas creators determine whether the objects will finally become a successfulpainting. The current problem is to identify the value of sketches in thecontemporary art context and in the process of painting continuation, andTang Yins recent works obviously reflect his pursuit and thinking on thismatter.

  In a sense, painting is an art of creation. Through describing an image, the painter creates different contexts, records and conveys his inner feeling. In front of the same object, different people may have different feelings, while outstanding artists are usually good at capturing the inner feeling and ccurately recording it. That is why the ancient and modern artists can always touch audience deeply even if they tirelessly depicted a same object (a same subject matter) again and again. Because what they depicted is not the image itself but their inner feeling. That also echoes back what the artist Tang Yin used to say to express the atmosphere through depicting the target object, to make the sprit be the core while creating image, and to express thinking and feeling by drawing. Definitely, the existing classic presentation and cultural identification makes the uniqueness of such an expression harder and harder, which is the great challenge in the face of todays realistic painting.

  2008年,唐寅曾在北京画院美术馆举办过一次个展,或许是场地所限我未能见到大幅的作品。整体感觉五年前他的作品还停留在认真地绘制一幅一幅的物象,在画他直面对象时的感悟,而五年后当我看到两幅宽近6米的荷塘时,我感到唐寅已经开始造境了,而且迈入了他创作的新境界。看到这样全景式的莲花作品,所有初具西方美术史知识的观者都无法回避,要联想到莫奈最后的、安放在巴黎橘园的巨幅睡莲。那是莫奈向生命、向东方艺术致敬的作品。唐寅的这两幅睡莲一曰:《问蝉》,一曰:《莲说》,可视为一位东方的年轻艺术家对莫奈的致敬。将这两幅作品的名字连起来是一问一答,无所谓空间与时间,借物传意,述说的是唐寅的一份心境。这里的笔底生花,少了他之前作品中的热度,多了几分醇情的厚度。无论如何,绘画是人类用画笔表达情感的方式之一,她的魅力是以形象的方式浓缩凝固了某种诉求、表达出某种意念。当观者的眼睛停留在那些物象中时,如果能产生些许共鸣,那应该是绘画的力量。这两张大作品,给我这个观者的感受是对前人与自然的一份尊敬。

Flowers are one of Tang Yins painting subjects. He emphasizes ontranscending the superficial of the objects to explore their essence, inaddition, he attempts to reject the conceptual sculpting approach and convertthe existing visual experience of history of art into current creation. He iskeen on spontaneous creative process; as a result what distinguish his workslies in his capture and control of the entire context, especially in his random,emotional and freehand brushwork rather than in detail refining. He createshis sketches within the range of both restraint and freedom.Sketches represent various eulogies and constant understandings over natureand life. Tang Yin grew up at seaside, so his momentary inspirations andcreative enthusiasm mostly originate from beaches, reefs, beautiful shellsand smells of ocean. The sight of Ocean impresses not only ones vision butalso his soul. Only when his soul blends embraces nature and life can verbalexpression and art exploitation become a natural process. In Tang Yinsdrawing, ocean manifests not just his feelings or natural scenery, but diverseaspects of lives. It is just this innovative life that establishes its position.With strong vigor and spiritual depictions, his works render us the long lostsimplicity and freshness.

  Tang Yin created most of his works through going to the outside and directly painting in the Nature. Breathing in the natural air and personally feeling the Nature, he finally integrated with the natural world. His brush moved to herever his mind reached, and delivered images from his soul without stopping. Consequently, natural objects become a bridge leading to the artists heart, helping the artist to find his true self, and a media communicating the viewers and the artists emotion. The truth, seemingly known to all, that true art touches peoples inside is often ignored by todays people. Or, probably, such kind of apparently simple truth is difficult in practice. Therefore, the works we often saw were lifeless and vulgar works seeking for visual exactness through copying pictures, and showing off skills as an interest. Personally, I like Tang Yins flowers series, especially his Yulan magnolia. With the free, smooth, unrestrained but proper brushwork, they always reminded me of Chinese calligraphy, since the hazy color tone created a sense of being in air, adding a kind of lively and flowing atmosphere to the context. The Chinese-style writing detached the image from specific reality, getting closer to the soul. Such an abstract implication broadened the margin of imagination and experience, as well as directly interacted with the viewers emotion. In contrast with Western Impressionistic Painting, they outweighed with such kind of Chinese charm and liveliness. Also, they reflected the artists humanistic attitude, delivering a kind of Chinese scholars style which can hardly be seen today.

  唐寅2013年的展览应视为他创作的阶段性呈现,游于艺,路漫漫,至于此,而不会止与此。

Sketches are manifestation of painters life and spiritual world. Observingnature equals observing life, understanding nature equals understandingthe value of life, presenting nature and life equals presenting ones own lifeexperience, which is the basis of his quest for the value of sketches on theway of painting continuation and he also defines it within the contemporaryart context freehand drawing. What he indicates here is not to solely copythe image of natural objects but to draw under the principles of Liberty,Limit and Leisure. The idea of his drawing is generated from heart, whichshows his practical search for the philosophy of integration of object andself.

  Preciously, Tang Yin trained himself with such persistence at such a young age. He should be rewarded by his obsession and devotion.

  北京画院美术馆馆长,吴洪亮

Tang Yin is a diligent and wise painter, furthermore a talented painter withgreat passion. Despite the agitation and bizarreness in art circle, he still holdsfirmly to his faith and acts with careful thinking. As the old saying goes, Keepa lofty goal and remain a peaceful mind. With easy mood watch clouds rollingand contemplate things changing. Walk, and you will finally cover thousandsof miles even in small paces. Between these lines I can see Tang Yin and hispaintings, roads borderless wisdom.

  Zhu Di

  Dedication to Atmosphere

Tang BinAssistant Director of Art Museum of CAFA, Doctor of Fine Arts

  The Deputy Director of the Bureau of Art, the Ministry of Culture, P.R.C.

  --The Impression of Tang Yins Oil Paintings

  March, 2013

  When 霾(pronounces mai, means haze)--a rarely used Chinese word is frequently mentioned in a day, the concept of natural must be further away in terms of time and space, but really closer in terms of emotion. Originally, a painting without gray tone and sauce-like color was considered as no depth, but now it makes you feel too artificial and dark. Only flowers blossoming under the sun, with their true colors against the clear sky, can create the sunny mood the theme of nowadays and the true colors of nature. It was never verified whether the rise of Impressionism was related to industrial production and pollution. But the pursuit of transparent air, light and color is humans common wish. At the moment when Tang Yins works are right in front of you, the loose brushwork and the striking colors may sweep off the hazes lingering in your mind with their energy of cleansing soul, and relax me to take a deep breath. Indeed, painting is something needs to be felt, not to be taken for logical thinking as a lengthy monologue. Tang Yins works reveal warmth of emotion and concern to life. The brush stroke of sincerity makes his painting like a gift from a friend afar or a letter to the nature.

  This solo exhibition to be held in Tang Yins hometown, Qingdao, is a retrospective of his creations in the past 6 years. During these years he painted the world and people within his reach, expressed individualized perception, created his own world and delivered the deep affection by depicting flowers, the bund on the seaside, his parents and brothers. Therefore, I named the exhibition as Dedication to Atmosphere to reflect the double thinking, firstly the grace and quality implied by the respect to the nature, hometown, parents, teachers and friends, and secondly the Chinese understanding and attitude towards the world revealed by the works.

  Tang Yins creation starts with painting from nature, extracts the essence of image with his eyes. He never directly takes images with hi-definition camera and then recreated the second-hand nature in front of a LCD screen in air-conditioned studio, but exposes himself in the glaring sunshine and sea wind in the nature and inputs his vivid experience into the paintings instead. This unique vividness can be found only in paintings from nature. In recent years, we have held several exhibitions for the masters belonging to the 20th Century since the painting from nature has been the subject of our research and exhibition. We even displayed the sketches from nature together with their consequent creations. Interestingly, the final creations often have lost the freshness and vitality appeared in sketches, despite their integrality and convincingness. For this reason, Tang Yin persisted in creating large-scale works outdoors as many impressionist painters, maybe in expectation to maintain the vividness of sketch from nature furthest, to activate the painting and efficiently express his passion towards natural image. As Mr. Wu Zuoren said, Only by learning from the nature can win the natural creation. The said learning from nature certainly means the nature (or the Creator) is our teacher, and we should explore the law of nature and discover the art in it. To learn from the nature is aiming to win the natural creation. Win is a kind of conceptualized action, and natural creation is a supernatural power and just the core of the artists subjective creation. Therefore, I want to intensify the importance of painting from nature in Tangs creation. For him, painting from nature does not mean brief drafts featuring the basic characteristics of a scene, but direct solution to the relationship between emotional capturing and logical creation under the outdoor sunshine. To distill the creation of the sketch, the difficulty lies on combining skillful sketches with skillful creation, so only the word win from Mr. Wu Zuoren is the appropriate choice. But it has to be admitted that win may depend on some good luck, but the controllable or uncontrollable combination is just what the charm of art is. Only by practice, nothing else, no shortcut and only diligence required. Tang Yin once told me a story which touched me. In Europe, most of his paintings from nature depict night scenes, why? He explained that he spent all the daytime in museum and could work only at nights. I was immediately reminded of one of Mr. Qi Baishis self-comments, Yesterday I did not paint due to the strong wind, and today I finished this one as a makeup, never letting one day stay in idle. It can be attributed to the hard work of a successful artist, but also to the artists obsession on painting. No painting for one day is a torture, so making it up on the next day can be a comfort. I guess Tang Yin shares the same feeling. Staying abroad, he did cherish the direct feeling, without working he could not get peace of mind. So, Tang Yin finished considerable creations, which is rarely seen in some oil painters.

  What is more, Tang Yin adopted the spirit of Chinese Kungfu in the process to win. The freehand brushwork seeking for artistic conception and self-expression takes a dominating proportion in his works. With his imitating ability, his pursuit after artistic conception, plus the ink and brush effect with oil paints, his works are added with oriental taste. No matter depicting the fluctuation of sea wave, the surging of the Yellow River, or the spreading of petals, his strokes remain in a state of rhythmical moving on the canvas, which is flexible, even jumpy, with musical rhythm, just like a piece of Polka played by string plucking, clear and resounding. The melodious brushwork reflects both Mr. Jin Zhilins art style and Tang Yins own unique taste. Thus Tang Yins ink-style oil paintings constitute an important part of the artistic form in his works, and become the label of his artistic style.

  In his art practice, Tang Yin tries every painting subject, including still life, portrait and landscape, as categorized in western painting, as well as mountain and river, flower and bird, and figure, as categorized in Chinese painting. This is may be the basic quality of an artist with Ph.D. Although taking the form of oil painting, I feel that his landscape looks like the mountain and river of Chinese painting, and his still life looks like the flower and bird of Chinese painting. Especially the flowers in his paintings, no matter a tree of Yulan magnolia or several branches of Chinese herbaceous peony, all contain humanity thinking inside. All the flowers generally impress me with their thick, heavy but decorous grace, more masculine but less effeminate. These works follow a kind of bold and unconstrained manner, even with Shandong peoples generosity. They are intensive and extensive. One flower is a world, to Tang Yin, is never a kind of sentiment but passionate supplication. Especially the purplish red cockscombs, I could only find a sentence of song lyrics to describe them properly: they are blooming life.

  In 2008, Tang Yin once held a solo exhibition in the Art Museum of Beijing Fine Art Academy. I did not see any large-scale painting in that exhibition, may be because of the limitation of space. In my memory, his work at five years ago still focused on carefully depicting images one after another, and expressing his perceptions in front of the subject matters. But today, after five years, when I saw his two pieces of lotus pond painting with six meters wide, I realized that he had already begun to create an atmosphere , and consequently stepped onto a new stage of creation. In front of the panoramic lotuses, the audience with preliminary knowledge about western art history cannot help recalling Monets last large-scale water lily painting now stored in the Orangerie Museum, Paris, representing Monets salute to life and oriental art. Tang Yins two water lily paintings were named as Inquiry to Zen and Ode to Lotus respectively, which can be considered as an oriental young artists salute to Monet. The titles of the two works indicate a question and an answer. It does not matter with time or space. The subject conveys the artists inner feeling. The works in this exhibition show less passion that we could see in his previous works, but more profoundness in emotion. Anyhow, painting is one of the ways for people to express feeling with brushes. Its charm comes from the fact that it fixes and condenses peoples appeals and delivers ideas in a visual manner. If there are resonances being aroused when the audiences eyes fix on the image, that is because of the power of painting. The two large-scale works make me feel the respect to ancestors and the nature.

  Tang Yins Solo Exhibition in 2013 is a reflection of one phase of his creation. The way of art pursuit is long and tough. His career reaches the point, but never ends at the point.

  Wu Hongliang

  Director

  Art Museum of Beijing Fine Art Academy