画画是一种构建的章程,在他的水墨画创作中

  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。

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。

  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。

  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。

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。

  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。

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。

  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。

  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。

中国文化部艺术司副司长 诸迪

  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。

2013年3月

  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。

  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。

Going beyond Image

吴洪亮

  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。

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.

北京画院美术馆馆长

  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。

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.

齐白石纪念馆馆长

  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。

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

  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.

  北京画院美术馆馆长,吴洪亮

Zhu Di

  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 Yins paintings.

  Dedication to Atmosphere

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

  Tang Yins 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 peoples 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 imaginationand 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 Impression of Tang Yins Oil Paintings

March, 2013

  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.

  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.

  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 Yins 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.

  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.

Wu Hongliang

  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.

Curator of Art Museum of Beijing Fine Arts Academy

  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.

Qi Baishi Memorial Museum

  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