许江

　　童雁时时处在一个散漫的状态之中，去承受这些蓦然出现的浑沌一团的“像”。这种“像”是不允许太清晰的，是需要一种生命的“漫态”去与之遭遇的。童雁与这些群像彼此塑造，把自己塑成匆匆一瞥的心灵漫游者。所以，当我们面对这一群群无声息的、纠结着沧桑的笔触、浑然的影调的肖像之时，我们同时所面对的是童雁式的观看，或者说是那种漫游中的心灵。

　　--许江，中国文联副主席、原中国美术学院院长。摘自《南山、丘壑与漫游-童雁汝南绘画》

　　Xu Jiang

　　Tong Yanrunan is always in a slack state to greet these vague figuresappearing suddenly. This kind of figures cannot be too clear. They need to be greeted with the slackness of life. Tong Yanrunan and these figures shape each other， and in this way， the former is shaped into a soul rambler， glancing casually in a hurry. Therefore， as we are facing the crowds of silent figures entangled with brushstrokes full of vicissitudes and integrated tinge， we are at the same time facing the watching of Tong Yanrunan‘s type， or facing a kind of souls in rambling.

　　--Xu Jiang， president of the China Academy of Art， vice President of the Chinese Federation of Literary and Art. Excerpt from “the South Hill， Gullies and Rambling- Tong Yanrunan’s Oil Painting”

　　迪特·戎特

　　与此同时，这些深深植根于中国古老绘画传统的画像是当代和新艺术的见证。童先生将油画艺术手法和水墨画艺术手法转化为新的艺术共生体，其眼神的描绘是最重要的艺术表现。童先生的肖像画虽然都是以系列的方式进行创作，但每幅作品中人物神韵的差异仍是突出的。在不同神韵的人物外表下，又呈现了不谋而同的艺术家体验。虽然这些作品看上去温和细微却并非沉默无声，事实上所有的画作活力洋溢、激动人心，它们是运动着的绘画艺术。

　　--迪特·戎特，原维也纳现代美术馆、德国国立波恩美术馆馆长。摘自《童雁汝南：直面》

　　Dieter Ronte

　　Meanwhile， these portrait paintings， deeply rooted in the ancient Chinese painting tradition are testimonies to contemporary and modern art styles.

　　Mr. Tong has transformed the art of oil painting and ink painting techniques into a new artistic symbiosis， of which the eyes depiction is the most important artistic expression. Although Tong‘s portraits are created in a series， the differences between the characters in each work are still outstanding； they represent the artist similar and coincidental experiences. At first sight， these works look gentle and subtle， but people can find that all the paintings are vibrant and exciting by moving the art of painting.

　　--Dieter Ronte， former art historian， original curator of the Vienna Museum of Modern Art and National Museum in Bonn， Germany. Excerpt from “Tong Yanrunan： Face to Face”

　　陈丹青

　　他画得非常好，很成熟，有自己的风格。我当时非常高兴的是，他可以到莫兰迪的家乡去看画，青年时期的我可没有这样的机遇与境遇。可是这位童雁汝南，他做到了，我很羡慕。而今天他带来一个更令我高兴的消息，他最近又在博洛尼亚待了一个月，为莫兰迪的研究者、研究馆的馆长画了像，还和莫兰迪的画作一道办了一个对比展，试图找到他和莫兰迪之间的联系。青年艺术家能走出国门，到世界上其他国家去和这些国家著名的艺术家一起办画展，这是中国艺术巨大的进步。

　　--陈丹青，著名画家、作家。摘自讲座《陈丹青谈基里科与莫兰迪》

　　Chen Danqing

　　He paints very well， mature， and has his own style. I was very happy at the time that he could go to Morandi’s hometown to see his paintings which I could not have such opportunities and circumstances to see in my youth. But this young boy Tong Yanrunan， he did， I am very envious. Today， he brings a message that makes me even happier. He recently went to Bologna for a month and drew some portraits for Morandi‘s researchers and curators. And he held a contrast exhibition with Morandi’s works after that， trying to find the connection between him and Morandi. Young artists can go abroad and go to other countries in the world to organize exhibitions with other famous artists. This is a huge advancement in Chinese art.

　　--Chen Danqing， famous artist， literary critic， writer. Excerpt from speech “Chen Danqing Talk About Giorgio de Chirico and Giorgio Morandi”

　　范迪安

　　肖像艺术在西方现代艺术中被研究得很透彻。从弗朗西斯·培根开始，肖像便成为一门系统、新颖，充满现代性的课题，后来到费欣，到格哈德·里希特等人的研究，包括一些中国的肖像画，德国的表现主义，意大利的“3C”（注：指桑德罗·齐亚、恩佐·库奇、弗朗西斯科o克莱门特）等，肖像艺术由此演变出诸多的语言表达类型，可贵的是，童雁汝南同前人相比，已构建出独有的语言表达方式，这将成为他在肖像艺术语言体系上的专利。

　　--范迪安，中央美术学院院长、中国美协主席。摘自《庖丁解牛》今日美术馆研讨会发言

　　Fan Di‘an

　　The portrait has been deeply studied in the series of western modern arts. We witnessed that portrait had become a systemic， new and modern subject. There are many language expressions belonging to the system of portraits， due to the researches of Fitchin， Gerhard Richter， some Chinese portrait painters， German expressionism and Italian“three Cs” (refers to artists Sandro Chia， Enzo Cucchi， Francesco Clemente)， etc.. What valuable is that Tong Yanrunan has constructed a different way of language expression from history， which will become a patent of his language system.

　　--Fan Di’an： the dean of the Central Academy of Fine Arts， the chairman of the Chinese Artists Association， the curator of the Chinese National Pavilion for the 50th & 51st Venice Biennale. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　高名潞

　　这个想法就跟“意派”的“不是之是”有关，但“不是之是”不是“不似之似”。因为 “似”还是从再现和对应的二元角度出发，而“是”乃是言外和象外的东西，它是另类的东西，但这个另类又最能把握住整一性。这个是什么东西呢，就很难想象了。我为什么说整一性，所谓整一性不是一个干巴巴的概念，比如说，人的形状有几种，但是具体到这个人，我不强调他的个体的那种特别极端化的那种特点，因为每个人绝对都不一样的。

　　--高名潞，美国匹兹堡大学教授、策展人。摘自《与高名潞先生谈话》

　　Gao Minglu

　　This is just one of my thought， which is relating to the “seemingly wrong truth” in Yipai. But the “seemingly wrong truth” is not the “unlikely similarity”. Because the “similarity” is still from the dual angle of reproduction and contrast， but the “truth” is something beyond the word and the image， it is something unique which can grasp the synthesis. So it is difficult to imagine what it is on earth. why do I say synthesis， synthesis is not something dull and dry， but something ，for example， there are several sizes of people， but when it comes to one person， I won‘t emphasize the individual and extreme character， because everyone is totally different.

　　--Gao Minglu， professor of the University of Pittsburgh， USA； Curator. Excerpt from “the Conversation with Gao Minglu”

　　栗宪庭

　　童雁汝南看似带有表现意味的油画肖像，实际借用的是中国传统山水画的笔触意味，仔细看他画的每一幅肖像，你会发现它们都隐藏着一些中国山水画的图形因素，以及对传统与当代关系的关注，我想这大概是这个展览的一个主要看点。

　　--栗宪庭，誉为“中国当代艺术教父”。摘自《十年一剑》

　　Li Xianting

　　Tong Yanrunan tends to create oil portraits that seem expressive. Actually he learns from the strokes of traditional Chinese landscape painting. When looking closely at every portrait he paints， you will find that there are some graphic elements hidden. And the concern for relationships between tradition and contemporary could be a major attraction of this exhibition.

　　--Li Xianting， known as “Godfather of Contemporary Chinese Art”. Excerpt from “A Sword in Ten Years”

　　邓晓芒

　　画家在达到“目无全牛”的境界时，却把内在的本质性的那些东西用一种笔触无意之间表达出来了，你看不出来他是刻意要表现这个立体、这个块面，没有刻意的经营。当然实际上是有的，但是已经成了他的本能的肢体动作，他是无意中显示出来的。这就是我理解的童先生的艺术的妙趣。

　　--邓晓芒，著名哲学家。摘自《回到婴儿的视觉--观童先生肖像画有感》

　　Deng Xiaomang

　　When the painter reaches the realm of “see an ox not as a whole”， he inadvertently expresses the intrinsic essence of those things with a stroke. You will not notice that he intentionally wants to show this three-dimensional object or some parts， or has a deliberate management. Of course， he does， and it has become his instinctive body movements， which he shows unconsciously. That’s what I understand about Mr. Tong‘s art.

　　--Deng Xiaomang， Professor of Department of Philosophy， Huazhong University of Science and Technology. Excerpt from “Back to the Baby’s View： About Mr. Tong‘s Portraits”

　　马西莫·斯加林格拉

　　童雁汝南是20多年来肖像画界的伟大创新者之一，他所描绘的形象超越了模特本身，体现出超越时间和空间的特性。他理想的创作的画作（通常为41cm x 33cm）规格揭示了艺术家的意图，即去除形象的社会特征而集中在个体生命本质上。明显而简单，差别与无差别间就像一场博弈。童雁汝南的肖像画可以被描述为“灵魂”：他关注的是一个连贯而复杂的社会心理状况。

　　--马西莫·斯加林格拉，曾担任 2014、2015世界双年展艺术总监，威尼斯双年展科特迪瓦国家馆馆长。摘自《直面彼此》

　　Massimo Scaringella

　　Since more than 20 years， Tong Yanrunan is one of these great innovators of the portrait. Tong Yanrunan proceeds in his work that allows to people portrayed by him to go beyond themselves and intercept all the other characters crossing our time and the portion of space in which we move. The desired restricted space condition of the paintings where he works (always 41 x 33 cm) reveals the artist’s intention to concentrate everything on the ontology of the essential of the individual through an apparent simplicity， in a sort of game of distinction and non-distinction. Tong Yanrunan makes a portraiture that could be described as “souls”： he focuses a coherent and complex psychosocial condition.

　　--Massimo Scaringella， artistic director of Bienal del Fin del Mundo 2014 & 2015； Curator of pavilion of ivory coast， La Biennale Arte 2019. Excerpt from “One another， facing each other”

　　唐忠信

　　童雁汝南的作品可以看作是中国古典绘画的技术典范。因为你可以发现，谢赫“六法论”--这部中国古代绘画理论名著中所提及的每一种技巧，在他的作品中都得到了运用和体现。童雁汝南的绘画有一种精神上的生命力和节奏感。

　　--唐忠信，澳大利亚著名艺术史论家。摘自《像中之象--论童雁汝南绘画》

　　Jonathan Thomson

　　Tong Yanrunan‘s work can be regarded as an example of classical Chinese painting techniques. Since you can find Xie He’s “theory of six principles of Painting”--every type of skill mentioned in this famous master piece of ancient Chinese paintings theory， is used and displayed in his works. There is a spiritual life and rhythm in Tong Yanrunan‘s painting.

　　--Jonathan Thomson， famous Australian art history theorist. Excerpt from “The Image in the Portrait- on Tong Yanrunan’s Paintings”

　　弗拉明奥·古尔多尼

　　艺术家的主要作品在于阐明行为的先决条件，在于解释对肖像本身认知过程中的误会和对话，同时，消解偏见和模棱两可的印象。在画布上，童雁汝南是无可争议的大师，他富有表达性的张力，他的艺术抱负，是致力于一生去凝练出他的绘画，不是‘一张脸’，而是‘脸’的概念。

　　--弗拉明奥·古尔多尼，意大利艺术史学家、评论家。摘自《时间的形状-莫兰迪和童雁汝南作品展》

　　Flaminio Gourdoni

　　--Flaminio Gourdoni， Italian art historian and critic. Excerpt from “the Shape of Time-Exhibition of Works of Morandi and Tong Yanrunan “

　　杨小彦

　　我觉得无法再用”图式“去理解童雁汝南的创作。他所做的，也不合适用”风格“一词加以 说明。尤其是，当他恒定地以一种尺寸、一种构图、一种表情，反复地为不同地域、不同民 族、不同信仰、不同个体的现实中人，他们可能是学者，是艺术家，是哲人，是精英，是同 道，是朋友，是亲戚，是偶遇，是惊艳，不一而足，留下在样式上近乎统一的肖像时，他的 目标显然是，为大千世界存留无穷无尽的征象。在他的认知中，这一征象正是”道“本身。

　　--杨小彦 Yang Xiaoyan，中山大学传播学院、艺术学院教授、博士生导师。摘自《”象可像，非常象“--童雁汝南”肖像系列“背后的方法论研讨会》广东美术馆研讨会发言

　　Yang Xiaoyan

　　王明贤

　　童雁汝南的这批新作使他的艺术向当代性跨出重要的一步，构成了”新绘画“的一个环节。他不仅关注人类精神史的微观考据，更将其着眼点植入宏观的历史精神之中，从这种人类活动的经纬交错中寻找自己阐释的坐标。在这个从微观到宏观的巨大空间之中，童雁汝南逐步形成了自己的艺术语言，一种既可以面对个体又不断进入历史的主观表达形式。

　　--王明贤，第51 届威尼斯双年展中国馆策展成员。摘自《理想国》

　　Wang Mingxian

　　The new works of Tong Yanrunan make his art making an important step forward of Contemporary， becoming one part of “new painting feature”. He is not only concern about the microcosmic criticism of the history of the human spirit， but even implant it into the macroscopical historical spirit， finding an self-annotation coordinate from human complicated activities.

　　--Wang Mingxian， curatorial member of the China Pavilion of the 51st Venice Biennale. Excerpt from “The Republic”

　　皮特·马达埃斯

　　童雁汝南寥寥几笔就能表现出人物的特征：一方面是对人物眼睛的描绘，另一方面寥寥几笔就可以塑造人物的面部特征，这是天才艺术大师洞察力的结果：无需塑造人的灵魂，无需作多余的解释，微妙微巧，使人物栩栩如生，体现极高的艺术水平。

　　--皮特·马达埃斯，米兰艺术和科学博物馆馆长。摘自《“直面”童雁汝南欧洲巡展米兰站开幕式上致辞》

　　Peter Matthaes

　　The characteristics of the model are shown by Tong Yanrunan‘s a few strokes： not only the subject’s eye but also the characteristics. This is the observation of the insights from the genius of the master. There is no necessary description to depict the soul of the model. No need to provide extra explanations. Everything is subtle and cleverly detailed to make the characters lifelike， which reflects the artist‘s high artistic level.

　　--Peter Matthaes， director of the Museum of Art and Science in Milan. Excerpt from the opening ceremony speech of the “Face to Face”Tong Yanrunan Exhibition in Milan

　　丁宁

　　童雁汝南的肖像画强化的不是戏剧性，而是若有若无的专注性，好像让你感觉到被画的人正淡定地沉浸在自己的内心世界里，可是这种状态又让我们留下极深刻的印象。好像漂移在那种依稀的专注性和朦胧的戏剧性之间，这就多少有点接近中国古代的肖像画了。这正是童雁汝南的肖像画有令人玩味的表现性的缘由。

　　--丁宁，著名艺术史家、北京大学艺术学院副院长。摘自《肖像画的意义与开拓--童雁汝南近作印象》

　　Ding Ning

　　Instead of theatricality， what consolidated in portraits of Tong Yanrunan is the faintly discernible concentration， which seems to make you sense the portrayed one is immersing his own inner world calmly， while such status has impressed us very deeply. It seems to be drifting between a kind of faint concentration and vague theatricality， and such status is more or less close to the ancient portraits of China. That’s why the portraits of Tong Yanrunan have ruminating representation.

　　--Ding Ning， famous art historian， vice-president of the School of Art， Peking University. Excerpt from “the Significance and Development of Portraits-Impression on Recent Works of Tong Yanrunan”

　　顾振清

　　在肖像画中，童雁汝南对艺术模糊性和不确定性的表达既中肯又诚实。他对肖像画的不断精进，在当代艺术前沿的背后形成了一个鲜活而独特的艺术个案。一个艺术家如果长年致力于追求艺术形式语言的唯一性，他也有可能产生一种极具个人贡献性的艺术面貌。童雁汝南从不一味追求画面美感，而是忠于内心世界，体悟理性精神的不断引领。

　　--顾振清，2006年英国利物浦双年展中国馆策展人。摘自《时间的特性：童雁汝南肖像油画》

　　Gu Zhenqing

　　Among portraits， Tong Yanrunan presents both pertinent and honest expression on the ambiguity and uncertainty of art. Owing to his constant progress in portraits， he has formed a fresh and particular art case behind the front-end of contemporary art. If an artist remains committed to pursuing the uniqueness of art formed language for long， he may also produce a kind of art appearance that has great individual contribution. Tong Yanrunan has never pursued the aesthetic feeling of painting only， but has also been sincere to his inner world and comprehended constant guide of rational spirit.

　　--Gu Zhenqing， curator of China Pavilion at 2006 Liverpool Biennale. Excerpt from “the Characteristics of Time： Portrait Oil Painting of Tong Yanrunan”

　　黄笃

　　如果说面孔是认识人的内心深处的窗口，那么他把肖像的面孔处理成模糊的似是而非的形象，这样认识人心灵的窗户就变得暧昧。艺术家通过流动性、随意性、偶然性浑厚而粗犷的写意方式实现的形象特征，以此把明确而具体的意义变成了想象和抽象的图像。也就是说，把身边作为个体人的特征转变成了普遍意义人的特征。

　　--黄笃，第50届威尼斯双年展、第26届圣保罗双年展中国馆策展人。摘自《童雁汝南：从经典美学中转译的绘画当代性》

　　Huang Du

　　If the face was the window to look into the depth of one‘s heart， the window reads one’s heart would became ambiguous since he portrays faces to be the delusively blurry images. By forming the character with fluidness and uncertainty and in a haphazard and straightforwardly impressionistic way， the artist transformed concrete and specific meanings into imaginary and abstract images. In other words， individual characteristics were converted into universal meaning of human life.

　　--Huang Du， curator of China Pavilion of the 50th Venice Biennale and the China Pavilion of the 26th Sao Paulo Biennale. Excerpt from the “Tong Yanrunan： the Contemporary Painting Translated from Classical Aesthetics”

　　贾方舟

　　大家可能也会发现同一个形象，他会同时画两三张，他会在同一个对象中捕捉不同的东西。所以我觉得他的画更适合叫作“写意”，“写意油画”这个概念更适合童雁汝南。他跟西方的表现主义不一样，这是中国式的一种表现。他更注重表现性，一种有修养的表现，而非神经质的表现，这就是文人写意画的特点。

　　--贾方舟，著名策展人、中国美术批评家年会名誉主席。摘自《庖丁解牛》今日美术馆研讨会发言

　　Jia Fangzhou

　　Everybody may notice one image： he pains two or three pieces of works at the same time， as he is catching something different in one object， so I would rather call his painting as “freehand brushwork”， and the concept “freehand brushwork oil painting” is more suitable for Tong Yanrunan. Unlike the western expressionism， his painting is a kind of expression of Chinese style. He attaches more importance to representation： a kind of cultivated expression， but not neurotic expression， and this is right the feature of humane freehand brushwork.

　　--Jia Fangzhou， famous exhibition curator， honorary chairman of The China Annual Art Critics Assembly. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　王林

　　童雁汝南的肖像画创作是通过人物形象的自我否定，来达到个人绘画语言的自我肯定。对形象确定性的自我否定，通过改变甚至是破坏性的处理，来达到绘画语言的自我肯定。童雁汝南所要提示的，是包括着中国写意绘画传统的当下文化背景，由此和今天的艺术观念发生关系。

　　--王林，四川美院教授、西安美院博导。摘自《绘画语言的自我肯定--童雁汝南肖像画说略》

　　Wang Lin

　　His portrait creation is to achieve self-affirmation of personal painting language through self-denial of characters. It is self-denial of a certain image by changing or even damaging， to achieve self-affirmation of painting language. What Tong Yanrunan wants to prompt is the current cultural background of Chinese freehand painting tradition， thus， he has a relationship with today‘s artistic concept.

　　--Wang Lin， professor of Sichuan Fine Arts Institute； Doctoral supervisor of Xi’an Academy of Fine Arts. Excerpt from “Self-affirmation of Painting Language - Preliminary Study of Portrait Paintings Made by Tong Yanrunan”

　　夏可君

　　画家过去二十年来，以同样的尺寸，以正面的角度、平涂的背景，几乎不变的风格语言，反复写生。这是他非常特别的方法论。可以说类似于中国古代的“程式化”。面对自我，面对肖像，面对童雁汝南的肖像画系列作品，这是多重的面对面（faces to faces），不只是汝南面对一个人，也是我们被画过的人面对自身，还是其他熟悉的人面对我们自己，这是多重的观看！

　　--夏可君，中国人民大学教授，策展人与评论家。摘自《童雁汝南的绘画方法论：“神遇”的自然面相学》

　　Xia Kejun

　　As a painter， he has insisted on the same classical portrait size with a scale of 41x33cm， a positive angle， flat background， almost unchanged style language， repeating portraying. This is his very special methodology. Similarly， it can be said to be the “stylization” of landscape painting or calligraphy in ancient China. Facing your ego， the portrait， and the portrait series made by Tong yanrunan is a multiple pattern of faces to faces. It is not only Runan who we face， but also people who have been painted face themselves， or the other familiar face ourselves. It is a multiple view！

　　--Xia Kejun， professor of Renmin University of China； Curator； Critic. Excerpt from “Painting Methodology of Tong Yanrunan： Natural Physiognomy of”Catching Mien“

　　孙向晨

　　童雁汝南以自身独有的方式贯彻着同一个主题。每一帧肖像清晰的面目看似在轻轻的笔触中消融，实则是在时间的流变中模糊，惟其神韵在这种模糊中保留了重塑自身的可能性，这正是童雁作品的魅力。

　　--孙向晨，复旦大学哲学学院院长。摘自《时间的形状》

　　Sun Xiangchen

　　The portraiture by Tong Yanrunan， who carries out the same theme in his own unique way， is exactly what that is. The clear face in each portrait seems to melt away under the light brush strokes， but it is actually vague in the changes of time. Only the spirit of works preserve the possibility of self-reshaped in such an obscure. All of these are charms of his works.

　　--Sun Xiangchen， dean of the School of Philosophy， Fudan University. Excerpt from “The Shape of Time”

　　鲁虹

　　就像美国包装艺术家克里斯托克做作品《包裹德国国会大厦》一样，童雁汝南的人物系列其实是一个系统工程，也由于在他的每一个系列中都有特定的文化含义，故我们决不能从纯风格的意义上理解他的相关作品！

　　--鲁虹，合美术馆执行馆长。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Lu Hong：

　　Just like “Wrapped Reichstag”， an artistic work from Crystalker， American artist， the character series of Tong Yanrunan is actually a systematic project. Because there are specific cultural meanings in each series of his works， we can never understand his works only in the sense of pure style.

　　--Lu Hong， executive crator of United Art Museum. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　甘图雅·巴达姆伽拉芙

　　首先我想到的是他的作品大小，其规格很小。其次，令我很惊讶的是这些小型作品竟具有如此鲜明的特色。当我看着这些面孔，我觉得它们像是黏土或石头，而非活物。但无需多加注意，就能够感受到人物脸上的情感，感觉到他们正在和我说话。

　　--甘图雅·巴达姆伽拉芙，2019年威尼斯艺术双年展蒙古馆馆长、策展人，蒙古当代艺术支持协会创始人、会长。摘自《童雁汝南肖像画系列》

　　Gantuya Badamgarav

　　The first thing I realized was the size of his work， which is pretty small. And the second thing which made me wonder was how these small sized works can have such monumental character. Furthermore when I looked at the faces， they seemed to me like clay or stone， non-living. But with little more attention， I was able to sense the motion on their faces and got a feeling that they were speaking to me.

　　--Gantuya Badamgarav， Curator of Mongolia Pavilion in Venice Art Biennale 2019； Founding Director of Mongolian Contemporary Art Support Association； Excerpt from “Portrait Series of Tong Yanrunan”

　　王端廷

　　童雁汝南的肖像画准确地定义了何谓表现主义绘画，也就是说他的肖像画是表现主义绘画最标准的范本。实际上，童雁汝南颠覆了肖像画的传统，他给我们展现了一种当代艺术的创作方式。他这21年做的是一个行为艺术作品，只不过借用了绘画的手段和肖像画的媒介。这些被画的对象在充当他的模特的过程中，他们的心理感受和精神状态与艺术家的创作状态和情绪反应形成了一个精神场域、构成了作品的张力。在童雁汝南的创作中，他对艺术中的种种关系进行了重新处理。

　　--王端廷，中国艺术研究外国美术研究所所长。摘自《过程、行为和现场--童雁汝南肖像作品的观念性》

　　Wang Duanting

　　Portraits made by Tong Yanrunan precisely define what expressionist painting is. In other words， his portrait is the most standard model of expressionist painting. Tong Yanrunan subverted the tradition of portrait painting. He shows us a way of contemporary art creation. What he has done for 21 years is a work of behavioral art. Painting and portrait is only the intermediary. During the process of acting as his model， these objects have formed a spiritual field and tension with their mental feelings and emotional reactions. He has dealt with all kinds of relations of art in his works.

　　--Wang Duanting， director of Chinese Art Research Institute of Foreign Fine Arts. Excerpt from “Process， Behavior and Site： Conceptuality of Portraits Made by Tong Yanrunan”

　　朴天男

　　童老师和他的绘画对象之间既有一种张力，又有一种很轻松的气氛在里面。在童老师和他的绘画对象中，一直有一种无声的对话在持续的进行，两者之间的张力以及光环在画布上得到了充分的显现，童老师专注并强调了每个人的张力，就好像这是他自己的精神一样。

　　--朴天男，韩国城南CUBE美术馆首席策展人、韩国策展人协会会长。摘自《鲜活的肖像共识》

　　Tcheon-Nahm Park

　　There is a tension， as well as a very relaxed atmosphere， between his painting objects and him.A silent dialogue between Professor Tong and his paintings goes on all the time. The tension and the halo between the two are fully displayed on the canvas. Professor Tong concentrates on the tension of everyone as if it were his own spirit.

　　--Tcheon-Nahm PARK， Chief Curator of Seongnam Cube Art Museum in Korea， President of Korea Curator‘s Association， from “Vivid Portrait as a Consensus”

　　邹元江

　　童雁汝南二十年如一日一直执着于西方架上的油画肖像画，但他这些看上去非常标准的静物写生意义上的传统西方油画肖像画，却又画出了完全不同于西方的肖像，也不同于他从李可染那里奠定了幼功的中国传神写真人物画，而是一种超越了外在图像透明性的的“中间现实”。这让我们想起用感性抵抗逻辑之“真”的透明性的梅洛-庞蒂。

　　--邹元江，武汉大学哲学学院教授、博导，湖北省美学学会会长。摘自《童雁汝南肖像画的“中间现实”》

　　Zou Yuanjiang

　　Tong Yanrunan has been sticking to the oil painting portraits on the western shelves for twenty years. His works， however， which considered as extreme standard traditional western oil painting portraits of still life， are not the same as portraits from the West completely， nor Chinese vivid biographical portraits， which he laid a foundation for his youthful work from Li Keran. They surpass the transparency of the external image of “Intermediate Reality”. He reminds us of Maurice Merleau-Ponty， who resists the transparency of logic’s “truth” with sensibility.

　　--Zou Yuanjiang， Professor and Doctoral Supervisor of School of Philosophy， Wuhan University. President of Hubei Aesthetics Society. Excerpt from “ ‘Intermediate Reality’ in Portraits Made by Tong Yanrunan”

　　朱塞佩·拉·贝鲁纳

　　童是一个有着深厚文化底蕴、精致的艺术家，2018年5月，我邀请童来到我任职的威尼斯美术学院，创作了一系列威尼斯当地文化艺术界最具代表性的人物肖像。创作中模特与画家不断交换着目光，一切宁静而祥和。后期我试图了解他们的感受与反馈，我可以证明，每个人都做出了很好的回馈，没有人抱怨无聊或者疲劳，没有人质疑那些来自画家审视的目光，甚至享受那个与画家发生深刻交换的时刻。

　　--朱塞佩·拉·贝鲁纳，威尼斯美术学院院长。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Giuseppe La Bruna

　　Tong is an artist with profound cultural connotation and exquisite. In May 2018， I invited Tong to my college I work for， Venice Academy of Fine Arts， and he created a series of the most representative portraits of celebrities in the local cultural and artistic circles in Venice. During the course of creation， the models and the painter constantly exchange their eyes， and everything is quiet and peaceful. Later， I tried to understand their feelings and feedback. I can prove that everyone gave a good feedback. No one complained about boredom or fatigue， no one questioned the eyes from the painter， and they even enjoyed the moment of profound exchange with the painter.

　　--Giuseppe La Bruna， president of Venice Academy of Fine Arts. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　连辑

　　童雁汝南的油画创作在艺术上是有高度的，主要是他找到了突破传统油画人物肖像画的新画法。有新画法就得有新办法，有新办法又得有新想法、新看法。所以与其说童雁汝南用手作画，不如说他是用头脑作画；与其说童雁汝南在画画，不如说他在陈述自己的学术见解。

　　--连辑，原中国艺术研究院院长。摘自《探索虚实辩证的艺术之路》

　　Lian Ji

　　His oil paintings creation reaches a highly standard， which mainly lies in the new painting style that breaks through the traditional portrait oil paintings. New painting style means new methods， new ideas and attitudes. Tong doesn‘t paint with his hands so much as painting with his brain； he doesn’t paint but states his own academic understanding.

　　--Lian Ji， the former President of Chinese National Academy of Art. Excerpt from “On Artistic Dialectics of Implicitness and Explicitness”

　　泰丰·贝尔京（Tayfun Belgin）

　　有人问画家是否对其所描绘的人物感兴趣。在我们的认知中，这的确是存在的，画家注重同模特之间的眼神交流。过去所创作的内容，在这里并不重要：眼神交流为在房间中的两个人建立起一种联系，他们虽然并不交谈，但却在此时此刻用一种非语言的形式交流。正是这种交流超越语言的层面，将人们联系起来。理解在双方之间建立，沟通在艺术层面进行，具有社会意义。社会种族差异在这种艺术中得以克服。

　　--泰丰·贝尔京，德国哈根国立欧斯特豪斯美术馆馆长，摘自《童雁汝南的肖像画-面对面》

　　Tayfun Belgin

　　Someone asked if the painter is interested in the models he portrays. My understanding is that he certainly is. He focuses on the interactions with his models as they look at each other. Whatever he has created in the past is irrelevant： A relationship is established when two people look at each other in a room. Even though they do not talk， they can connect non-verbally； a form of communication that emerges in the realm of this artistic process， wherein social and racial differences are transcended.

　　--Tayfun Belgin， Curator of Museumsplatz 3， 58095 Hagen， German.Excerpt from “Portraits Made By Tong Yanrunan”

　　皮道坚

　　童雁汝南的创作是行为的意义。因为他用25年做一件事情，这一件事我们在当代引进来说，从当代艺术来说我们就考虑有意义没有意义，还有对一般的公众来说，你的肖像是我能够接受的，汝南和我讲过，他把女孩儿画哭了，类似于他这样的行为，实际上是一种挑战，是一种消解，挑战世俗的东西挑战对意义和无意义的认知，挑战有用和无用的认知，同时也挑战公众对美与丑的认知，从这样一种是他修行式、苦僧式的，他的规模、体量、时间跨度都有行为的意义，它是跨国界、跨种族、跨文化的多重身份的年龄性别这样来做这个事情，我觉得有意义。

　　--皮道坚 Pi Daojian，中国美术家协会策展委员会副主任、著名批评家。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　胡斌

　　如果按照一般肖像画的做法，我想童老师的作品应该要考虑如何精准地把握五官。但我看这一系列的肖像画五官似乎是胶着在一起的，尤其是眼睛，竟然像是闭着的，但是整个人物的状态又都出来了。这和我们习惯意义上的 肖像画形成一个反差。他视乎在探讨一种超越精准把握五官的肖像。我们经常说眼睛能和观众交流，在他这里似乎切断了这个交流的渠道，这些人的面貌好像处在一种要被唤醒开来的状态。这种表达耐人寻味。

　　--胡斌 Hu Bing，广州美术学院艺术与人文学院院长。摘自《在多重比较当中看童雁汝南的艺术方法论》

　　王绍强

　　童雁汝南强调绘画的“真实”。这种“真实”不是指画面与创作对象外在表现无差别的精准 一致性，而是在摒弃人物外在信息，消去图解性和表现性之后，回归至人性原始的最深处。 在 1997 年至 2021 年间，童雁汝南跨越欧美亚非拉多个地区，修行式地对世界各民族人物进 行面对面肖像写生创作。他将 其对于肖像艺术的理解和表达带入当今时代的语境中作更新的 诠释，创作出属于现代人的精神肖像。这种弱化作品的形式、主题与意义，数十年如一日的 创作坚守，也是其面对信息时代轻巧多变的当代艺术的反省式批判。观其作品，我们既可以 看出时代社会的改变，又感受到艺术家内在的坚定不变。

　　--王绍强 Wang Shaoqiang，广东美术馆馆长、中国美术家协会理事。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　尹吉男

　　“象可像，非常象”，其实就是非像。只有山水自然的东西变成另外一套数码系统来表达神经科学的部分，怎么把内性给定义起来，它不是高度定义的，不是说这样的山水就和某一种心境对应，它不是那么高按照的对应的，你的对应更强，有直接性和间接性。

　　--尹吉男 Yin Jinan，广州美术学院人文学院院长。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　Yin Jinan

　　瑞士ISPEC组织

　　童雁汝南大师，秉承着两国文化合作的责任，快速用色彩及光影将人物的脸定格在画布上，捕捉人物的深层存在，他具有强烈感召力的作品展现了在中国共产党领导下的中国人民在艺术领域的伟大进步，同时展示了社会主义是如何创新发展及开放前进的。

　　--瑞士ISPEC组织。摘自《Face to Face in Locarno｜艺术家童雁汝南获特殊文化奖》

　　Swiss ISPEC Organization

　　Tong Yanrunan， upholds the responsibility of cultural cooperation between the two countries， and rapidly uses the colors and shadows to freeze the faces of the characters on the canvas， capturing the deep existence of the characters. His works strongly show great progress of art under the leadership of the Chinese Communist Party. At the same time， demonstrated how socialism promotes innovation， development and openness.

　　--Swiss ISPEC Organization. Excerpt from “Face to Face in Locarno | Artist Tong Yanrunan Won Special Culture Award”

　　陆蓉之

　　我觉得他画肖像有更大于肖像的意义，其实他是一种对时代的观看与记录的方法，在他的肖像里面他不在乎是不是很精确的去记录了这个人存在的面貌，更多的是反映这个时代在互联网到物联网迅速变化和信息传播，造成人与人之间很多观看已经超越了我们眼睛的观看。

　　--陆蓉之，誉为中国策展人之母。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言。

　　Victoria Yung-Chih Lu

　　I think portraits made by him have more significance than portraits themselves. In fact， he represents a way of viewing and recording the times. He doesn‘t care whether he records the appearance of this person accurately or not. More importantly， he reflects the rapid changes and information dissemination from the Internet to the internet of things in this era. Thus， many ways of viewing among people have surpassed our visual appreciating.

　　--Victoria Yung-Chih Lu， Known as the mother of Chinese curators. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　徐里

　　作为一名青年艺术家，童雁汝南在自己的艺术实践中将中国传统绘画中的中国山水精神与西方油画创作相融合，进行有益探索。在创作出一批富有中国元素又具备西方绘画强烈表现力优秀作品的同时，形成了自己特有的绘画语言，可喜可贺！事实上，伴随着中国改革开放四十周年发展进程，当代中国艺术又面临着一个再出发的重要时间节点。我以为，童雁汝南在艺术创作中所表现的守正创新精神恰恰是与之相吻合的。

　　--徐里，中国美协分党组书记。摘自《中国美协的贺信》

　　Xu Li

　　As a young artist， Tong YanRunan integrates Chinese landscape spirits of traditional Chinese paintings with western oil paintings in his own artistic practice and makes a beneficial exploration. He creates a group of excellent works with affluent Chinese elements and strong expressive force of western painting， while forms his own unique painting language. Congratulations！ In fact， with the development course of the 40th anniversary of China’s reform and opening up， contemporary Chinese art is facing an important stage to start again. In my opinion， Tong‘s spirit of conservative innovation in artistic creation is exactly what that means.

　　--Xu Li， Secretary of Sub Party Group of China Artists Association. Excerpt from “Congratulations from China Artists Association”

　　杭间

　　他是一个很有思想的艺术家。“庖丁解牛”的作品，连续着十五年从道家的思想，从“庖丁解牛”出发，来追求心手相应、形神统一，有别于当代艺术中很多架上绘画的一些创造性方面的追求。在这样的一个展览里面，我们可以探讨当代艺术的很多问题，尤其是今天当代艺术喧嚣的环境中，童雁汝南十五年潜心研究思想性的绘画，会给我们带来很多新的东西。

　　--杭间，中国美院副院长、美术馆馆长。摘自“庖丁解牛”今日美术馆开幕讲话。

　　Hang Jian

　　He is an artist of much ideological content. The works of “Dismembering an Ox by A Skillful Butcher Pao Ding”has originated from Taoist ideas for 15years in line to pursue the echo of heart and skill and the unity of form and spirit， and is different from the pursuit for creativity in a lot of easel painting of contemporary art. In such an exhibition， we might be able to explore many issues on contemporary art， esp. in today’s blatant contemporary art scenes， the painting of such ideology of Tong Yanrunan who has been dedicated for 15 years， which will also bring us a lot of new things.

　　--Hang Jian， vice president of China Academy of Art， director of CAA Art Museum. Excerpt from the speech at the opening ceremony for “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　尚辉

　　童雁汝南的《兄弟系列》以诸多单体的头像写生来表达他对“苍生”的人文关怀，那些头像无疑具有生动鲜活的塑造感。这种塑造感的获得，既来自画家对人物神情的严谨理解与深刻把握，也来自画家以草书式笔法对于人物精神状态的迅速捕捉与生动勾画，虽寥寥数笔，却不失造型的厚重与精气神的具足。

　　--尚辉，中国美术家协会美术理论委员会主任、《美术》主编。摘自《绘画性：当下绘画创作的重要命题--从中国青年油画作品展透视的语言研究》

　　Shang Hui

　　The “Brother” series of Tong Yanrunan has used portrait sketch to express his humanistic concern for those “living creatures”. Those head sculptures undoubtedly have the vivid sense of modeling. The acquisition of this sense comes from the painters‘ rigorous understanding and profound grasp of the expressions of the figures， and also from the painters’ swift catch and vivid representation of the spiritual state of the figures in a cursive style. Though they only used a few strokes， the decorous model and the spirit have been showed very well.

　　--Shang Hui， executive of Fine Art. Excerpt from “Nature of Drawing： The Important Statement of Contemporary Creation of Painting--The Language Studies in the China‘s Youth Canvas Exhibition”

　　杨参军

　　我觉得“庖丁解牛”是非常恰当的一个比喻，因为童雁虽然没有像庖丁那样解了十九年，也差不多有十五年，他几乎是用一笔一笔描绘的方式，在不断地进入由技而入道的一种境地，所以我们可以顺着他展览的时间表看到童雁一步一步由技入道的过程，心路历程，而且这个心路历程不是纯粹的绘画，他是一笔一笔的由记而得来的、秉真的心得感受，这种感受我觉得是绘画语言本身的力量。

　　--杨参军，中国美协油艺会副主任、中国美院绘画学院院长。摘自“庖丁解牛”今日美术馆开幕讲话

　　Yang Canjun

　　I think “Dismembering an Ox by A Skillful Butcher Pao Ding” is a very proper metaphor， unlike the butcher who understood ox for 19 years， Tong Yanrunan has almost painted for 15 years. So he continuously entered a Dao status by using every brushstroke. We may see Tong Yanrunan’s journey of heart from skill into Dao status step by step according to the timeline of his exhibition， and further such journey of heart is not for pure painting： he also records his true inspiration and feeling brush by brush and in my view， such feeling is the force of painting language itself.

　　--Yang Canjun， deputy director of Oil Painting Art Committee of China Artists Association， dean of the Painting Art School of China Academy of Art. Excerpt from the speech at the opening ceremony for “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　邓平祥

　　他把一个看上去非常简单的肖像，并且不厌其烦的重复，这么多年下来搞成这样的一个规模、这样的一个品质、这样的一个气象，我觉得这个是非常了不起的。他那样简略、那样概括、那种有趣味的画一个肖像。他对于人的感觉、对于肖像的感觉不是一种被动的表达，他是有审视的，这个审视是藏起来的，他在不经意中有审视，他有他的认识、他有他的观点。

　　--邓平祥，天津美院客座教授。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Deng Pingxiang

　　He does not tire of repeating a very simple portrait. Over the years， he made it with a pretty scale， quality and scene. I think it is very remarkable. He paints a portrait that is so brief， so general， and so interesting. He is not a passive expression of people‘s feelings and portraits. He has an examination， which is hidden. He has an inadvertent examination. He has his own understanding and views.

　　--Deng Pingxiang， Visiting professor of Tianjin Academy of Fine Arts. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　袁新

　　对于童雁汝南肖像画实践的阐释和解读，必须把他置身于西方肖像画传统和中国山水画传统之中，只有分析清楚他的绘画实践在这两个传统，特别是这些作品所代表的审美原则和艺术风格中的位置，也就是说，一方面是这两个传统对他的约束和限制，另一方面是他对这些约束和限制的突破与超越，我们才能真正理解和最后确定他的绘画实践的真实含义和真正意义。

　　--袁新，复旦大学哲学学院党委书记。摘自《从形似、神似到似神的探索与突破》

　　Yuan Xin

　　The interpretation of Tong Yanrunan’s portrait practice must be involved in the Western portrait tradition and the Chinese landscape painting tradition. Only by analyzing the position of his painting practice with these two traditions， especially with the aesthetic principles and artistic styles represented by these works， which means these two traditions restrict him while he breaks through and surpasses them， can we truly understand and finally determine the true meaning and real significance of his painting practice.

　　--Yuan Xin， Secretary of the Party Committee of School of Philosophy， Fudan University. Excerpt from “Exploration and Breakthrough： A Likeness of Appearance， Mien and Spirit”

　　陈默

　　童雁汝南是有准备、有计划、有目标、有目的地实施其“写生”工作的。而这个过程，有现场性、时间性、互动性、观念性，与现场行为艺术方式接近。他用了21年的长时间跨度，并分解成一个个具体的时间计划单元，和一个个被锁定的“写生”目标，逐个落实，逐个完成，逐个呈现，从而形成一个时间流、意识流、作品流的艺术累积串联。这个“结果”，会随着时间和计划的推移，不断增加和延伸，可能大大出乎人们的意料。正所谓，此“写生” 非彼“写生”。

　　--陈默，川音美院教授。摘自《FACE传统与FACE当代--童雁汝南的绘画艺术》

　　Chen Mo

　　Tong Yanrunan conducts his “portraits from life” with preparation， plan， target and purpose. And the process has the characteristics of scene， timeliness， interaction and concept， which is close to the way of on-site behavior art. He decomposed 21 years of long time span into many specific time planning units， and locked goals of “portraits from life”. Then， he implemented， completed and presented one by one， thus forming an art cumulative series of a stream of time， consciousness and work. This “result” will continue to increase and extend with the pass of time and the arrangement of plan， which may be greatly unexpected. It is said that this “portraits from life” is not that “paintings from life”.

　　--Chen Mo， professor of Sichuan Conservatory Of Music. Excerpt from “Traditional FACE and Modern FACE -- Painting Art of Tong Yanrunan”

　　顾丞峰

　　他画面为对象传神我认为已经是次要的了，更重要的是传你个人要表达的东西，我觉得这个点才是童雁汝南的肖像画非常显著的特点，在这里，对象已经变成为你服务了，严格意义来说这样的一种肖像画已经有一种“去对象”的效果，如果从艺术的基本出发点来说，这是非常符合规律的。

　　--顾丞峰，南京艺术学院教授。摘自《童雁汝南作品，传谁之神？》

　　Gu Chengfeng

　　I think that one‘s mien is displayed through the vivid screen is secondary for an artist. More importantly， it is to convey what you want to express personally. I think this point is a very remarkable feature of portraits made by Tong yanrunan. Here， the object has become a service for you. As a result， strictly speaking， the portrait has already had the effect of “de-object”， which is very consistent with the law from the basic starting point of art.

　　--Gu Chengfeng， professor of Nanjing University of the Arts. Excerpt from “Whose mien is Tong Yanrunan express in his works？”

　　杨卫

　　童雁汝南在语言内部跟中国文化建立了一个关系。这种关系不是狭隘的，而是具有普适价值的，是具有全球视野的。很多中国的当代艺术在西方生效，并不是以油画味取胜，而是打的中国牌。童雁汝南却不一样，他以地道的油画进入了西方人的视野。从这个意义上说，他不是回到中国，而是把中国的因素运用到作品中进而带向了世界。这是一个逆向的运作过程，即并不是进入到狭隘的民族主义观念中，而是要把民族的东西引向世界，发扬光大。因此，我觉得童雁汝南是一个很独特的艺术现象。

　　--杨卫，中国美术批评家年会秘书长。摘自《内在的传统与形式的当代》

　　Yang Wei

　　He has established a relationship with Chinese culture within the language. This relationship is not narrow， but has universal value and global perspective. However， Tong takes different method， and he accesses to the view of westerners with authentic oil paintings. Actually， it doesn’t mean that he brings his spirit back to China， but applies Chinese elements to his works and brings them to the world.It is a converse process， and I hope there will be more artists like him. They will not hold the narrow nationalist concept， but will lead the national elements to the world and carry forward them. Therefore， I consider Tong Yanrrunan as a very unique artistic phenomenon.

　　--Yang Wei，Secretary General of The China Annual Art Critics Assembly. Excerpt from “Internal Tradition and Modal Contemporary Era”

　　陈孝信

　　在思想内涵和精神内涵上他追求的是一种普遍人文的真实性、深刻性和一种朴实的价值观。这些肖像作品的关注点是社会底层的小人物，它不是宏大叙事，给这个时代提供了无可替代的社会学的标本。他还是传统意义上的物我两忘。用平视的角度做真实的还原，现象学的还原，不加调试，不拔高，也不贬低，这种艺术家的正感体现很明显。

　　--陈孝信，著名美术理论家。摘自“庖丁解牛”今日美术馆研讨会发言

　　Chen Xiaoxin

　　In terms of his ideological connotation and spiritual connotation， what he pursues is actually a kind of commonly humane and earthy values that is true and profound. These portraits highlight some unimportant people， but not a kind of magnificent narration， providing an irreplaceable specimen for sociology to the times. He has also realized to forget everything in traditional meaning. He uses an eye level visual angle， and such revivification to truth and revivification to phenomenology without any regulation or any appreciation or any depreciation， I think such kind of positive feeling as an artist is embodied very distinctly.

　　--Chen Xiaoxin， famous art theorist. Excerpt from the speech on the conference of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　张晴

　　展览题目叫“庖丁解牛”，他是以庖丁来自喻，因为庖丁十几年，反反复复地解牛，他借用“解牛”比喻自己的绘画，然后自喻自己就是庖丁。但对童雁的作品要解读，要把他透析、升华，我想这是童雁汝南对对象、对整个世界、以及社会思想整体的综合，将他想表达的内涵的一种感受和认识，落实到自己的笔端上。“庖丁解牛”不是一个停滞的，主要是对他自己精神的提升。

　　--张晴，中国美术馆副馆长，第3、5、6 届上海双年展策展人。摘自“庖丁解牛”今日美术馆研讨会发言

　　Zhang Qing

　　The exhibition title is “Dismembering an Ox by A Skillful Butcher Pao Ding”， he makes self-mockery with Pao Ding， who had understood oxen repeatedly for over 10 years， that‘s to say， “Dismember an Ox” has become his painting， but it’s required to interpret， analysis and sublimate； I think this is the synthetic of Tong Yanrunan‘s comprehension about the whole world and the social ideology. The feeling and acknowledge of his expressing connotation， he’d like to express through the tip of his own painting brush from time to time. Instead of being stagnant， “Dismembering an Ox by A Skillful Butcher Pao Dingr” is mainly for the upgrade of his own spirit.

　　--Zhang Qing， deputy director of National Art Museum of China， curator of the 3rd， 5th， & 6th Shanghai Biennale. Excerpt from the speech on the conference of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

　　谢波

　　在童雁汝南的肖像作品中，人物的脸部被模糊了，他的身份、过往经历等等都被隐去了，都被消解了。但是有一点可以肯定，每一张脸背后所指的是一个鲜活的生命，我在想他是不是用这种单个的模糊性构成了可被抽象的本质，共同指向了一个所谓的准确性，就是生命本身。无数的脸指向的就是生命本身。如果我们相信有所谓的道或者所谓的本质在，生命本身是不是可以理解成童雁汝南通过这种由模糊到准确的悖论式的表达所要追求的本质所在。

　　--广州美术学院艺术与人文学院副研究员。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　Xie Bo

　　冯原

　　脸部认知的第二个重要特征，是人类的脸部会构成一个最基本的社交媒介，比如今天我们把网格媒体和智能手机看成社交媒介，其实这是很狭义的，本质上，人类的脸部就是最早的社交媒体。人类一旦达到成群的规模之后，脸部就构建成一个媒介，可以类比为一个“自带的手机”脸部就是我们表达自我，传达心理的交流媒介。

　　--冯原 Feng Yuan，中山大学传播与设计学院教授。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　Feng Yuan

　　管郁达

　　我不认为童雁汝南的绘画是观念实践的结果，相反他的绘画是反观念的结果。他是观念之后的绘画，是力图恢复手感、手艺性和观看的纯真的努力。童雁汝南实际上更多的是想恢复中国视觉文化传统中观看的逻辑，这个逻辑是什么呢？就是我们一直在讨论的写实和写意的问题，面对对象时，我想汝南他肯定要先清除很多障碍，学院的障碍、艺术史的障碍、肖像画系统的障碍，甚至对象本身给他造成的观看障碍，他要剔除这些东西，才能正本清源，回到真实纯粹的观看。

　　--管郁达，云南大学教授。摘自《观念之后的视觉感动--童雁汝南的肖像画探索》

　　Guan Yuda

　　I don‘t think his works are the result of conceptual practice. On the contrary， his paintings are the result of anti-concepts. He presents us a painting follows concepts and an effort to restore feeling of painting， craftsmanship and the innocence of viewing. Yanrunan actually wants to restore the logic of viewing in Chinese visual culture tradition. What is this logic？ It is the realistic and freehand methods we have been discussing. When facing the object， I think Runan must clear many obstacles first， such as the obstacles of college， art history， portrait system， and even the obstacles of viewing caused by the object itself. Only by removing these obstacles， can he return to the true and pure view.

　　--Guan Yuda， professor of Yunnan University. Excerpt from “Visual Impression Following Concept： Exploration of Portraits Made by Tong Yanrunan”

　　高小林

　　童雁的肖像创作，真正挣脱了传统肖像艺术理论的羁绊和桎梏，不再以“形似”或“神似”（其实神似也具有相当的实用意义）。他的肖像创作，既不是在描绘，也不是在刻画，而是致力于由第一感应所产生的心象的表达。在童雁肖像艺术创作过程中，艺术家和模特之间已经不再是简单的观察与被观察的关系，亦不是描绘与被描绘的关系，而是一种互通互动且互为因果的关系。面对模特，童雁所做的是将由感应而成的心象，通过他所选择的语言方式转化成为画布上的图示。

　　--高小林，武汉武汉美术馆艺术总监，策展人。摘自《为什么非要第一感应》

　　Gao Xiaolin

　　Portrait creation made by Tong Yan breaks the fetters and shackles of traditional portrait art theory， and is no longer “a likeness of appearance” of “a likeness of mien” (the latter actually also has considerable practical significance). His portrait creation is neither describing nor depicting， but devotes to the expression of the mental image produced by the first telepath. In the process of artistic creation of Tong Yan， the relationship between artists and models is no longer a simple relationship between observation and being observed， nor the relationship between depiction and being depicted， but an interactive and causal relationship. In front of models， what Tong Yan does is to transform the mental image formed by telepath into an icon on the canvas through the language mode he chooses.

　　--Gao Xiaolin， art director， curator of Wuhan Art Museum. Excerpt from “Why the First Telepath is Necessary？”

　　樊枫

　　童雁汝南选择了一个稳定的结构，他将自己置身于画外，选择固定的41cm × 33cm尺寸，固定的正面人像角度，固定的人物与背景关系，在诸多限定性中寻找自由。肖像画该走向何方？“肖像创作”这种朴素而久远的艺术行为，在当下语境中又有何可能性和价值？此次展览精选的固定尺寸、固定人像状态、固定的人物与背景关系的百余件肖像作品，也许能引发我们思考。

　　--樊枫，原武汉美术馆馆长。摘自《Face To Face 童雁汝南作品展》前言

　　Fan Feng

　　Tong Yanrunan choose a stable structure. He places himself outside the painting， choosing a fixed size of 41cm × 33cm. The fixed front portrait angle， fixed relationship between characters and background seeks freedom in many restrictions. What future portraits should go for？ What is the possibility and value of the simple and long-standing artistic act of “portrait creation” in the current context？ More than 100 portraits were selected in the exhibition with the fixed size， fixed portrait status and fixed relationship between characters and background， which may arouse our thinking.

　　--Fan Feng， former director of Wuhan Art Museum. Excerpt from preface of “Face To Face Work Exhibition of Tong Yanrunan”

　　皮阿·卡米拉·库伯

　　他的作品脱离传统写实派的束缚，他的技法也经过重新思维，打破传统障碍。这使得他与新一代的艺术家们并列一堂。他的劳动阶层肖像的题材既展现大师的笔法，也发扬概念艺术的灵感巧思。他的人像艺术着实令写实画派迈出一大步。其中的一系列作品，人像分两部分：一部分是人像的脸，另一部分是较不清楚的人像的反射（作品反过来底对上顶对下地挂着，如一个自恋狂看着池塘中的倒影）。

　　--皮阿卡米拉库伯，法国策展人。摘自《礼节的历史》

　　Pia Camilla Copper

　　However， his work， which transgresses the limits of the traditional realist style， and he has broken down barriers and rethought technique in such a way which brings him together with the new generation of artists. His portraits of working class subjects showed the mastery of the brush， and promoted the idea of conceptual art. His portraits have already marked a step forward for realist painting. In one series， the portrait hangs in two parts： one is the face of the portrait and the other is the reflection of unclear portrait.〔Works hung right side up and upside down like Narcissus looking into the pond〕.

　　--Pia Camilla Copper， famous French curator. Excerpt from “History of Etiquette”

　　菲丽克斯·冯·古云伯格

　　此次童先生的“直面”油画作品展将是中德艺术交流的高潮。因展览需要，童先生今年初次到波恩写生，以波恩各界名流为模特创作了一百多幅肖像画。每幅作品都是画家在两个小时左右领会模特内在精神后的呈现，是童氏肖像画独特的艺术表达。虽然油画在中国并没有欧洲的历史久远，但因为画家汲取了中国艺术思想精髓，使得这些肖画像有着独特的中国绘画特点而区別于西方艺术。

　　--菲利克斯·冯·古云伯格，德国著名收藏家、莱茵区议员。摘自《童雁汝南与国际文化都市--波恩》

　　Felix von Grunberg

　　Mr. Tong’s “Face to Face” exhibition will become the culmination of the Sino-German art exchange. He came to Bonn earlier this year for the exhibition and painted more than 100 portraits of celebrities from all walks of life in Bonn. Each portrait presents the artist‘s understanding of the model’s inner spirit， which is the unique artistic expression of Tong‘s portrait painting. Although the development of oil painting portraits in China is relatively recent compared to Europe， yet the painter draws the essence of Chinese artistic thought， making oil painting portraits with unique Chinese painting characteristics， quite different from Western art.

　　--Felix von Grunberg， German art collector， member of Germany Nordrhein-Congress. Excerpt from “Tong Yanrunan in Bonn”

　　高天民

　　在这个从微观到宏观的巨大空间中，童雁汝南逐步形成了自己的语言方式，一种既可以面对个体又不断进入历史的主观表达形式。这样，即使在面对每一个个体时，他都能使自己处于一个客观而有利的距离去考察、分析、思考并再次回到对象之中。

　　--高天民，中国国家画院美术研究院常务副院长。摘自《从“微观”到“宏观”》

　　Gao Tianmin

　　At this tremendous space from the microcosmic to the macroscopic， Tong Yanrunan gradually forms his own art language， a subjective expression can both facing the individual and consistently entering into the history. In this condition， when facing to the every individual， he can observe， analyze， think and go back to the object in an objective and advantaged distance.

　　--Gao Tianmin， executive vice-president of China National Academy of Painting. Excerpt from “Microcosmic to Macroscopic”

　　江梅

　　童雁汝南在画布上致力于人的“物质化”的表现，如他所言：“模特在(他的)眼里已经不是一个完完全全的形象，它只是高高低低、不断的延展、游走、跳跃的光斑外形已经融解，各种形状的亮、暗色彩游动着，又重重新穿插着、结品着”，而当众多的作为“物”而被表现的“人”出现时，背后分明显现出了创作者发出的一种关乎人的生命本质的终极追问一个关于生命的存在与虚无关系的永恒命题。童雁汝南喜读庄子，“庖丁解牛”篇熟志于心，局部与整体、物与灵之间精妙神奇的递进与变化，被他很好好地领悟在作画上

　　--江梅，策展人，上海油雕院副院长。摘自《浮世相考》

　　Jiang Mei

　　Tong Yanrunan is devoted to the “materialization” of man on the canvas. As he said： “The model is not a complete image， but only high and low and continuous extension and traveling. The shape of the light spots have been melted， so that the bright and dark colors of various shapes are traveling， re-interspersed and connecting each other. When a large number of “people” who are expressed as “things” appear， there is an eternal question about the relationship between the existence of human beings and nothingness. Tong Yanrunan is fond of reading Zhuangzi’s works， especially “Dismembering an Ox by A Skillful Butcher Pao Ding” and he makes full use of the subtle and miraculous progress and change between the local and the whole， the object and the spirit in painting.

　　--Jiang Mei， exhibition curator. Excerpt from “Challenging Insights in the world”

　　章仁缘

　　童雁的作品中，除了毫不修饰的油彩属性的淋漓挥洒，更包涵着跨越时间的东方哲学在西方表达手段中的感应、妊娠，具体地说，是潜藏在作品中的一种东方人独特的精神气质。通过淘取和遗忘获得的“象”，准确地说乃是一种心境，是剥离庸俗的“像”而独立存在的东西，一种思辩智慧和生命情调的碰撞与结合。

　　--章仁缘，中国美术学院原油画系主任、教授。摘自《老庄式的注视--童雁之“像”中之“象”》

　　Zhang Renyuan

　　Appreciating Tong Yanrunan‘s works， you will find it includes the induction and pregnancy of the exceeding time eastern philosophy in the western means of expression instead of random， free brushes and strokes of oil painting. To be particular， a unique oriental spirit is hidden in the works. The “image” obtained by panning and deserting， is truly a state of mind， something independent of the vulgar “portraits”， and a blending and fusion of bright wisdom and sentiments of life.

　　--Zhang Renyuan， former director and professor of Oil Painting Department of China Academy of Art. Excerpt from “Lao Tse and Chuang-Tzu’s Contemplating -The Spirit in Tong Yanrunan‘s Portraits”

　　肖丰

　　他即使已经画好了以后，一定会在那些他认为的关键节点和形上有一点出格的笔触，无论是鼻子、鼻梁或者额头在光线的结构上有一点出格，其实是带有一定的破坏性，就是带有一定的冲突。如果过分的完整，他的写意或者具象的表现就被束缚住了，那个形象就被所谓的对象束缚住了。这个破坏性，或者有意的找，在每一张画里面他会把破坏的地方有意的放大，让它更抽象……

　　--肖丰，湖北省美术院院长。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Xiao Feng

　　Though he finishes painting， he still conducts some special strokes that he thinks is important for the painting. The structure of the nose， bridge of nose or forehead， no matter which part is a little out of line， which is actually destructive or conflicting. An excessive complete painting implies the restriction of his freehand or concrete expression， which the image will be bound by the so-called object. This destructive expression， deliberate searching， and the destruction he intentionally magnifies in each painting all contribute to the more abstract effect……

　　--Xiao Feng， president of Hubei Institute of Fine Arts. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　丁澜翔

　　我认为童老师的肖像画实践是对纯粹视觉的质疑，塞尚也提到过统觉的概念，统觉就是将视觉组合在身体各种感官的体验之中，视觉不再具有唯一的绝对的地位。那么童老师的绘画用写生可能已经不是很准确了，因为他在对象的沟通之间，他更像一种感觉场域的体验。我觉得童老师的肖像画不单单是视觉艺术，而是一种浸透着个人感觉体验的综合性的艺术。

　　--丁澜翔，关山月美术馆副研究馆员。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Ding Lanxiang

　　I think portrait painting practice of Tong represents a question of pure vision. Cezanne also mentioned the concept of synaesthesia. Synaesthesia is the combination of vision in various sensory experiences of the body， and vision no longer has the only absolute position. It seems that portrait paintings by teacher Tong may not be very accurate. There is rather a feeling field experience in the communication between him and objects. I think portrait painting made by Tong is not only a visual art， but a comprehensive art that is full of personal experience.

　　--Ding Lanxiang， staff member of Guang Shanyue Art Museum. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　陈晶

　　他的日常创作中这些肖像又不是具体人的形象，它是一个一个朦胧的面孔，就是它已经成为艺术家自己精神状态的载体，这也是和中国山水绘画的创作是相一致的。中国人画了几千年的山水，但是这些山水从来也不是真山真水，而是胸中的丘壑。

　　--陈晶，湖北美术学院学报执行主编。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Chen Jing

　　In his daily creation， these portraits are not specific images of people， but some hazy faces. In other words， those portraits have become the carrier of the artist’s own mental state， which is also consistent with the creation of Chinese landscape painting. The Chinese have painted mountains and rivers for thousands of years， but these mountains and rivers are never real mountains and rivers， but hills in the chest.

　　--Chen Jing， deputy director of Editorial Department of Journal of Hubei Institute of Fine Arts. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　徐文涛

　　我看了汝南的作品，我感觉那是一个一个个体的符号，而不是一个肖像。我理解他是用痕迹绘画，他把所有的对他内心有感受的痕迹留在了画面中间，他的画面通过颜料挤压、碰撞产生了偶然性的效果，然后这种偶然性的效果形成了绘画的趣味，这种趣味就传达出他对观者以及对象的感受。

　　--徐文涛，湖北美术学院油画系主任。摘自《传统与当代--童雁汝南绘画观念的启示》武汉美术馆研讨会发言

　　Xu Wentao

　　When I see Runan‘s works， I feel they are many individual symbols， not portraits. I understand that he paints with traces. He leaves all traces of his inner feelings in the picture. The contingency effect on his works through the extrusion and collision of colors forms the interest of painting， which conveys his feelings to the viewer and the object.

　　--Xu Wentao， dean of Oil Painting Department of Hubei Institute of Fine Arts. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity， Enlightenment of Painting Concepts of Tong Yanrunan”

　　艾海

　　童雁汝南这次来广州，除了他本身有一个方法论以外，他似乎还提供了一个方法论给我，我通过他的肖像媒介的东西打开了很多社会媒介关系，所以我从社交层面或者社会层面来去探讨或者提问、研究还挺有意思的，我们去年刚刚做完第一届广州当代艺术博览会，这个博览会需要动用很多社会关系，不管是政府层面，还是企业层面、招商层面、学校层面，都需要这么一个“关系”的存在。

　　--艾海 Ai Hai，广州当代艺术博览会总监。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　弗拉米尼奥·瓜尔多尼

　　童雁汝南选择了一个稳定的结构，置身于画外，基于所有相同的非宏大的尺寸，基于人像姿势的正面性，基于平衡人物形象与背景之间的关系。总而言之，他选择的是彻底的去语境化。基于肖像创作的基本规则，他试图通过一系列的肖像画捕捉一种全世界通用的语言，理论上是无穷无限的，因为出于某些原因一个人的肖像是值得被纪念的。但如果我们深入研究会发现，艺术家自身的情绪状态甚至是紧张感才是肖像画本身，培根把它定义为“气场”，他认为这是肖像画唯一被信赖的表达方式。

　　--弗拉明奥·古尔多尼，意大利艺术史学家、评论家。摘自《时间的形状-莫兰迪和童雁汝南作品展》

　　Flaminio Gualdoni

　　Tong Yanrunan choose a stable structure， where he is a beholder， on the basis of all the same non-major size， the frontal pose of the character and the relationship between the character and the background. All in all， his paintings are featured by being completely de-contextualized. In accordance with the basic rules of creation， he attempts to capture a universal language through a series of portraits， theoretically infinite， because a person’s portrait is worthy of being commemorated to some degree. But with development of the study， we will find that the emotional state and the tension of the artist create the portrait. Bacon defines it as the “aura”， which he considers to be the only trusted way in portraits.

　　--Flaminio Gourdoni， Italian art historian and critic. Excerpt from “the Shape of Time-Exhibition of Works of Morandi and Tong Yanrunan “

　　顾振清

　　我发现他每张画的色彩和笔触都是独一无二的，甚至每张画面孔的构成也是独一无二的。当然他画面上也有一些对人物面孔出格特点的精准捕捉。这些捕捉其实缘自他的个体认知，毕竟童雁汝南在画他自己的一张画，难免个性彰显并张扬。他的这些肖像应该就是一种精神肖像，应该就是一种非直观论的肖像。因为直观论讲究的是眼见为实，但是童雁汝南就想画眼见不为实。

　　--顾振清，著名策展人，2006年英国利物浦双年展中国馆策展人。摘自《童雁汝南的肖像画》

　　Gu Zhenqing

　　I found that colors and strokes of each painting are unique， and even the composition of each face is unique. Of course， he has also captured some precise characteristics of people‘s faces. These captures actually stem from his individual cognition. Tong Yanrunan paints by himself， which inevitably highlights and publicizes his personality. These portraits made by him should be considered as one spiritual portrait， and it should be non-intuitionistic one. Intuitionism holds that seeing is believing， but Tong Yanrunan wants to draw that seeing is not believing.

　　--Gu Zhenqing， famous curator， curator of China Pavilion at 2006 Liverpool Biennale. Excerpt from “Portraits Made By Tong Yanrunan”

　　王林

　　童雁汝南的作品属于绘画的诗学或诗学的绘画。他有很好的绘画功底，看似随意涂抹的笔触和饱和但不无沉重的色彩，往往能够生动、直接、同时地表现出形象与情感、形式与技艺的魅力。其作品充满诗学的书写性、音乐感和理思成分，不象今天许多画家，总想用专利化的简单图式把什么都说个明白。“诗贵含蓄”，童雁汝南愿意生活在绘画诗学的含蓄与深沉之中。

　　--王林，四川美院教授、西安美院博导。摘自《绘画的诗学与人的主体性--对童雁汝南作品的个人阅读》

　　Wang Lin

　　Tong Yanrunan’s paintings can be regarded as a kind of painting of poetics or painterly poetics. He has very good grounding in basic skills of painting， the brush strokes looked like being daubed at will and saturated but heavy color is often vividly， directly， and synchronously demonstrate the glamour of the image and emotion， as well as that of the form and skill.His works are full of writing characters of poetics， musical sense and the composition of thinking. He is different from a lot of the painters today who always want to narrate everything thoroughly with the simple and patent forms. The most important value of poem is implicitness. Tong Yanrunan would like to live in the implicitness and depth of painting poetics.

　　--Wang Lin， professor of Sichuan Fine Arts Institute； Doctoral supervisor of Xi‘an Academy of Fine Arts. Excerpt from the “Poetics of Painting & Human’s Subjectivity--Personal reading of Tong Yanrunan‘s works”

　　夏可君

　　如同莫兰迪其实把静物当做风景画来画，童雁汝南则把肖像当做山水画来画，其笔触的块面校自然的呼吸性与生长性建构起来，有着不同的侧面，似乎看起来像这个人，但似乎又有着奇怪的变形，并不走向漂亮的诱惑，而是走向色彩的内在真实性，斑斓而沉着，重新获得平面的平衡感，且具有内省的品格。

　　--夏可君，著名哲学家、策展人、人民大学教授。摘自《面孔与静物：绘画的亲密性》

　　Xia Kejun

　　Just as Morandi actually paints the still life as landscape painting， Tong Yanrunan paints portraits as landscape painting. The block surface of his brush strokes is naturally constructed with breath and growth. It has different sides. It seems to be like this person， but it also seems to have strange deformation， not towards beautiful temptation， but towards the inner color in reality， colorful and calm， to regain a sense of balance in the plane with introspective character.

　　--Xia Kejun， famous contemporary philosopher， curator， professor of People’s University. Excerpt from “Face and Still Life： Intimacy of Painting”

　　夏可君

　　这种代表千佛殿的十方众生相，来自于童雁汝南自己的看法，就是“十方众生相”，无同无异。无我相、无人相，但这里面隐含着一种哲学化和人性观，就是众生平等，也平凡、也平等，这个平等观是非常值得关注的，在肖像画里面很少有人去讨论如此的世界观：平等观、一视同仁、一视同佛，在这里面有一种对人性平等的意识，这在这个时代是很重要的。

　　--夏可君  Xia Kejun，中国人民大学文学院教授、哲学家、评论家与策展人。摘自《“象可像，非常象”--童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

　　管郁达

　　童雁汝南的《兄弟》系列，抽出包装在人表皮的社会属性，将人还原为具体的、本能的生命个体，他笔下的肖像人物不论性格如何，无一不具有鲜活的灵魂和欲望，个体中包含着整体。

　　--管郁达，云南大学教授。摘自《你是谁的“镜子”？》

　　Guan Yuda

　　Tong Yanrunan‘s “Brother” series， uncover the social property packaged on the surface of people， revert people to a concrete and instinctive individual life， no matter how the figure’s character is in his portrait， none of them has a vivid soul and desire， the individual includes overall.

　　--Guan Yuda， professor of Yunnan University. Excerpt from “Whose Mirror You Are”