他的思想内涵和精神内涵上他追求的实际上是一种普遍人文的一种真实性、深刻性和一种朴实的价值观。这些肖像关注点在于底层的一些小人物，它不是一种宏大叙事，给这个时代提供了一个无可替代的一个社会学的标本。他还是传统意义上的物我两忘。用平视的角度，这种真实的还原，现象学的还原，不加调试，不拔高，也不贬低，这样一种艺术家的一种正感我觉得体现很明显。

　　---- 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

　　In terms of his ideological connotation and spiritual connotation, whathe pursues is actually a kind of commonly humane and earthy valuesthat is true and profound. These portraits highlight some unimportantpeople, but not a kind of magnificent narration, providing an irreplaceablespecimen for sociology to the times. He has also realized to forgeteverything in traditional meaning. He uses an eyelevel visual angle, andsuch revivification to truth and revivification to phenomenology without anyregulation or any appreciation or any depreciation, I think such kind ofpositive feeling as an artist is embodied very distinctly.

　　Chen Xiaoxin: Famous Art Theorist.the speech on the symposium of

　　Prince Huei's Cook was Cutting up a Bullock at Today Art Museum

　　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，好象让你感觉到被画的人正淡定地沉浸在自己的内心世界里，可是这种状态又是让我们留下极深刻的影响的。好像就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》

　　Instead of theatricality, what is consolidated in portraits of TongYanrunan is the concentration that is faintly discernible, that seems tomake you sense the portrayed one is immersing his own inner worldcalmly, while such status has impressed us very deeply. It seems to bedrifting between a kind of faint concentration and vague theatricality, andsuch status is more or less close to the ancient portraits of China. That’swhy the portraits of Tong Yanrunan have ruminating representation.

　　Ding Ning: Famous Art Historian, Vice-president of The School of

　　Arts,Peking University.Significance and Development of Portraits-

　　Impression on Recent Works of Tong Yanrunan

　　肖像这个传统，人像这个传统，在西方现代艺术系列里已经研究得很深，从弗兰西斯·培根开始，我们就看到人像成为一个很大的现代性课题，后来到弗洛依德，到格哈德·里希特，到意大利的3C，属于人像这个系统中有非常多的表达。我觉得很可贵的是，童汝雁南找到了跟艺术史已有风格不同的格式，甚至有一种语言上的专利。

　　---- 范迪安: 中国美术馆馆长，第50.51 届威尼斯双年展中国国家馆策展人。摘自『庖丁解牛』今日美术馆研讨会发言

　　The tradition of portrait and the tradition of image have been studiedvery deeply in the western modern art series, and we can see that imagehas become a very great modern subject beginning from Francis Bacon,then to Freud, Gerhard Richter and to Italian 3C, there are abundantexpressions on the system of image. What I think valuable is that TongYanrunan has found a format different from the existing styles of art history,and even a kind of patent of language

　　.Fan Di'an: Director of the National Art Museum of China, Curator of TheChinese National Pavilion for The 50th & 51st Venice Biennale.The speechon the symposium of Prince Huei's Cook was Cutting up a Bullock at TodayArt Museum

　　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，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。这个是什么东西呢，就很难想象了。我为什么说整一性，所谓整一性它不是说一个干巴巴的概念性的东西，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: 著名美术史论家、策展人。摘自《与高名潞先生谈话》

　　This is just one of my thought, which is relating to the "seemingly wrongtruth" in Yipai. But the "seemingly wrong truth is not "the unlikely similarity".Because the "similarity" is still from the dual angle of reproduction andcontrast, but the "truth" is something beyond the word and the image, it issomething unique which can grasp the synthesis. So it is difficult to imaginewhat it is on earth. why do I say synthesis, synthesis is not something dulland dry, but something ,for example, there are several sizes of people, butwhen it come to one person, I won't emphasize the individual and extremecharacter, because everyone is totally different.

　　Gao Minglu: Famous Art historian and curator.Conversation with

　　Mr Gao Minglu

　　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上去考察、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』》

　　At this tremendous space from the microsmic to the macroscopical,Tong Yanrunan gradually forms his own art language, a subjectiveexpression can both facing the individual and consistently entering intothe history. In this condition, when facing to the every individual, he canobserve, analyze, think and go back to the object in an objective andadvantaged distance.

　　Gao Tianmin: Executive vice-president of China National

　　Academy of Painting.From Microcosmic to Macroscopic

　　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: 著名策展人、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》

　　Among portraits, Tong Yanrunan has both pertinent and honestexpression on the ambiguity and uncertainty of art. Owing to his constantprogress in portraits, he has formed a fresh and particular art casebehind the front-end of contemporary art. If an artist remains committedto pursuing the uniqueness of art formed language for long, he may alsoproduce 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 constantguide of rational spirit.

　　Gu Zhenqing: Famous Curator, Curator of China Pavilion at 2006

　　Liverpool Biennale.Characteristics of Time: Portrait Oil Painting of Tong

　　Yanrunan

　　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 届威尼斯双年展中国馆策展人，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》

　　By forming the character with fluidness and uncertainty and in ahaphazard and straightforwardly impressionistic way, the artist transformedconcrete and specific meanings into imaginary and abstract images.In other words, individual characteristics were converted into universalmeaning of human life.

　　Huang Du: Curator of China Pavilion of the 50th Venice Biennale,curatorof China Pavilion of the 26th Sao Paulo Biennale.Tong Yanrunan:Contemporary Painting Translated from Classical Aesthetics

　　他是一个很有思想性的艺术家。『庖丁解牛』的作品，连续着十五年从道家的思想，『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这个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，我们可能能探讨当代艺术的很多问题，尤其是像在今天很喧嚣的当代艺术的情景里面，童雁汝南的这种十五年的这种潜心的这种思想性的一个绘画，我想也会给我们带来很多新的东西。

　　---- 杭间: 中国美院院长助理，美术馆馆长。摘自『庖丁解牛』今日美术馆开幕讲话

　　He is an artist of much ideological content. The works of“ DismemberingAn ox as Skillfully as a Butcher” has originated from Taoist ideas for 15years in line to pursue the echo of heart and skill and the unity of form andspirit, and is different from the pursuit for creativity in a lot of easel paintingof contemporary art. In such an exhibition, we might be able to exploremany issues on contemporary art, esp. in today’s blatant contemporaryart scenes, the painting of such ideology of Tong Yanrunan who has beendedicated for 15 years, I think it will also bring us a lot of new things.

　　Hang Jian: Assistant to President of China Academy of Art, Directorof Museum of Contemporary Art OF CAA.The speech at the openingceremony for Prince Huei's Cook was Cutting up a Bullock at Today ArtMuseum

　　大家可能也会注意到同一个形象，他同时画两张画三张，他在同一个对象中捕捉不同的东西。所以我就觉得他的画更适合于把它叫做『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, 美术批评家。摘自『庖丁解牛』今日美术馆研讨会发言

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

　　.Jia Fangzhou: Famous Exhibition Planner, Fine Art curator.the speechon the symposium of Prince Huei's Cook was Cutting up a Bullock at TodayArt Museum

　　童雁汝南的作品可以看做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。

　　----Jonathan Thomson : 澳大利亚著名艺术史论家。摘自《像中之象——论童雁汝南绘画》

　　Tong Yanrunan's work can be regarded as an example of classicalChinese painting techniques. Since you can find Xie He's "Six Eanous ofPainting"----every type of skill mentioned in this famous masterpieceof 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 theorists.The Imagein the Portrait

　　他的作品脱离传统写实派的束缚，而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。他的人像为写实画派着实迈出一大步。在其中的一系列，人像分两部分挂着：一部分是人像的脸，另一部分是较不清楚的人像的反射(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)。

　　----Pia Camilla Copper : 法国著名策展人。摘自《礼节的历史》

　　However, his work, which transgresses the limits of the traditional realiststyle, and he has broken down barriers and rethought technique in sucha way that he belongs to this new generation. His portraits of workingclasssubjects are a study in the mastery of the brush combined with theinspiration necessary for conceptual art. His portraits have already markeda step forward for realist painting. In one series, in particular, the portraithangs in two parts: one, the face itself and the other the more marred, lessaccurate reflection of the face 〔hung right side up and upside down likeNarcissus looking into the pond〕.

　　Pia Camilla Copper: Famous French curator.History of etiquette

　　童雁汝南的《兄弟系列》以诸多单体的头像写生来表达他对于那些『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，既来自画家对于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俱足。

　　---- 尚辉 : 《美术》执行主编。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》

　　The " Brother series" of Tong Yanrunan has used realistic painting ofthe head sculpture of many monomers to express his humanistic concernfor those " living creatures". Those head sculptures undoubtedly have thevivid sense of modeling. The acquisition of this sense comes from thepainters' rigorous understanding and profound grasp of the expressions ofthe figures , and also from the painters' swift catch and vivid representationof the spiritual state of the figures in a cursive style. Though they used onlya few strokes, the decorous model and the spirit have been showed verywell.

　　Shang Hui: Executive Editor of "Art".The Nature of Drawing: TheImportant Statement of Contemporary Creation of Painting---TheLanguage Studies in the China's Youth Canvas Exhibition

　　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: 四川美术学院教授、著名艺术批评家。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》

　　Tong Yanrunan's paintings can be regarded as a kind of painting ofpoetics or painterly poetics. He has very good grounding in basic skills ofpainting, the brush strokes looked like being daubed at will and saturatedbut heavy color is often vividly, directly, and synchronously demonstratethe 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 thecomposition of thinking. He is different from a lot of the painters today whoalways want to narrate everything thoroughly with the simple and patentforms. The most important value of poem is implicitness. Tong Yanrunanwould like to live in the implicitness and depth of painting poetics.

　　Wang Lin: Professor of Sichuan Fine Arts Institute, Famous art critic.Poetics of Painting & Human's Subjectivity -- Personal reading of TongYanru nan's works

　　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》

　　The new works of Tong Yanrunan make his art making an importantstep forward of Contemporariness, becoming one part of "new paintingfeature".He is not only concern about the microcosmic criticism of thehistory of the human spirit,but even implant it into the macroscopicallyhistorical spirit, finding an self-annotation coordinate from humancomplicated activities.

　　Wang Mingxian: Members of China Pavilion of the 51st Venice Biennale

　　curator.The Republic

　　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: 中国美术学院院长、博导。摘自《南山、丘壑与漫游——童雁汝南绘画》

　　Tong Yanrunan is always in a slack state to greet these vague figuresappearing suddenly. This kind of figures can not be too clear. They needto be greeted with the slackness of life.Tong Yanrunan and these figuresshape each other, and in this way, the former is shaped into a soulrambler,glancing casually in a hurry.Therefore, as we are facing the crowds of silent figures entangled withbrushstrokes full of vicissitudes and integrated tinge, we are at the sametime facing the watching of Tong Yanrunan's type, or facing a kind of soulsin rambling.

　　Xu Jiang: President of China Academy of Art, doctoral tutor.The SouthHill, Gullies and Rambling - Tong Yanrunan's Oil Painting

　　『庖丁解牛』我觉得这个非常恰当的一个用法，因为童雁虽然没有像庖丁那样解了十九年，也差不多十五年，那么他是用几乎一笔一笔的描绘的方式，在不断的进入一种由技而入道也样的一种境地，所以我们可以从他展览的时间表、顺着这个时间表我们可以看到童雁一步一步由技入道的过程，心路历程，而且这个心路历程他不是纯粹的绘画，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、中国美院油画系主任。摘自『庖丁解牛』今日美术馆开幕讲话

　　I think “Dismembering An ox as Skillfully as a Butcher”is a veryproper camphor, unlike the butcher who understood ox for 19 years, TongYanrunan has almost painted for 15 years, and by using the manner ofbrush by brush painting, he has kept entering an artistic status from skillinto doctrine, so we may see Tong Yanrunan’s journey of heart from skillinto doctrine step by step according to the timeline of his exhibition, andfurther such journey of heart is not for pure painting: he also records histrue inspiration and feeling brush by brush and in my view, such feeling isthe force of painting language itself.

　　Yang Canjun: Deputy Director of Oil Painting Art Committee of ChinaArtists Association, Director of Oil Painting Department of China Academyof Art.The speech on the opening ceremony for Prince Huei's Cook wasCutting up a Bullock at Today Art Museum

　　第三，展览题目叫庖丁解牛，他是以庖丁来自嘲，因为庖丁十几年以来，反反复复来解牛，等于说『解牛』变成了自己的来绘画，然后自娱我就是庖丁，但是就是要解读，要把他透析、升华，我想这是童雁汝南的对象对整个世界、对社会思想整个的综合，对他时不时把想表达的内涵的一种感受和一种认识，落实到自己的笔端上来表达。『庖丁解牛』不是一个停滞的，主要是对他自己的精神的提升。

　　---- 张晴: 中国美术馆学术部主任，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

　　Thirdly, the exhibition title is Dismembering An Ox as Skillfully as aButcher,he makes self-mockery with the butcher, who had understoodoxes repeatedly for over 10 years, that’s to say, “dismembering anox” has become his painting, but it’s required to interpret, dialyze andsublimate; I think this is the comprehensive idea of Tong Yanrunan in hispainting on the whole world and the social ideology, and he has put hisfeeling and concept of connotation that he’d like to express from timeto time to the tip of his own painting brush. Instead of being stagnant,“Dismembering an ox as skillfully as a butcher” is mainly for the upgradeof his own spirit.

　　Zhang Qing: Director of Academy Department of National Art Museumof China, Curator of The 3rd, 5th, & 6th Shanghai Biennale.The speech onthe symposium of Prince Huei's Cook was Cutting up a Bullock at TodayArt Museum

　　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』》

　　Appreciating Comrades in Manjuelong, you will find Tong Yanrunan'sworks are more than random, free brushes and strokes of oil painting, thereis also the pregnancy of the oriental philosophy in the expression means ofwestern painting, that is, to be particular, a unique oriental spirit hidden inthe works. The "image" obtained by panning and deserting, is truly a stateof mind, something independent of the vulgar "portraits", and a blendingand fusion of bright wisdom and sentiments of life.

　　Zhang Renyuan: Former Director and Professor of Oil PaintingDepartment of China Academy of Art.Contemplating like Laozhuang -TheImages in Tong Yanrunan's "Portraits"