2002年秋，我在苏州期间，适逢上海国际艺术博览会开幕，我与友人同往参观。在博览会上，遇见一个参展画家，展品多为静物，色彩无视冷暖色彩常规，很少有艳丽之色，却非常素雅好看，运笔也洒脱自由，颇有水墨写意的情趣。风格鲜明独特，给我的印象很深。这位画家便是福建师范大学美术学院的青年教师汤志义。

　　2003年夏，中国美术家协会漆画艺术委员会在厦门鼓浪屿举办首届漆画高研班，我应约前去讲课，又一次与汤志义邂逅，他是来学习漆画的。看到他画的草图《渔舟飘至》， 表现的是大陆(惠安)妇女在海边等待出海打渔家人归来的情景，不仅取材新颖，人物造型功底也很好，我给予积极支持并提出建设性的意见，可喜的是这件作品2004年在第十届全国美展荣获金奖。

　　2007年冬，我在福州举办个人画展期间，数次到他的工作室做客，他的工作室设在一片郁郁葱葱的花草之中，石子路、水塘、栅栏，都精心修整过，颇有几分园林情趣。室内平放的漆板高及屋顶，室内挂有漆画，《红色荷塘》是他的近作莲蓬系列之一。画荷花的人很多，专画莲蓬的人却很少。这幅画中没有一朵花，全是莲蓬和枯叶，却不见萧瑟之气，反倒是一片生机。在汤志义眼里莲蓬是生命的谢幕，是关于生命轮回和时光回溯的象征。作品《霞光印象》是他的河流系列之一，表现的是天光水色，用抽象半抽象的手法，借助梦幻般的流光异彩，来折射人性的光辉。汤志义出生在漳江畔上的漳州云霄，工作在闽江畔上的福州，漳江留下他童年时期无数天真的梦想和无忧无虑的欢笑，闽江则洒落了他十五年来求艺路上的艰辛与喜悦掺合的汗水。

　　这两个系列作品均采用了抽象半抽象的手法，可以看出作者已经深入传统漆艺的深层部分，运用了传统漆艺中的自然媒介物或工具制造出高低不同的天然纹理，再贴箔、罩漆、研磨而呈现出的班驳肌理的变涂技法，并赋予其感情。这是两件极富前卫性的作品，它们把中国漆艺推到了现代。因为他起点高，悟性好，从事漆艺时间不长却硕果累累。希望将来他能更好地深入传统，努力创新!祝他的艺术像漳江、闽水那样永远流淌，生生不息。

乔十光   清华大学教授、著名漆画家

　　Impressions of Tang Zhiyi

　　-Qiao Shiguang

　　(Professor at Tsinghua University & Renowned Lacquer Painter)

　　In the fall of 2002, I was in Suzhou when Shanghai International Art Fair just opened, so I went to visit with a friend. At the fair, I met a painter; his exhibits mostly are still life paintings. The colors defied the usual cold color and warm color routine with very few bright colors, but very elegant and pleasant to the eyes; the brushstrokes were also free and at ease, even with a bit of the fun and freestyle of ink and wash painting. This unique and distinctive style impressed me indeed. This artist is none other than the young teacher at the School of Fine Arts of Fujian Normal University, Tang Zhiyi.

　　Then in the summer of 2003, the Lacquer Painting Art Committee of the Chinese Artists Association held its very first lacquer painting advanced seminar in Gulangyu, and I was invited to give a lecture there. That's when I had an encounter, once again, with Tang Zhiyi. He was there to study lacquer painting. He showed me his sketches of Approaching Fisher Boat. It is about a woman from the mainland (Huian to be exact) waiting at the seaside for the return of her family back from fishing. This theme is not only fresh but nicely delivered. I gave him my support along with some constructive criticism. Before long I was very glad to hear the good news that this piece has won the gold prize at the Tenth National Exhibition of Fine Arts in 2004.

　　In the winter, 2007, I held a personal exhibition in Fuzhou during which I paid visit to his workshop quite a few times. His workshop stands in the midst of lush flowers and bush, with the surrounding gravel road, pond, and fence all carefully handled; it is quite like a nice lovely garden. Inside, a piece of lacquer board is set upright on par with the roof, with several pieces of lacquer painting hang up on the wall, among which is one of his most recent works, Red Lotus Pond. I know a lot people paint lotus, but seldom its seedpod alone. In this painting, there is not a single flower, but all seedpod and withered leaves. Strikingly, this does not appear to be bleak and sad at all, but rather, full of liveliness. In the eyes of Tang Zhiyi, he sees seedpod of lotus as the closing celebration of life, a symbol of a life cycle and the moment to start all over again. Another one of his works, Impressions of the Twilight, is a piece in his river series. It is about sunlight and colorful waters, interpreted in a semi-abstract style. It adopts a dreamy combination of light and colors to reflect the brilliance of humanity. Tang Zhiyi was born in Zhangzhou beside the Zhangjiang River and now lives in Fuzhou with its Minjiang River. What the Zhangjiang River left him was the countless innocent childhood dreams and carefree laughter, whereas the Minjiang River is witness of his fifteen years of perspirations mixed with hardships and joy in the course of his pursuit for art.

　　Both of these two series, Seedpods and Rivers, have employed the semi-abstract approach, from which we can see that the painter has explored into the deeper part of traditional lacquer art. He uses natural medium or tool in traditional lacquer art to create a natural texture on different levels, then pasted with foil, lacquer hooded, and grinded, showing mottled texture of the painting and mixed feelings behind it. These two pieces are quite avant-garde, because they present traditional Chinese lacquer art to the modern world of art. Because he started off at a high point, and with a good perception, he has been very fruitful despite the relatively short period of years engaged in lacquer art. I hope he will dig deeper into Chinese tradition and make more innovation out of it! I sincerely wish his art shall be like Zhangjiang and Minjiang Rivers, eternally flowing forward.

作者：乔十光