众所周知，很长一个时期以来，福州虽然是中国现代漆艺的重镇，但福建培养漆艺人才的黄埔军校却一直是厦门工艺美术学院，汤志义获得第十届全国美展漆画金牌后，漆画作为学科开始在福建师大美术学院得到了重视，汤志义作为漆画家的学术面貌也受到了广泛的关注。

　　汤志义是新生代漆画家的重要代表，对艺术真挚的热爱和长期的研究，使他对漆画在当代艺术语境中的状态保持足够的敏感和清醒的自我反省的能力。漆画是个缺少自身参照系的年轻学科，在图式大爆炸的读图时代，人们对图像的观看容易产生熟视无睹的麻木，耳濡目染也使图像的创造似乎陷入了一种难以逾越的雷同迷阵里……传统艺术的当代形态，是以数十万作者的人口基数，在同行的互相砥砺和思潮的连续撞击中，不断自我否定、不断试错的实验中产生的少数视觉的精英形态。而真正意义上的漆画作者，乐观估计充其量仅仅是在以千百计的人口基数上展开研究和积累的，所以在学术触及点相对疏落的漆画家应该比其它领域更强调思想的维度，我认识的汤志义就一直处在实践和思考交替进行不断自我更新的状态，他知道毫无新意的图式既面临美术史意义的梳理与淘汰，又面对当代艺术样式和思想力度的双重压力，所以在当代艺术的生态中只要仍坚守架上的创造就必须具有更多的问题意识。

　　上世纪的漆画语言以镶嵌和彩绘拉开了表达的序幕，21世纪镶嵌从装饰走向写实、彩绘由构成转为塑造，其间还畅行了受塔皮埃斯和抽象表现影响的诸多材料语言的变体……汤志义显然体察了这个语言演变的过程，但他壁画专业的训练和油画的深厚基础，使他的漆画语言有了不同于前辈的上下文。谈汤志义的漆画语言则绕不过他的静物油画，静物画难以培养看图说话讲故事的画匠，却能历炼技艺和形式的高手，汤志义在此颇有崭获和心得，他既不是那种习作和粉气十足的学生腔，也不是亦步亦趋的古典画法，而是塑造与书写交融的新语境，他的造形与其说是写意的表现不如说是写心的愉悦，我在他诸多的与真实静物无关的色块、色斑、色点的布陈书写中，感受到了他在创作中运笔挥刀、堆、刮、摆、写、按、转的节奏和惬意，他是属于那种具有创造快感的艺术家。我们见过不少毫无才情仅受名利驱使而误入圈子、痛苦创作又充满欲望的画家，同时难得看到充满阳光和创造快感的艺术家。志义兄就是我见到的后一种人，应该说能让人从作品中感受到创造的快感，是艺术家进入本体语言研究状态的重要视觉表征。

　　汤志义塑造与书写交融的新语境，使我看到了他与中国古老漆画一脉相承的东方语境，也使他在漆画语言的上下文关系中有了不同凡响的艺术气质和文化起点，天然漆的流平性和簿髹的特性是他从油画转到漆画继续书写的第一个障碍，也是汤志义漆画首先面临的艺术语言内在结构的问题，这个障碍在他漆画荷花的系列中被首先垮越，他总是在形式语言的把握中营造视觉效果，并以漆灰的创造性运用为标志开始了他漆画语言的新的书写，使他的漆画从图式和质感上都让人感受到世界最古老画种的当代形态。

陈勤群   策展人、艺术家

　　2009年6月14日凌晨1点于珠海

　　The Context of Lacquer Painting Art

　　- Research on Tang Zhiyi’s Lacquer Painting Language (Part I)

　　It is widely acknowledged that for a long time in modern history Fuzhou is the hub of modern Chinese lacquer art. However, the former Huangpu Military Academy, which is cradle of lacquer painting talents in old times in Fujian, is barely inherited by Xiamen Academy of Arts and Design, Fuzhou University. After Mr. Tang Zhiyi’s winning of gold prize in the Tenth National Exhibition of Fine Arts, lacquer art has finally been given its due attention as an independent major in the School of Fine Arts at Fujian Normal University, and Tang Zhiyi, as a lacquer painter, is widely reputed for his academic contribution.

　　Tang Zhiyi is an important figure in the new generation of contemporary lacquer painters. His sincere love and consistent studies of art enables him to maintain an ample degree of sensitivity and sober self-reflection. Lacquer painting is among the youngest departments that lacks a self-reference system. In this age of graphics when graphics explosion brings forth obstacles in art creation; among others, it subdues people’s interest and artwork originality… A contemporary form of traditional art is an elite form of visuals that have come through peer competition, idea clashes and constant self-denial and trials and errors, created on a population base of 100,00. Further still, a lacquer painter in its actual sense can only draw from the research and experience of optimistically hundreds of people. For this reason, a lacquer painter that has less resourceful academic antennas should have a broader dimension in their thinking capacity than that of other types of painters. The Tang Zhiyi that I know is always at this self-renewing state, alternating between practices and reflections, because he well understands that a graphic form with nothing new in it not only faces selection and elimination of the art history, but is also confronted with the dual pressures of contemporary art styles and ideas efforts. Therefore, while living in the ecology of contemporary art one must stick to creativity and have a good problem consciousness.

　　The language of lacquer painting in the last century started out with mosaic and colored pattern as its expression. In the 21st century, mosaic evolves from decorative to realistic, and colored pattern changes from construction to formation, also mixed with various material language variants influenced by Antoni Tapies an abstract expressionism...... Clearly, Tang Zhiyi is aware of the process of this language evolution, combined with his professional training in fresco and solid foundation in oil painting, the language of his lacquer painting is endowed with a context so much different from that of his predecessors. Talking about the lacquer painting language of Tang Zhiyi, we cannot ignore his still life oil paintings, because life paintings can seldom cultivate a storytelling painter nor a master with sophisticated techniques and styles. But Tang Zhiyi has reaped quite a reward and experience in this area. He is neither the immature and presumptuous student type or the rigid slavishly classical painting kind, but rather, to create and design a new context. His delivery of structure is the pleasantness that comes more from his heart than his design. In the numerous and creative combination of color blocks, color spots and color dots, I can as if feel his rhythm and ease in raising his paining knife in scraping, swinging, positioning, writing, pressing, and turning. He is one of those artists that draw pleasure from creation. We have seen those less talented ones trying to become an artist only motivated by fame and fortune; we have seen those creatively struggling but lustful ones; it is really a rare scene to see an artist whose heart is filled with sunshine and truly appreciate the pleasure of creation. Brother Zhiyi belongs undoubtedly to the third type. And not only that, people can also feel his pleasure of creation from his works. This is an important visual feature of the research status that an artist is in his own language.

　　Tang Zhiyi creates and design a new context, an Oriental context that can be seen inherited from Chinese traditional lacquer paintings, which adds an extraordinary artistic flair and cultural connotation to the context of his lacquer painting language. The first obstacle that Tang encountered when he switched from oil painting to lacquer painting is the leveling property of natural lacquer and characteristics of thin painting. This is also a problem of internal structure of his artistic language. This hurdle is first and effectively crossed in his Lotus series. He is always trying to create visual effects with his style and artistic language, and the creative use of gray paint marks the start of a new language, transforming his lacquer works with the style and texture so that people can really feel the world's oldest painting in its very fresh contemporary form.

　　On 1:00 June 14, 2009 in Zhuhai

　　-Chen Qinqun (A Curator and Artist)

作者：陈勤群