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——论童雁汝南绘画》

　　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》

　　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 : 澳大利亚艺术史家，摘自《像中之象——童雁汝南绘画》

　　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、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》

　　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》

　　但是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 : 法国策展人，摘自《礼节的历史》

　　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》

　　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，又重新穿插着、结晶着”，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一一一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，被他很好地领悟在作画上。

　　——江梅 : 策展人，摘自《浮世相考》

　　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”》

　　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”》

　　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: 当代评论家、策展人，摘自《你是谁的“镜子”?》

　　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: 艺术批评家、策展人，摘自《与高名潞先生谈话》

　　Review：

　　Tong Yanrunan is always in a slack state to greet these vague figures appearing suddenly. This kind of figures can not 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:The South Hill, Gullies and Rambling - Tong Yanrunan’s Oil Painting

　　The new works of Tong Yanrunan make his art making an important step forward of Contemporariness, 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 macroscopically historical spirit, finding an self-annotation coordinate from human complicated activities.

　　Wang Mingxian:The Republic

　　Tong Yanrunan's work can be regarded as an example of classical Chinese painting techniques. Since you can find Xie He's "Six Eanous of Painting"----every type of skill mentioned in this famous masterpiece 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:The Image in the Portrait

　　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:Poetics of Painting & Human's Subjectivity -- Personal reading of Tong Yanru nan's works

　　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:Tong Yanrunan: Contemporary Painting Translated from Classical Aesthetics

　　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 that he belongs to this new generation. His portraits of working-class subjects are a study in the mastery of the brush combined with the inspiration necessary for conceptual art. His portraits have already marked a step forward for realist painting. In one series, in particular, the portrait hangs in two parts: one, the face itself and the other the more marred, less accurate reflection of the face (hung right side up and upside down like Narcissus looking into the pond).

　　Pia Camilla Copper:History of etiquette

　　The " Brother series" of Tong Yanrunan has used realistic painting of the head sculpture of many monomers 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 used only a few strokes, the decorous model and the spirit have been showed very well.

　　Shang Hui:The Nature of Drawing: The Important Statement of Contemporary Creation of Painting---The Language Studies in the China's Youth Canvas Exhibition.

　　The painter devoted himself in presenting people's 'materialization' on canvas.Just as he said: models in(his) eyes are not complete figures any more. They are light spots that are high and low, extending, walking, bouncing…figures are melted, bright and dark colors of various shapes are swimming, interlacing and crystallizing. And when 'people' are presented as 'material' the artist's ultimate questioning about the natu re of life-a perpetual thesis about existence and nihility of life. Tong likes reading Zhuang Zi, Carving Up an Ox always at heart. The subtle changing of part and whole, mate rial and spirit is well perceived by him and then used on his paintings.

　　Jiang Mei:Faces of People During the Floating Life

　　Appreciating Comrades in Manjuelong, you will find Tong Yanrunan's works are more than random, free brushes and strokes of oil painting, there is also the pregnancy of the oriental philosophy in the expression means of western painting, that is, to be particular, a unique oriental spirit 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:Contemplating like Laozhuang -The Images in Tong Yanrunan's "Portraits"

　　At this tremendous space from the microsmic to the macroscopical, 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:From Microcosmic to Macroscopic

　　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:Whose Mirror You Are

　　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 come to one person, I won't emphasize the individual and extreme character, because everyone is totally different.

　　Gao Minglu:Conversation with Mr Gao Minglu