个人简历：

唐人，（李长春）全球中华侨联盟国学书画研究艺术委员会常务主席，全球中华侨联谊侨盟全球外交国礼书画院长，欧洲联盟文化总署中国区副主席，全球中华港澳台侨联谊会联盟国学文化艺术研究委员会执行会长，CCTV爱华春晚全球中国北京副主席，中国书画家协会常务副主席，中国商业文化人民艺术书画工作委员会执行会长，中国国务外事国宾礼特供艺术家，国家高级美术师，中国共产党德艺双馨人民艺术家。

Resume:

Tang ren,dynasty (li) in the global overseas Chinese federation of traditional Chinese painting and calligraphy art committee, chairman of the standing research, overseas Chinese fellowship in global overseas Chinese union global diplomatic dean appointed to painting and calligraphy, cultural administration, vice President of China, the European Union global alliance of the Chinese Hong Kong and Macao preparatory association study of traditional Chinese culture art committee, executive director of CCTV Spring Festival gala love China Beijing, vice chairman of China in the world, Executive vice chairman of Chinese painting and calligraphy Association, Executive chairman of Chinese Commercial culture people's Art painting and calligraphy Working Committee, Chinese foreign affairs state guest ceremony special artist, national senior artist, Chinese Communist Party moral and artistic double xin people's artist.

作品赏析：

天骄富贵遇知音

牡丹上品王者尊

----记著名画家唐人李长春

(作者:著名书画评论家 史峰)

牡丹是千年不落的致美中国画题，因为牡丹的文化意象已经成为传统审美的主行气脉，如果画家不能在牡丹画上有完整的传承和新的开创，画牡丹不成，则容易产生“画家”之名为虚的怀疑。所以凡是中国画家，都会在牡丹一题上大试身手，牡丹画题成为画家功力的试金石，一是可以试得艺术家的真功实力，二是可以试出画家的修养境界。著名画家唐人先生，功入画题深髓，以传承与创新为翅翼，成为牡丹画题高而能翔的大手笔。若论画坛牡丹谁为王者之尊，向前看有王小古先生可称牡丹之王，当下而观，当以唐人先生不同凡响的牡丹造诣而续称王者之尊。

Fortune and fortune meet friends

Peony top quality king Zun

---- famous tang painter Li Changchun

(By Shi Feng, a famous critic of calligraphy and painting)

Peony is a beautiful Chinese painting for thousands of years, because the cultural image of peony has become the main vein of traditional aesthetics, if the painter can not have a complete inheritance and new creation on peony painting, it is easy to have the suspicion that the name of "painter" is empty. Therefore, every Chinese painter will try his skill on peony. Peony painting has become a touchstone for the painter's skill. One is to try the artist's real strength, and the other is to try the painter's self-cultivation realm. Mr. Tang Ren, a famous painter, has been deeply involved in the theme of peony painting, taking inheritance and innovation as wings, becoming a grand stroke of peony painting. If the painting of peony who is the king of honor, looking forward to Mr. Wang Xiaogu can be called the king of peony, and now, when Mr. Tang's outstanding peony attestation and continue to be called the king of honor.

唐人先生之所以在牡丹画题上拥有王者的誉冠，是因为他的牡丹画传承于传统，又丰富于创新，无论是形态与神态，或是文化境界的构造上，都功显劲拔，独树一帜，从而让牡丹作品的艺术价值达到了登峰造极的时代高度。不能说后无来者，但是足可论前无此功！

The reason why Mr. Tang ren has the crown of the king in the title of peony painting is that his peony painting inherits the tradition and is rich in innovation. No matter in form and expression, or in the construction of cultural realm, it is outstanding and unique, thus making the artistic value of peony work reach the peak of The Times. Can't say after no comer, but enough can talk before no this work!

中国画以写意为本，油画以写实为能。写意容易略其形态美，写实容易淡化意向美，所以单纯的用中国画法去意画牡丹，或是用单纯的油画手段去实画牡丹，都是有利有弊，不可双全的两难。能不能从中打通中西绘画文化通融的路径？这是近代艺术大师们的一个主攻方向，也是唐人先生多年探究的课题。比如徐悲鸿用写实的手法去画马，是基于油画解剖结构的写实试探，很明显这种试探是成功的，所以也成就了徐悲鸿的马王尊名。在试探成功的初次胜利后，却没有再次迎来胜利，因为徐悲鸿试图用油画的光影手法去画竹子的明暗时，却明显冲淡了墨竹意象的气质，失了中国竹题文化的韵生品位，所以徐悲鸿通融油画和中国画技法的探究是功成于结构写实，失算于韵味酝酿，有得有失，算是到画马为止。

Chinese painting is based on freehand brushwork, while oil painting is based on realism. Freehand brushwork is easy to slightly its form of beauty, realism is easy to dilute the intention of beauty, so the simple use of Chinese painting to paint peony, or the simple means of oil painting to paint peony, are both advantages and disadvantages, not the dilemma of both. Can we get through the way of blending Chinese and Western painting culture? This is a major direction of modern art masters, and it is also the subject that Tang Ren has explored for many years. For example, Xu Beihong used realistic techniques to draw horses, which was a realistic exploration based on the anatomical structure of oil painting. Obviously, this exploration was successful, so it also achieved xu Beihong's famous horse king. In the test after the first victory of success, but no triumph, again because of xu beihong try to use painting light and shadow technique to draw the bamboo shade, but significantly dilute the MoZhu image temperament, lost the Chinese bamboo culture of rhyme life grade, so xu beihong accommodating oil painting and Chinese painting techniques of exploration is successful in structural realism, miscalculation in lasting appeal, gains, So far as drawing horses.

唐人先生当然不会让中西画法的通融在“马画”一题上休止不前，他志在必得，依自己对牡丹传统画法的深谙之道，再凭借自己对油画技法的娴熟之功，把面体写实，光影明暗的造型手法悄然无害地嫁接到牡丹画的创作中，让牡丹在神形两态上大放青绿生态和雅观韵味，花头实感悦目，花叶绿意盎然，更有艺术的神形张力，形态美，神态韵，美不胜收，韵能盈心，成为在前人“马画”基础上，在“牡丹画”上让中西绘法技法再得融合的成功新例。

Mr Tang, of course, will not let the Chinese and western painting accommodation in "horse painting" resting on a problem, he will, in accordance with their own traditional brushwork of peony knows, again with his mastery of the art of painting, the surface of realism, light and shade modelling technique quietly harmlessly grafting with the creation of peony painting, let the peony shape on two state god put green ecology and regards lasting appeal, The flower head is pleasing to the eye, the flowers and leaves are green, and the artistic tension of the god is beautiful, the form is beautiful, the manner is beautiful, and the rhyme can fill the heart, which has become a successful new example of the integration of Chinese and Western painting techniques in the "peony painting" on the basis of the previous "horse painting".

天骄富贵遇知音，牡丹上品王者尊。如果把徐悲鸿的马画作为中西绘画技法的一个成功案例基点，那么唐人先生的牡丹画则是成功把油画的写实与中国画的意象风格紧密活融的第二个成功案例基点。两个基点之中连成一线，事实上就全面打开了中西绘画融合有法，可标时代的线性见证！所以徐悲鸿用油画的结构写实手法画马，成为马画的知音，称谓大师，唐人先生用油画的光影明暗来活接牡丹画的历史丰韵，成为牡丹画的知音，也是大师才华的涌发！

著名书画评论家 史峰

Heavenly pride and wealth meet bosom friend, peony top grade king zun. If xu Beihong's horse painting is regarded as a successful case base point of Chinese and Western painting techniques, Then Tang Ren's peony painting is the second successful case base point of closely integrating the realism of oil painting with the image style of Chinese painting. In fact, the integration of Chinese and Western painting has opened the linear witness of the era! Therefore, Xu Beihong used the structure realistic technique of oil painting to draw horses, and became the bosom friend of horse painting, named master. Mr. Tang Ren used the light and shade of oil painting to live the historical charm of peony painting, and became the bosom friend of peony painting, which is also the surge of master's talent!

Famous painting and calligraphy critic Shi Feng