個(gè)人簡(jiǎn)歷：
唐人，（李長(zhǎng)春）全球中華僑聯(lián)盟國(guó)學(xué)書(shū)畫(huà)研究藝術(shù)委員會(huì)常務(wù)主席，全球中華僑聯(lián)誼僑盟全球外交國(guó)禮書(shū)畫(huà)院長(zhǎng)，歐洲聯(lián)盟文化總署中國(guó)區(qū)副主席，全球中華港澳臺(tái)僑聯(lián)誼會(huì)聯(lián)盟國(guó)學(xué)文化藝術(shù)研究委員會(huì)執(zhí)行會(huì)長(zhǎng)，CCTV愛(ài)華春晚全球中國(guó)北京副主席，中國(guó)書(shū)畫(huà)家協(xié)會(huì)常務(wù)副主席，中國(guó)商業(yè)文化人民藝術(shù)書(shū)畫(huà)工作委員會(huì)執(zhí)行會(huì)長(zhǎng)，中國(guó)國(guó)務(wù)外事國(guó)賓禮特供藝術(shù)家，國(guó)家高級(jí)美術(shù)師，中國(guó)共產(chǎn)黨德藝雙馨人民藝術(shù)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.

作品賞析：

天驕富貴遇知音
牡丹上品王者尊
----記著名畫(huà)家唐人李長(zhǎng)春
(作者:著名書(shū)畫(huà)評(píng)論家 史峰)

牡丹是千年不落的致美中國(guó)畫(huà)題，因?yàn)槟档さ奈幕庀笠呀?jīng)成為傳統(tǒng)審美的主行氣脈，如果畫(huà)家不能在牡丹畫(huà)上有完整的傳承和新的開(kāi)創(chuàng)，畫(huà)牡丹不成，則容易產(chǎn)生“畫(huà)家”之名為虛的懷疑。所以凡是中國(guó)畫(huà)家，都會(huì)在牡丹一題上大試身手，牡丹畫(huà)題成為畫(huà)家功力的試金石，一是可以試得藝術(shù)家的真功實(shí)力，二是可以試出畫(huà)家的修養(yǎng)境界。著名畫(huà)家唐人先生，功入畫(huà)題深髓，以傳承與創(chuàng)新為翅翼，成為牡丹畫(huà)題高而能翔的大手筆。若論畫(huà)壇牡丹誰(shuí)為王者之尊，向前看有王小古先生可稱牡丹之王，當(dāng)下而觀，當(dāng)以唐人先生不同凡響的牡丹造詣而續(xù)稱王者之尊。

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畫(huà)題上擁有王者的譽(yù)冠，是因?yàn)樗哪档ぎ?huà)傳承于傳統(tǒng)，又豐富于創(chuàng)新，無(wú)論是形態(tài)與神態(tài)，或是文化境界的構(gòu)造上，都功顯勁拔，獨(dú)樹(shù)一幟，從而讓牡丹作品的藝術(shù)價(jià)值達(dá)到了登峰造極的時(shí)代高度。不能說(shuō)后無(wú)來(lái)者，但是足可論前無(wú)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!

中國(guó)畫(huà)以寫(xiě)意為本，油畫(huà)以寫(xiě)實(shí)為能。寫(xiě)意容易略其形態(tài)美，寫(xiě)實(shí)容易淡化意向美，所以單純的用中國(guó)畫(huà)法去意畫(huà)牡丹，或是用單純的油畫(huà)手段去實(shí)畫(huà)牡丹，都是有利有弊，不可雙全的兩難。能不能從中打通中西繪畫(huà)文化通融的路徑？這是近代藝術(shù)大師們的一個(gè)主攻方向，也是唐人先生多年探究的課題。比如徐悲鴻用寫(xiě)實(shí)的手法去畫(huà)馬，是基于油畫(huà)解剖結(jié)構(gòu)的寫(xiě)實(shí)試探，很明顯這種試探是成功的，所以也成就了徐悲鴻的馬王尊名。在試探成功的初次勝利后，卻沒(méi)有再次迎來(lái)勝利，因?yàn)樾毂櫾噲D用油畫(huà)的光影手法去畫(huà)竹子的明暗時(shí)，卻明顯沖淡了墨竹意象的氣質(zhì)，失了中國(guó)竹題文化的韻生品位，所以徐悲鴻通融油畫(huà)和中國(guó)畫(huà)技法的探究是功成于結(jié)構(gòu)寫(xiě)實(shí)，失算于韻味醞釀，有得有失，算是到畫(huà)馬為止。

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.

???????天驕富貴遇知音，牡丹上品王者尊。如果把徐悲鴻的馬畫(huà)作為中西繪畫(huà)技法的一個(gè)成功案例基點(diǎn)，那么唐人先生的牡丹畫(huà)則是成功把油畫(huà)的寫(xiě)實(shí)與中國(guó)畫(huà)的意象風(fēng)格緊密活融的第二個(gè)成功案例基點(diǎn)。兩個(gè)基點(diǎn)之中連成一線，事實(shí)上就全面打開(kāi)了中西繪畫(huà)融合有法，可標(biāo)時(shí)代的線性見(jiàn)證！所以徐悲鴻用油畫(huà)的結(jié)構(gòu)寫(xiě)實(shí)手法畫(huà)馬，成為馬畫(huà)的知音，稱謂大師，唐人先生用油畫(huà)的光影明暗來(lái)活接牡丹畫(huà)的歷史豐韻，成為牡丹畫(huà)的知音，也是大師才華的涌發(fā)！
??????????
???????????????????著名書(shū)畫(huà)評(píng)論家 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