Wang Yong(Researcher, Chinese National Academy of Arts)

"TangQishan is an artist persistently advancing on his artistic path throughcontinuous exploration and pursuit of excellence. His contemporary practicesynthesizes Western modernist formalism with the genetic codes of traditionalChinese culture. Tang's academic journeys across Europe and Southeast Asiaexpanded his global artistic vision. Rooted in calligraphic training since childhood,traditional cultural consciousness naturally converges with Western aestheticprinciples in his work. This transcends mere juxtaposition, achieving truefusion– the minimalist sublime of Western abstraction interwoven with thepoetic

subtlety of Chinese art. His oeuvre weaves a transcultural dream, wherethe contemporary incarnation of Chinese traditional culture dances withcaptivating dynamism amidst East-West cultural dialogues."

WangShaoqiang (Director, Guangdong Museum of Art)

"TangQishan's practice responds to the 20th-century evolution from figuration toabstraction through a transcultural lens.

While informed by Western modernistsyntax– particularly Impressionist chromatic temporality and Abstract Expressionist

gesture– his work transmutes these through an Easterncalligraphic consciousness. The rhythmic brushwork and chromatic

distillationin his landscapes reveal a personalized visual lexicon bridging Monet's opticalimmediacy with ink-wash

philosophical depth."

Luo Yiping(Curatorial Committee, China Artists Association)

"Tang'spractice embodies a paradigm shift from exterior observation to abstractinteriority. His Forest series exemplifies phenomenological deconstruction –traditional spatial-temporal frameworks dissolve into planarized, visceralencounters.

Viewers become participants within the work's materiality, whereline and negative space orchestrate instantaneous collisions of perception. HisOracle Bone Inscriptions transcend semiotic archaeology, evoking primordial culturalvibrations through glyphic abstraction that collapses historical linearity intospatialized affect."

Wang Yong(Vice President, Guangdong Chinese Painting Institute)

"Tang'sexhibition at Guangdong Museum epitomizes the region's pluralistic art ecology– where Lingnan School traditions

coexist with avant-garde experimentation. Asan emerging artist under 40, his neo-abstract syntax injects vital energy into Guangdong's contemporary discourse, propelling regional art onto transnational stages."

Li Zhanhua(Honorary President, Guangdong Collectors Association)

"Tang'sOracle Bone series demonstrates cross-generational aesthetic resonance throughculturally hybrid syntax. His

systematic integration of Eastern philosophicalframeworks with Western material innovation constructs a vital artisticuniverse marked by high semiotic potency and transmissible value. The works'symbolic abstraction achieves both avant-garde

experimentation and zeitgeistrelevance, particularly resonating with youth countercultures."

Li Gang(Professor, Central Academy of Fine Arts)

"Tang'strilogy – Forest Memories, Water Lilies, and Oracle Bone Inscriptions –manifests Eastern essence through

Western media. His acrylic reinterpretationsof oracle glyphs achieve yin-yang equilibrium through deconstructive wisdom.

This constitutes neither revivalism nor Westernized appropriation, but rather aDaoist reconfiguration of cultural memory – abstracted yet profoundly anchoredin cosmological balance."

Ding Xuefeng(Independent Curator)

"Tang'spractice synthesizes Constructivist principles with Orientalist poetics. HisWater Lilies series exemplifies chromatic phenomenology – Impressionist lightcapture fused with Chan Buddhist void-consciousness. The works spatializecultural

symbols through gestural alchemy, creating hybrid visualepistemologies that transcend East-West binaries."

Liu Xiaobin(Council Member, China Calligraphers Association)

"Tang'scalligraphic-painterly dialectic reveals boundless imaginative territories. Hisexperimental syntax – simultaneously

deconstructing ink-wash traditions andAbstract Expressionist automatism – establishes new perceptual gateways

forcontemporary art. Each work functions as a heterotopic mirror reflecting boththe artist's psyche and the viewer's subjective becoming."

Chen Wei(Dean, Guangzhou International Art Fair Academy)

"Tang'spractice constitutes a philosophical interface where nature and semiosisperform reciprocal metamorphoses. His symbolic naturalism collapsesrepresentational hierarchies through Taoist non-duality – signs breathe withorganic vitality while landscapes attain glyphic permanence. This liminal spacebetween form and formlessness channels both modernist materiality and Confuciancosmological order."

Yu Hongmin (Secretary-General,Guangdong Artists Association)

"Tang's2024 Guangzhou Design Week installation demonstrated radical culturaltranslation – oracle bone lexicons

reimagined through acrylic materiality andyouth-oriented design syntax. The works' deceptive 'trend art' surface

belieslayered hermeneutic depths, achieving seamless intertextuality between archaicsymbolism and cyber-age visuality."

Zhang Lanqian(President, Shenzhen Art Industry Association)

"Tang'saesthetic reductionism achieves maximum potency through minimal means. HisWater Lilies series exemplifies spatial hybridity – monochromatic gradationsand synthetic material layering construct illusory depths. This subtractive methodology, anchored in Chinese cultural DNA, enables globally legible yetculturally specific abstraction."

Shi Xiyan(Artist)

"Tang'sForest Memories series advances environmental aesthetics through phenomenological interventions. His symbolic

deforestation of natural imagerygenerates immersive ecocritical experiences, while Oracle Bone Inscriptionspractice

archaeological futurism – reconfiguring ancient semiotics intoproto-linguistic abstraction. These parallel investigations

propose newparadigms for cultural sustainability in global contemporary practice."

Rao Jia (Director,Baiyishen Art Museum)

"Tang'sWater Lilies constitute cross-cultural imageology – Impressionist plein-airismrecontextualized through Chan

Buddhist void-consciousness. The series'brushwork oscillates between optical verisimilitude and metaphysical negation,

forging transcultural visual epistemologies. This experimental matrix providescritical methodologies for 21st-century

global art integration."