The Art of T'ang Haywen
The art of T'ang Haywen is a testament to originality — a vibrant celebration born entirely from his inner jubilation. Nature and the boundless possibilities of life filled him with a sense of wonder and joy, which he translated into a visual diary where each moment transcends borders and cultures. Like a butterfly, he flitted through existence in pursuit of happiness, leaving behind a trail of luminous creativity.


T'ang was a Chinese painter who carved out a unique artistic realm, uninfluenced by the conventions of others. His distinctive diptychs have become a window into a fresh perspective, instantly recognizable and deeply evocative. While he explored diverse artistic expressions — such as his role as the tambourine player (Corypheus) in Aeschylus' The Persians and his pioneering work in the short film T'ang Boogie, where he delved into the parabolic potential of ink on paper — it was through painting that he most freely and consistently expressed himself. His art knew no limits, guided solely by his visionary imagination and the joy of sharing it.
T'ang on stage as the tambourine player in Aeschylus' The Persians, in Germany in 1954.
T'ang's journey began in 1948 when he settled in a hotel in Paris' Latin Quarter. It was there that Raymond Audy observed him crafting his first screen-printing frames. Over the years, he moved between the homes of generous friends, including a memorable stint in 1953 with Pierre Chaslin in a house in southern Paris owned by the eccentric Ginzburgs, whose monthly allowance sparked week-long celebrations followed by weeks of frugality. It was during this time that T'ang painted an interior scene featuring an open window of the Meudon house.
From 1959 until 1991, T'ang's life revolved around his modest apartment-studio on rue Liancourt, near Montparnasse. Despite its humble conditions — requiring him to shower in a neighbor's apartment and use a toilet on the landing above — he transformed this space into a sanctuary, a world he would rediscover after his frequent travels. Here, he welcomed close friends and often lent his home to others during his absences.
T'ang painted daily, no matter where he was —whether on the beaches of Goa, in the serene landscapes of St. Paul de Vence, the tranquil surroundings of Hergiswil in Switzerland, or the contemplative atmosphere of the Abbey of Fontgombault. His art was akin to a travel journal, with the four walls of his rue Liancourt studio serving as yet another chapter in his lifelong journey.
​The last known portrait of T'ang was captured in the spring of 1991 on rue Liancourt by his filmmaker friend Yonfan, who had planned to exhibit T'ang's work in Hong Kong. This image stands as a poignant reminder of a life devoted to art, freedom, and the ceaseless pursuit of beauty.