Tang Yin's early paintings include "Attacking Li Tang Far" and "Making Friends in China". In his early years, he worshipped Shen Zhou, the founder of Wu School. Shen Zhou and Zhou Chen were both famous painters in Suzhou at that time. Shen took Guan Mei Tu as the axis, Ming and Tang Yin took Yuan Painting as the Sect, and Zhou took the Southern Song Dynasty Academy Painting as the teacher. These are the two major schools of painting in the Ming Dynasty. Although Tang Yin studied under Zhou Chen, he has a reputation of winning the blue. Tang Yin, who is also his strong point, has made great progress at one time, even surpassing his teacher Zhou Chen, and gained great fame by combining the brushwork of Yuan people with the style of Southern Song Dynasty. Tang Yin painted the most landscape paintings and achieved the greatest success. Tang Yin's footprints are all over the famous mountains and rivers, and his chest is full of valleys in Qian Shan, which makes his poems and paintings have an uninhibited spirit that Wu Shi people don't have, and turns them into natural and unrestrained. Most of his landscape paintings show majestic and steep mountains and rivers, pavilions and small bridges, beautiful mountains and rivers all the time, and some describe pavilions, gardens and the leisure life of literati. Landscape figure painting is magnificent, slightly beautiful and unique, with rich and diverse themes. Because Tang Yin seldom marks the year on his paintings and his painting style changes irregularly, it is difficult to infer the time when he painted, and it is also difficult to divide the changing process of his painting style by time. After Zhou Chen, Tang Yinshi lived mainly in the Southern Song Dynasty, but sometimes his paintings were similar to those of Shen and Wen, such as the Southern Tour. This was given to Tang Yin by pianist Yang when he left Suzhou at the age of 36. Tang Yin is good at freehand brushwork of flowers and birds. He is lively and free-spirited, full of interest and full of realism. Legend has it that the Raven Array written by Tang Yin hangs at home. One day, thousands of crows circled on the roof as if they were fighting fiercely, which was amazing. The representative work of Tang Yin's flower-and-bird painting is a picture of withered chaff. Its composition adopts the method of folding branches, and the branches of dead trees bend from the lower right and extend upward, with bright colors, painted with dry pen and thick ink, old and straight. Draw a myna perched on a branch singing loudly by ink accumulation method, and the branch seems to move with the festival, thus showing the harmonious beauty of life rhythm in nature. Bare pen leaves, one or two thin vines, a few wild bamboos, and the old leaves on the dead trees are painted together, which adds a quiet and fresh breath after the rain. In the upper right corner, the poem reads: "The mountains are boundless and the birds are singing in the spring rain." Poetry and painting set each other off, combining the expression of the object with the artist's interest, which embodies extraordinary thoughts. This painting is a small freehand brushwork and handy all the way. It uses calligraphy instead of writing, with strong brushwork, beautiful shape, concise brushwork, elegant brushwork and graceful image. This shows Tang Yin's outstanding achievements in exploring freehand brushwork techniques and opening up a new realm of flower-and-bird painting.

Tang Yin's ink-and-wash flower-and-bird paintings are mostly ink-and-wash, and Mo Yun is bright and interesting. Its famous "Rain Bamboo Map" takes two groups of thick leaves as the main branches, followed by light leaves, and then echoes with several leaves, all of which are washed down and the rain hits bamboo leaves. Tang Yin's calligraphy originated from the fusion of Zhao Mengfu, and its style is rich, smart and elegant, which is covered by the name of the painting. His masterpiece "Poems of Falling Flowers". Tang Yin is good at painting landscapes, figures, ladies, flowers and birds, especially famous for landscapes and ladies. Tang Yin's landscape paintings were imitated by Shen Zhou in his early years, but rarely handed down from generation to generation. Existing works include Yellow Bamboo Map in Dongting, Zhenshoutang and Bamboo Map on Bamboo by Tang Yin at the age of 2/kloc-0. Middle-aged landscape painting is dominated by patriarchal clan system, while Zhou Chen's landscape painting was taught by Liu Songnian in the Southern Song Dynasty, so Tang Yin's painting can be traced back to the institutional painting school represented by Liu Songnian in the Southern Song Dynasty. Under the influence of his teacher Chen Zhou, he learned the rigorous and vigorous style of Song people. At the same time, he also participated in Xia Gui's composition and pen and ink skills, extensively dabbled in the strengths of Li Cheng, Fan Kuan, Guo He and Huang Meng in the Northern Song Dynasty, and gradually formed his own style. The layout of the picture is rigorous and orderly, the shape is real and vivid, the mountains are majestic, the rocks are steep, the axe is chopped, the brushwork is vigorous, and the pen and ink are dripping. Representative works include Wang Chong's Out of the Mountain, Pei Tai Real Scene, Walking Spring Bridge, and Travel Map of Guanshan, etc. By the end of his life, his painting style had broken away from Zhou Chen's style and became independent. At this time, there are many meticulous landscapes, and his works include Wind of Mountain Road, Companion of Spring Mountain, Lonely Man in Sunset, Story of Xizhou, Lonely Man at the Seats, etc. Judging from the style of these paintings, the composition of the painting style is concise and clear, and the pen is more careful, just like you Simiao, slim but not weak, powerful and rhythmic, with the beauty of combining rigidity with softness. There are many ways to cut rocks, such as short cutting, long cutting, straight cutting, reverse cutting, square folding, round turning and so on. Trees, houses, streams and other scenery, interspersed with orderly, dense but not smothering, miscellaneous but not chaotic, full of rhythm and aesthetic ethereal beauty of literati painting. The ink is dripping and rich in shades. Tang Yin's landscape painting has made such great artistic achievements. On the one hand, it is because he can break the stereotype. No matter the northern painting school, the Jiangnan painting school, the courtyard landscape painting in the Southern Song Dynasty and the Yuan Dynasty, and famous painters such as Shen Zhou and Zhou Chen, he studied hard, learned from others' strengths, innovated and created, and finally formed his own painting style. On the other hand, the most important thing is that he has personal observation and real feelings about natural landscapes, and draws nutrition from inexhaustible real landscapes, thus playing an important nourishing role in his landscape painting creation. His works are magnificent, precise, delicate and profound, surpassing some contemporary painters. Tang Yin's paintings of ladies and figures, in general, have not crossed the fence of figure paintings in the Southern Song Dynasty, especially his meticulous figure paintings, which are heavy in color, bright in eyes and white in teeth, red in face and pink in cheeks ... are still the legacy of Nanzhu Painting Academy. His figure paintings can be roughly divided into two types. One is fine lines, beautiful colors and high weather, which originated from institutional paintings in the Southern Song Dynasty. For example, in the picture of prostitutes in Wang Shu Palace, the painter dyed the face of a maid-in-waiting with traditional meticulous techniques and the "three white methods", which highlighted the strong application of maid-in-waiting. The lines of clothes are drawn with fine and smooth iron lines, and the clothes are painted with rich colors, which makes the front edge gorgeous. Vividly depicts the famous prostitutes scrambling to dress up, competing for beauty and coquettish incomparable, worthy of being a masterpiece in the picture of Tang Yin ladies. The other one was born out of the courtyard of the Southern Song Dynasty, with smooth pen and ink and undulating lines. Representative works include ⅸ autumn fan map and Li Duanduan map, and the painting style has changed from beautiful to simple and elegant. The painter combined the description of Li Xing's flowing water with the description of Yan Hui's overlapping reeds in the Song Dynasty, which made the picture full of rhythm. Tang Yin's figure painting has profound realistic skill, accurate image and unique charm, so Ming Shi commented on his figure painting "Qian Shunju is below, (Du Jin) is above the laity".

There are not many flower-and-bird paintings handed down from ancient times in Tang Yin, and the existing works include Meme Map, Zhu Feng Map, Spring Scenery of Famous Prostitutes, Lotus in Water and Apricot Flowers. The painting style is far from the ink painting in Song and Yuan Dynasties, and it has been refined with Shen Zhou's innovation. For example, in "Mo Mei Tu", Tang Yin painted a plum blossom with ink, and the plum blossom dried with strokes is boneless, with elegant and free brushwork, which is quite textured. And "Partridge in Spring" is a casual ink painting, which is more lively and free than Shen Zhou, and it is not as rough and bold as Lin Liang and Lv Ji, and it has its own fresh and lively interest.

Tang Yin is not only a famous painter, but also a poet. According to incomplete statistics, he wrote about 600 poems. His poetic style is gorgeous, popular and fluent, lyrical and impromptu, and he wins with talent. The content of poetry and prose mostly exposes social contradictions, expresses injustice and has strong ideological content.

Tang Yin's contribution to traditional painting can be roughly summarized as three points: First, he integrated the North-South School and carried forward the tradition of painting with words. In the early Northern Song Dynasty, due to the different geographical conditions and styles, Chinese painting was divided into two factions: North and South. The northern painting school represented by Li Cheng, Guan Tong and Fan Kuan has profound painting style, solid stone body, fantastic painting style and magnificent momentum; The Southern School of Painting, with Dong Yuan and Ju Ran as its masters, has a soft and gentle style, elegant and smart pen and ink, moist ink and a strong sense of distance. However, they all have their own weaknesses, such as the exposure of the northern painting school, the lack of meaning, the lack of charm and a sense of distance. Southern painting school lacks strength, solemnity and charm. Tang Yin's achievement is to break the stereotype. From the aspects of brushwork, momentum, brushwork and color setting, he integrated the different origins of the North and South schools and absorbed the advantages of Yuan painting. Finally, it formed a unique style with rigorous structure, peculiar style, elegant brushwork, dripping ink and ethereal artistic conception. His paintings not only have the profound skill of Song painting, but also have the bookish spirit of literati painting, which has made great contributions to the rise of Wu Pai and the promotion of literati painting tradition. Second, the organic combination of poetry and calligraphy. Tang Yin is not only a famous painter, but also has profound attainments in poetry and calligraphy, making new contributions to the organic combination of poetry and calligraphy. The combination methods are as follows: First, the style of calligraphy and painting is consistent and harmonious, and the interest of calligraphy is very similar to that of painting, because both emphasize the reproduction of individuality and true feelings. Tang Yin's calligraphy originated from Zhao Mengfu and Li Beihai. His brushwork is elegant and meticulous, and his style is dignified and natural, similar to the "courtyard-style" landscape painting style, but he is also clean and elegant in composition. The second is to apply calligraphy to painting, which is more obvious in Tang Yin's handed down paintings. In addition, the harmony between poetry and four is another feature of Tang Yin's painting. For example, Tang Yin's poems are bold and unconstrained, and there are worries in the play; His paintings are the same as poems, such as seeing profundity in portraits and thinking in plays. Third, the close combination of poetry and painting. Poetry and emotion in Tang Yin's paintings are closely related to the theme and artistic conception of the paintings, thus clarifying or enriching the connotation of the pictures. The blue ink on the back of the work vividly expresses poetry through the creation of symbol, implication, personification and artistic conception. This combination of poetic and uneven beauty is also a major feature of Tang Yin's paintings.

Tang Yin's contribution to painting and calligraphy is also manifested in other aspects, such as deepening the theme of literati painting, promoting the all-round development of landscapes, figures, ladies and flowers and birds, and strengthening the self-expression consciousness of literati painting, which has a far-reaching impact on later generations.