甘图雅·巴达姆伽拉芙，2019年威尼斯艺术双年展蒙古馆馆长，策展人、蒙古当代艺术支持协会创始人，会长。初次看到童雁汝南的肖像画系列，我在想，他为名人作画是出于什么样的目的呢？虽然好奇，但我从来没当面问过他，而是试图通过他的作品去理解。首先我想到的是他的作品大小，其规格很小。其次，令我很惊讶的是这些小型作品竟具有如此鲜明的特色。当我看着这些面孔，我觉得它们像是黏土或石头，而非活物。但无需多加注意，就能够感受到人物脸上的情感，感觉到他们正在和我说话。另外，我还试图去了解，童雁汝南精湛的描绘所赋予的鲜明特征与人物名气之间的关系。再次看这些面孔，我在这些人的脸上读懂了保护性的姿态以及未说出口的勇敢之语。突然间，我意识到我正站在自我和自我陈述的雕像面前。严格来说，日益增长的名气与自我之间，是否存在关联呢？在我看来，童雁汝南研究多样性角色的能力十分突出。他认真探索植根于各种角色中的身心之间的联系。他的画笔带着厚厚的颜料，描绘了各种各样的角色个性，宛如不同的山脉，历经岁月中风，雨，水和雪的洗礼。童雁汝南的作品与卢西恩·弗洛伊德的造型肖像画有一些相似之处，但他自由浮动的笔触创造的作品具有更加抽象的本质。
​PortraitseriesofTongYanrunanGantuyaBadamgarav,CuratorofMongoliaPavilioninVeniceArtBiennale2019;FoundingDirectorofMongolianContemporaryArtSupportAssociation.WhenIheardaboutportraitseriesofTongYanrunan,Iwonderedwhatcouldbethereasonforportrayingwellknownpeople.Nevertheless,Ineveraskedhimaboutit,buttriedtounderstandthroughhisworks.ThefirstthingIrealizedwasthesizeofhiswork,whichisprettysmall.Andthesecondthingwhichmademewonderwashowthesesmallsizedworkscanhavesuchmonumentalcharacter.FurthermorewhenIlookedatthefaces,theyseemedtomelikeclayorstone,non-living.Butwithlittlemoreattention,Iwasabletosensethemotionontheirfacesandgotafeelingthattheywerespeakingtome.AndItriedtounderstandtherelationshipbetweenmonumentalcharacteristicdepictedthroughTongYanrunanmasteryandpopularityofthesepeople.Ilookedatthefacesagainandwasabletoreadprotectivegesturesandunspokenboldstatementswrittenonthefacesofthesepeople.SuddenlyIrealizedthatIwasstandinginfrontofsculpturesofegoandself-statements.Istherestrictcorrelationbetweengrowingpopularityandego?Inmyopinion,TongYanrunanpossessesoutstandingabilitytostudydiversecharactersandcarefullyexploresmentalandphysicalassociationsrootedinvariouspersonalities.Andhisbrushstrokeswiththick-paintsdepictvariouspersonalitiesasiftheyweredifferentmountains,shapedthroughtheagesbywinds,storms,watersandsnows.HisworkssharesomesimilaritieswithLucianFreudfigurativeportraits,butTongYanrunanbrushesfloatfreelyandworkspossessmoreabstractnature.