艺术家与作品中的主角关系, 反映出自我与他者的关系, 也就是作为一个主体对自我的找寻。艺术家透过在作品中安排主角的位置, 从不同层次和面向来把握主角的全部, 让自我得以在生活中开放并追求完满, 从而也把握了自己。

    当我们单独看待田旭桐一件作品时如同看见一个事件, 但是透过整体的研究, 就可以发现他如何用绘画的方式来串连主角与每个场域中的变化, 也就是他用以找寻自我，肯定自我的方法, 而这个看似为他者的智者, 即“我”与他者意象上的显现，既实且虚，穿越各种空间，想象出多重的生存状态，水墨笔法的恣意流动，显现出“玩”的特质。因此，“玩”不是轻浮，而是一种态度。唯有透过“玩”的自在，才能穿透“我执”之障蔽，具现出“我”的自由。

The protagonist relationship between artist and his artwork reflects the relationship between ego and the other, namely the seeking of subject for ego. Through arranging the position of protagonists in their artworks, artists can master the protagonists from various levels and aspects completely, in order to open egos in life and pursue for the perfection, so as to master themselves. 

Each piece of artwork created by Tian Xutong may be treated as an individual event; however, based on the overall research, we will find the way he portrays to connect the changes of the protagonists in each field, namely the method he uses to find and confirm the ego. However, this sage, who seems like the other, is actually the manifestation of the imagines of “ego” and the other; he is both ideological and practical, passing through various spaces and imagines multiple survival states. The unbridled flow of brush strokes has shown the feature of “having fun”. Therefore, “having-fun” doesn’t indicate lightness, but a kind of attitude. Only the comfortable “having-fun” can pass through the protective screen of “egocentrism” to instantiate “ego”.

-Yang Yaling, Art Critics, Taiwan, China