申红飙的铸铜雕塑展现了人和动物之间古老的联系，多米尼克?拉斯戴乐明确指出文明源于动物。在菏莱茵斯坦-斯达戴尔山谷发现了旧石器时代的狮子人雕像，它标志着艺术的萌芽，考古学家所说的“抽象符号的爆发”也是出现在同一时期。远古人类开始把具体的图像在头脑中形成抽象概念，有目的的语言交流出现了，并且能够给具体事物赋予特定的象征意义，这三种技能的发展促使艺术诞生 。到了新石器时代，人类用于应付自然环境和社会两方面的智慧得以融合，发展成了我们所说的“文明”。“在生理需要和自然环境限制之外，人类的自由在增长” ，精神层面的发展成为可能。法国的拉斯科溶洞保存着距今17000年的神秘绘画，清晰有力的线条描绘着受伤的猎手和野牛，正一起面临死亡。无论是史前还是今日，艺术家始终遵循着人类生存的法则，也就是远古人类狩猎的技巧：模仿。
Shen Hongbiao’s cast copper sculpture demonstrates the ancient link between man and animal and Dominique Lestel made clear that culture is originated from animal. The lion-man statue of the Old Stone Age was unearthed in the Valley of Hohlenstein Stadel, which symbolized the sprout of art while the “explosion of abstract symbol” the archaeologists said also appeared in the same period. Ancient people began to shape abstract concept of specific image in their mind, then came purposeful language communication. People could render specific symbolic meaning to specific matters. The development of the three skills contributed to the emergence of art. As of the Neolithic Age, people integrated their wisdom to deal with natural environment and society and developed the so-called “civilization”. “Beyond physiological requirements and the constraint of natural environment, people’s freedom is growing” and the development at the spiritual aspect was made possible. The Lascaus karst cave of France still preserves the mysterious painting with 17,000 years of history, with clear-cut and powerful lines describing the injured hunter and wild ox who are struggling with death together. Either before the history or today, artists are still committed to the rule of human existence, i.e., ancient people’s technique of hunting: simulation.

“文明源于动物”这一观点颠覆了我们对于文明的定义，但是文明产生的前提是生存。人类与动物的不同之处在于征服对象。尽管近年来的研究说明“动物也在一定程度上征服了精神领域” ，然而只有具备语言能力的人类才在历史长河中留下了足迹，艺术家重新踏上这些足迹并向我们展现和分享着最古老的文明。申红飙的雕塑中蕴含着远古时期的动物文化，作为作品的主题，动物在艺术中重获新生。人是作品的另一主题，他们以一种既古老而又鲜活的方式存在，使得作品脱离了现实，却极富现代感。
The concept that “civilization originates from animal” overturned our definition for civilization, but the prerequisite for the generation of civilization is survival. What distinguishes man from animal is conquering the target. Researches in recent years showed that “animal has conquered the spiritual field to some extent”, but only humankind with the capacity of language leaves footprints in history. Artists re-embarked on the footprints to demonstrate and share the most antique civilization with us. Mr. Shen’s sculptures are filled with the animal culture of ancient times and as the theme of his works, animal revives in art. People, another theme of his works, exist in an ancient yet vigorous way, making the works far away from reality yet full of sense of modernity.

猎手（相当于艺术家）依靠牛、马和鸟而生，反之亦然。人类和动物的角色可以互换，这样的双重关系扰乱了艺术家的理性思维。这并非偶然的灵感，而是普遍的体会：拉斯科溶洞存有牛和马的绘画，1994年考古学家则在法国阿列日省萧韦岩洞里发现了熊的骸骨。申红飙雕塑那古朴的黑色仿佛来自远古时期，这个艺术家从未到过的时代却因他而得以延续，那个时代独特的古拙气质在他身上缓缓蔓延，渐渐捕获了他的灵魂。因此，艺术家同时拥有猎物和猎手的智慧，这是一种富于计谋的智慧，希腊人称之为“莫提斯”（机智）。他懂得如何在古老和当今之间取得完美的平衡。那古老源头的微光就像受惊的动物，犹疑不定又充满野性，而他却不露声色地捕捉了它，将其定格在打磨光滑的黑色铸铜里。
Hunters (equal to artists) exist by relying on ox, horse and bird and vice versa. Humankind and animal can exchange their role, and the dual relationship as such disturbs the rational thinking of artists. This isn’t an occasional inspiration, rather, a general experience: the Lascaus karst cave preserves the painting of ox and horse and in 1994 archaeologists discovered the skeleton of bear in Chauvet cave, Ariège of France. It seems that the primitive black in Shen Hongbiao’s sculptures comes from ancient times and the era he doesn’t experience is prolonged because of him. The primitive flavor typical of that era is spread on his body and gradually captures his spirit. Therefore, an artist has the wisdom as both prey and hunter – full of scheme and called “Metis” (wit) by Greeks. He knows how to strike a perfect balance between antiquity and now. The dim light at the antiquity source is restless yet tameless like a frightened animal, but he captures it undemonstratively, freeze framing it at the polished, smooth black cast copper.

本文由北京翻译公司品格翻译提供，未经允许，不得转载。