许江的东方葵,自有它独特的震撼人的力量。这种力量到底是什么,它又来自哪里?我们作为观看者或欣赏者(“欣赏者”这个词在这里也许并不妥当,需要解释一下:因为他的作品不是让你来欣赏,而是让你投入的,或者说,作品逼迫着你投入,你不投入,也就谈不上欣赏;而一旦投入进去,则失去了欣赏的距离感),能说得清楚这种力量到底体现为感性的、感官上的刺激,还是一种理性上的梳理或分析吗?无论在杭州还是在北京,当我在东方葵的巨大画幅前作沉思状时,其实就是在想(这里的这个“想”字也不大妥当,不赘)这个问题。这恐怕也是我作为一个完全的绘画方面的外行,与那些专业画家或评论人员的一个区别。 Xu River Oriental Kwai, its own unique power of shocking people. What does this power come from and where does it come from? We as viewers or appreciators (“The Appreciation of” may not be appropriate here, and it needs to be explained: because his work is not for you to appreciate, Is to let you invest, or that works force you to invest, you do not invest, you can not enjoy; and once put into, you lose the sense of distance of appreciation), can clearly say that this power is reflected in the end Sensual, sensory stimulation, or a rational sort or analysis? Whether in Hangzhou or in Beijing, when I was in front of a huge frame of Oriental Kwai for meditation, is actually thinking (here "Word is not appropriate, not redundant) this issue. This is probably my distinction as a complete painter, layman, or commentator.