亚里士多德在《诗学》中强调:“诗比历史更具有哲学性”。这里所说的“诗”并不囿于诗歌和文学。在古希腊的哲学概念里,诗涵盖了文学、音乐、绘画等一切艺术形式。不管诗与历史孰轻孰重的争执进行得如何波谲云诡,但它们有一点是殊途同归的,就是它们都是时间的记录者。相异的是,诗记载着在时间流动下的一沟一壑,而历史有时则是任人打扮的小姑娘。遂《悲惨世界》才是法国大革命最壮观的画卷,《自由引导人民》比手书的历史更具有现实冲击感。我认同柏拉图的“三重模仿”说,任何艺术的起源都来自模仿,所有模仿都根植于真实。所以,追本溯源,任何艺术都来源于对现实的记录,任何艺术家都是记录者。许峰恰是要做这种记录者。他用扭曲的画面和特殊的材质记录下物质在当下倏来倏去的一瞬 Aristotle stressed in Poetics: “poetry is more philosophical than history.” The word “poem” here does not mean poetry and literature. In ancient Greek philosophical concepts, poetry covers all forms of art, such as literature, music and painting. However troublesome the disputes over which poetry and history are, the one thing they all agree on the other is that they are all timekeepers. The difference is that poetry records a ditch under the flow of time, but sometimes the history of the groom dressed in any girl. Then “Les Miserables” is the most spectacular picture of the French Revolution. “Freedom to guide people” has a more realistic impact than the history of hand-writing. I agree with Plato’s “triple imitation,” that the origins of any art come from imitation, and all imitations are rooted in reality. Therefore, traceability, any art comes from the record of reality, any artist is the recorder. Xu Feng just want to do such a record. He used distorted images and special materials to record the moment