​　　艺术家许峰，出生于二十世纪八十年代。从社会人口学的概念来看，这段时间特指我国依法实行计划生育后所出生的一代人。而作为中国当代艺术八零后艺术家代表人物之一，近些年以来，“兔子”这一形象的根植深入，是许峰艺术创作的主要元素之一，而“兔子”的符号确立和图像输出，无疑成为其艺术具有一定辨识度的语言载体。

　　Xu Feng, an artist, was born in the 1980s. From the perspective of social demography, this period refers to the generation born after the implementation of family planning in Accordance with the law. As one of the representative figures of the post-80s artists in Chinese contemporary art, the image of "rabbit" has been deeply rooted in xu Feng's artistic creation in recent years, and its symbol establishment and image output have undoubtedly become the language carrier with certain recognition for his art.

　　“兔子花开三万遍”出自于元代诗人杨维桢（1296--1370）七言律诗《修月匠歌》：一归兰路不知年，兔子花开三万遍。“兔子花开三万遍”意指“兔子”本体，而“花开三万遍”则亦指我们喜欢的“花”（或泛指某一类物）所盛开和绽放的初现频率，是为对特定物多重情感的一种表述。一方面体现了他在日常生活中对动物生灵的一种敏感嗅觉力，另一方面反映了他寄予“兔子”形象朝向个体内在情绪的意志观省。

　　"Rabbit flower Blooms for 30,000 times", comes from the yuan Dynasty poet Yang Weizhen (1296 -- 1370) 's seven-word rhythm poem "Repairing the Moon Artisans' Song" : I do not know the year of the Orchid road, the rabbit blooms for 30,000 times. "Rabbit blooms 30,000 times" refers to the "rabbit" itself, while "blooms 30,000 times" also refers to the blooming and initial occurrence frequency of our favorite "flowers" (or generally a kind of object), which is an expression of multiple emotions towards a particular object.On the one hand, his sensitivity to animal life in daily life, and on the other hand, his will view towards the individual's inner emotions in the image of "rabbit".

　　随着现代社会文明的飞速发展，我们与自然的距离逐渐被拉远。这种与自然性的共处达致，并不是城市楼宇中构建的一座座温室花园的人为景观。在我看来，应是建立一个处于自然景观和动生物互为生存的双向式的地域环境--“乡间或田野式的交互景观”。如果说许峰八年前的艺术创作所表现的更多的是关于直面人性欲望与挣扎的话，那么他近几年的创作无疑是从青春的迷茫、彷徨转移至家庭生活的温情和期盼之情的重要转折。

　　With the rapid development of modern social civilization, the distance between us and nature is gradually being drawn far away. This kind of coexistence with nature is not the man-made landscape of greenhouse gardens built in urban buildings. In my opinion, it is necessary to establish a bi-directional regional environment in which the natural landscape and living creatures coexist -- "rural or field interactive landscape". If xu Feng's artistic creation eight years ago is more about facing the human desire and struggle, then his creation in recent years is undoubtedly an important turning point from the confusion and hesitation of youth to the warmth and expectation of family life.

　　就像我们从许峰创作的绘画中看到在田野间恣意生长的不同颜色的“蘑菇”一样，这些蘑菇的“选秀”不仅是自然物在季节变化下产生的一种生命形态，艺术家还以其影射我们每个人在现实环境中的角色扮演，选与秀，是我们生活中历经的一次次现场直播。同样，这场直播的范围及影响力，也时刻充斥于我们的心理感官和身体机能……

　　As we see from felix creation of painting in the field of unbridled growth between different color "mushroom", these mushrooms "draft" is not only a natural objects under the seasonal change of a kind of life form, the artist also with its alluding to every one of us for her role in the real environment, choose to show, is our life after live again and again. Similarly, the scope and influence of this live broadcast are always full of our psychological senses and physical functions...

　　无论是现实还是“虚拟地域”的形成，皆是人类追求与自然和谐共处的前提条件。正如当代法国著名思想家居伊·恩斯特·德波在《景观社会》里所说：在现代生产条件无所不在的社会，生活本身展现为景观的庞大聚集，直接存在的一切全部转化为一个表象。

　　Both the reality and the formation of "virtual regions" are the prerequisites for human beings to pursue harmonious coexistence with nature. Just as guy Ernst DE Boer, a famous contemporary French thinker, said in the Society of Landscape: in the society with ubiquitous modern production conditions, life itself shows as a huge gathering of landscape. Everything that is in direct existence is transformed into an image.

　　不过在德波看来，“景观社会”并不是仅仅强调图片的重要性的问题，他对图像背后的语言逻辑、深层生产关系与意识形态性的理解发人深省：第一这种虚拟的景观已经代替并超越了真实，比真实还真实具有“超真实”性，因而谁控制了景观就控制了现实。景观的本质在于，“景观已经将过去意识形态那看不见的隐性霸权变成了看得见的虚假影像世界强制，通过制造人之欲望、通过向我们施以无处不在的对象性诱惑，景观不可思议地实现了在深层无意识层面上对人的直接控制”。

　　But in debord's view, the landscape society "is not only emphasized the importance of image problems, his language logic of the image behind, deep production relations and the understanding of the ideology of thought-provoking: first the virtual landscape have replaced and transcend the real, real than real" hyperreality "resistance, thus who controls the landscape is in control of the reality. The essence of landscape lies in that "landscape has changed the invisible recessive hegemony of the past ideology into a visible false image world of coercion. By creating people's desire and by imposing omnipresent objective temptation on us, the landscape has magically realized direct control over people on the deep unconscious level".

　　在东方，“兔”象征着长寿，亦被视为吉祥之瑞兽。“金乌西坠，玉兔东升”。它是人类对于美好生活的一种愿景向往，也与人类的生命密切相关。时至今日，“兔子”的形象已经成为许峰的IP。一只无处不在的“兔子”，以一种自我凝视和个体观照的视角，注目着万物众生。正如许峰所说：人生忙忙碌碌，我希望人们看我画的时候，能够看见自己。

　　In the East, the rabbit symbolizes longevity and is regarded as an auspicious animal. "Jin Wu Xi falls, the Jade Rabbit rises to the east". It is a kind of human yearning for a better life, and it is closely related to human life. Up to now, the "rabbit" image has become Xu Feng's IP. A "rabbit" is everywhere, looking at all living things from a self-gazing and individualistic perspective. Just as Xu Feng said: life is busy, I hope people can see me when they look at my paintings.

　　从中国明代周之冕的绘画《松兔图》到西方后现代主义代表人物约瑟夫·博伊斯（Joseph Beuys）《如何向死兔子解释绘画》行为作品，我们可以观察到这两位艺术大师运用“兔子”这一形象在艺术作品中的反复呈现。除了“兔子”本身的可爱甜美、温顺乖巧等气质以外，更重要的便是艺术家以此来探讨人与世界，以及人与自然的关系，表述自然的内外部平衡关系。

　　From the painting "Pine Rabbit" by Zhou Zhiming in The Ming Dynasty to the performance work "How to Explain Painting to Dead Rabbit" by Joseph Beuys, the representative figure of western postmodernism, we can observe the repeated representation of the image of "rabbit" by these two art masters in their art works. In addition to the lovely and sweet, docile and clever temperament of "rabbit" itself, the more important thing is that artists use this to discuss the relationship between man and the world, as well as between man and nature, to express the internal and external balance of nature.