“艺术源于生活”，似乎是一个无法回避的命题。在当下大家都在低头赶路的时代，很多人更乐于在自己的“空间”中天马行空、光怪陆离地臆造出所谓“作品”的产物，每个人都在寻觅一味速效药和一条快速路。雕塑家申红飙没有像大多数人那样，他安静谦和又不失豪情幽默，按照自己的节奏，生活并创作着，却每每有惊喜带给我们。在我们观看他近几年创作的蒙古族为主题的雕塑作品时，你很难想象他真的不是蒙古族。但熟悉他的朋友都知道，申红飙每年有相当一段时间会在草原上，与蒙古族兄弟和牧民朋友在一起，驯马、游牧、饮酒、歌舞，在他身上散发出一种道地的蒙古子民的风骨气质和恪守如一的家园精神，这些在他的作品中彰显无遗。“艺术源于生活”这种态度之于申红飙是恰切的。

　　"Art comes from life" seems to be an unavoidable proposition. At this era when everybody is hurrying on with his/her own journey, many people are more willing to fabricate the so-called “works” in their own "space" with unstrained thoughts and in strange and unusual way. Everybody is looking for a fast-acting drug and a shortcut. Unlike most people, the sculptor Shen Hongbiao is quiet, modest and yet ambitious and humorous. He lives and creates works with his own tempo, and always brings surprise for us. When appreciating his sculptures that are themed with the Mongol nationality and created in recent years, it is difficult to image that he is not a Mongolian. However, his friends who are familiar with him know that Shen Hongbiao spends quite a certain time on the prairie with the Mongolian people and herdsmen every year, taming a horse, nomadising, drinking and dancing. He exudes a sort of unadulterated Mongolian temperament, and consistent homeland spirit, all of which are well expressed in his works. For Shen Hongbiao, the attitude "Art comes from life" is quite suitable.

　　申红飙的雕塑作品极富感染力和现代性，造型语言简练、手法纯熟，这得益于他扎实的基本功和西方游学的经历。从他不同阶段的作品中，我们可以感受到艺术家是怎样提炼出有效的创作元素，又最终落实到雕塑对象上，完成了在“不变中”求“变”的思路历程。这里的每一个过程，都是视觉图式的个案发生，它们直接提示了雕塑的本体部分和艺术的深度思考——即艺术样式与艺术家所处时代之间的关系。我们留意艺术发展史，不难发现，“身体”是许多艺术家喜欢选取的一种语言和叙事方式。“身体”是申红飙的作品中凸显的艺术样式，他以艺术面对时代的经验，在来自于艺术内部与外部有限的“艺术”空间中，力图将其推进到极致。无论是蒙族壮汉，还是牛、马等物像，在他的手中，“身体”变得充盈劲键、饱满圆实，极具生命的张力和原初的意蕴。同时，又浸染着“身体”内外本能的精神诉求与指向。

　　The sculptures of Shen Hongbiao are full of infectivity and modernity. The succinct modeling language and skilful technique benefit from his solid basic skills and travelling experience in the western countries. From his works of different stages, we can feel that how an artist extracts the effective creative element and finally put it into sculptures to finish the thought course of seeking "change" in "unchanged situation". Each course is an individual case of visual form, which directly presents the principal part of sculpture and the deep thought of art - that is, the relationship between the art style and the era when the artist live. If we notice the development history of art, it is not difficult to find that "body" is a language and narrative method that many artists like to choose. "Body" is the art style presented in Shen Hongbiao's works. With his experience that art faces era, he tries to perfect it in limited "art" space of the interior and exterior of art. No matter strong men of the Mongolian nationality or objects such as cattle and horse, the "body" becomes robust and plump, and has vital force and original connotation in his hands. Meanwhile, it imbues with the interior and exterior spiritual demand and direction of “body”.

　　申红飙的雕塑作品是一种“天人合一”的哲学理念，在人与自然的对话中，探寻着人性本真。在借古喻今的对照中，表达着人文关怀。他的雕塑中人与动物都是自然的存在，没有矫情地做作，而是率性地写照。“距离”是很多艺术家在自己的作品中始终试图解决的一种关系，申红飙对“距离”的理解和把握可谓张弛有度、分毫无争。大气洗练的表象下，透露出细腻唯美的追求。在他的作品中我们可以感悟到真诚与信任，侠义与无畏。人与自然、人与人，本应如是。一草一木一世界，或许在申红飙这里，一把刀、一堆泥就是他的世界。我以为，还应有一壶酒、一匹马、一知己？他的世界是丰富的。

　　Shen Hongbiao's sculptures are a philosophical concept of "Man is an integral part of nature." seeking the real human nature in the dialogue between man and nature. It expresses humanistic concern in the contrast of using the past to allude to the present. The man and animals in his sculptures are naturally existed, not hypocritically artificial. They are straightforward portrayal. "Distance" is a relationship that many artists always try to solve in their own works. Shen Hongbiao'understanding and control for "distance" is in the flexible degree without any discrepancy. Under the presentation of polishing atmosphere, the delicate aesthetic pursuit is revealed. In his works, we can comprehend the sincerity and trust, chivalry and fearlessness. Man and nature, man and man should be just as it should be. For Shen Hongbiao, maybe a knife and a pile of mud make up his world. I think there should also be a kettle of wine, a horse, a bosom friend, and then his world is so abundant.

　　申红飙的雕塑世界，不是已逝去的远古时代，也不是乌托邦的理想国度，而是创作者的艺术经验与时代体验之间的真实空间。看申红飙的雕塑，就像看他这个人，轻松之中透着诙谐，动静之间显隐睿智，无争的观世态度下有着燃情似火的本色，敦厚健硕的铁汉也有侠骨柔情的内心。这就是我认识的雕塑家申红飙，一位幽隐在都市中的侠客。

　　The sculpture world of Shen Hongbiao is neither the ancient age that is passed by, nor utopian country, but the real space between the creator’s art experience and era experience. Appreciating Shen Hongbiao’s sculptures is just like appreciating him. There is humor in the easiness, sagacity among movement and motionlessness. There is passionate character under the unworldly outlook attitude. The honest and robust strong - determined man also has gentle feelings and chivalrous disposition in the inner mind. This is the sculptor Shen Hongbiao I know, a chivalrous man who retreats and lives in the city.

中央美术学院美术馆 副馆长 唐 斌

2013年9月3日

Deputy Curator of Central Academy of Fine Arts Art Gallery, Tang Bin

Sept. 3rd, 2013

作者：唐斌