1.你作品中的重复性使人想到一个循环的概念，时间永远不断循环地超越历史。您是接受这个循环模型还是一个线型和进步的历史性模型?

　　少番;我更愿意接受循环的概念，历史是循环往复的，时间是一个圆，所以没有前后之分，而且我非常赞同张璪(中国唐代画家及美术理论家)的绘画理论，他认为评价一张绘画的艺术成就，应该抛开其所在的历史背景，不要以当时的历史环境作为参照，一件好的艺术作品应该在任何的历史环境下都被认为是好的。

　　我也认为社会的和政治的意义在艺术中是杂质。

　　I prefer to use the word of recycle. History repeats itself and time is a circle, without beginning or ending. I agree with Zhang Zao’s theory in painting (Zhang Zao is a painter and art theorist in Tang dynasty): when people evaluate the art quality of a painting, they shouldn’t base their judgment on its historical background. A good piece of art is considered to be good beyond times. I think social and political elements are impurities in art.

　　2. 在你的思想中，是否有德国浪漫主义及诺瓦利斯思想?

　　少番;提到德国浪漫主义我会想到丢勒与霍尔拜因。

　　Gombrich对霍尔拜因的评价是;“他不想突出自我去转移人们对被画者的注意力，正是由于这种高明的自我克制，我们才对他加以高度的赞美。”

　　Speaking of Germany romanticism, I may think of Dürer and Holbein. When Gombrich speaks about Holbein, he says, ”He did not want to obtrude himself and to divert attention from the sitter. And it is precisely for this masterly restraint that we admire him most.”

　　3.你是否参考了30，40年代的法国超写实主义绘画?

　　少番;没有。

　　Have you ever referred to French Surrealist Painting from the 1930s and 1940s?

　　4.你的绘画作品受到哪些中国或欧洲艺术的影响?

　　少番;影响我的主要是十世纪至十三世纪中国绘画和十四，十五世纪的欧洲绘画。对造型和质感的深层认识是源于中国商周时期的玉器。 我宁愿是一个“不可救药”的古典主义者。(注;这句话的灵感来自加拿大音乐家格伦.古尔德GlennGould;我是一个不可救药的浪漫主义者。)

　　What has influenced your painting?

　　Chinese painting from the tenth to thirteenth century and European paintings in the fifteenth century. The jade objects in Shang dynasty gives me a good sense of form and material. I'd rather to be an incurable classicist.

　　5.如何体现绘画中的古典理念?

　　少番;现代绘画的艺术家多有强烈的欲望明确个人符号和突显个人风格，就好像观者在看画时，艺术家本人是站在观者与画面之间的。而我努力试图使自己站到画面的背后，像古代的艺术家那样。

　　How do you take up the ancient motif in your painting?

　　Many modern painters have a strong desire to get their personal signature and style standout, as if the painter himself stands between the viewer and the image. However, I try to hide behind the image, just like the ancient painters.

　　6. 如何在你的作品中协调写实主义与中国传统绘画。

　　少番;我努力克服我们习惯的观察方法，同时尽量忘掉自我，只有“忘我”才能提升“物”的灵，消除主观与客观，主体与客体的二元世界观，体现万物有灵。

　　How do you balance realism and traditional Chinese painting in your work?

　　I try to change our usual way of observing and forget myself,

　　7.你认为东西方的艺术是否可以融合?

　　少番;东西方有着截然不同的美学视角，我觉得简单的融合非常危险，一百多年来，在中国不断地作着各种各样的文化融合的尝试，未出现有意义的结果，却丧失了自己的文化传统，使几代中国人的内心深处产生了无法摆脱的文化焦虑和身份焦虑。

　　The east and the west have different aesthetic views. I think it’s dangerous to combine each other simply. Chinese people have tried various ways in culture integration over the past century, but failed to achieve a meaningful result. We’ve lost our own culture tradition, which leads to Chinese people’s great anxiety in culture and identity.

　　8.在中国传统艺术中有排泄物的视觉显示的实物吗?

　　少番;在中国传统艺术中很少有直接的排泄物的视觉显示。但却有涉及到排泄物的一些典故，庄子曾经说过;“道在屎泌”，庄子以道家的眼睛观看一切事物，物物平等，本无大小堑久贵贱善恶之分别。元代画家倪云林在他自己家的厕所中制造了一个诗意的马桶;收集许多蝴蝶翅膀放在其中，当排泄物下落时蝴蝶翅膀就会飘起来，将排泄物优雅地覆盖。

　　In traditional Chinese painting, there are few images on excrement, while there are some anecdotes on it. Zhuangzi thinks that Tao exists in the process of defecating. According to Taoism, everything is equal in the universe, nothing is humble or noble, good or bad. Ni Yunlin, a painter in Yuan dynasty, once created a poetic stool in his bathroom; he collected a lot of butterflies’ wings and put them in, when his excrement fell into the stool, the wings would float and cover the excrement.

　　9.兔子对你来说有什么特别的意义?

　　少番;兔子对我来说就象瓶子对Giorgio Morandi没有什么特殊意义。我以为正是因为这种没有特殊的指向，兔子才被选择，在画面中如此隆重地刻画却反而体现出一种莫名的神秘感。另外画中的兔也是一种拟人化的尝试，物是人，人是物，降低人而提升物，使人和物平等，削弱主观和客观对立的二元论，试图体现万物有灵，你中有我，我中有你的一元世界，与中国古代“物化”说有相似之处。

　　The hare doesn’t have any special meaning for me, just like the bottle for Giorgio Morandi. I think it’s just this consciousness that drives me to choose the hare as the subject. It is delicately painted and shows a sense of mystery. Here the hare is also a symbol of personification. They are the same as human beings. I try to weaken the conflict between the objective and the subjective, showing a monism world where everything has life, which is familiar with Chinese ancient view on ‘physicalization’.

　　10.你的画作中兔子耳朵的位置是否有着含义?白色兔子和黑色兔子，在意义上有什么区别吗?

　　少番;竖起的耳朵体现了沟通的渠道和融入这个世界的愿望。白和黑在作品中并没有明确的含义上的分别，对我来说更最重要的是画面本身。

　　Its vertical ears show the desire to communicate and integrate with the world. The color of white and black doesn’t have a difference in meaning, for me, image itself is more important.