在心理学上，有一个词将“巨大”（megalo）与“恐惧症”（phobia）联系起来，叫做“巨物恐惧症”（Megalophobia），它表示为一种在巨物狂迷下的晕厥。说是“恐惧”，倒不如说是一种更为复杂的情感表达，它包括着生理与心理双重层面上的震颤，一种无法言说的，在极大与极小尺寸之间的敬畏，正如哲学家康德在他的墓志铭上所写：“有两样东西，我越是对它们思考得深沉与持久，它们在我心中唤起的惊惧就越恒久弥新，一个是头顶浩瀚的星空，一个是心中的道德律。”

In psychology, there is a word that connects the ‘Megalo’ with ‘Phobia’ . It is called ‘Megalophobia’, shown as a kind of syncope when facing the colossus. It is a more complex expression of emotion than phobia, including both physical and psychological tremors, an unspeakable revere between the greatest and the smallest dimensions. As the philosopher Kant wrote in his epitaphs, ‘Two things tlthe mind with ever pew and ingreasing adtniratlon and awe. The more otten and steadlly we reflect upon them: the starry heavens above me and the moral law within me’.

这显示了“巨物”不仅是一种外在可视的庞然大物，还有那看不见的心灵深幽。它激发了我们对渺小自我与无垠世界的强烈对比，它是“特殊的美感”，一种经由直面巨物而不可抗拒的自我放逐之下，所获得的由战栗所得来的，在更高层级上超越理性与感性的审美体验。

The fact shows that ‘immensity’ is not only a kind of external-visible colossus but also an invisible deep soul. It stimulates a sharp contrast between our small self and the immensity of the world. As a "special beauty", it’s also an aesthetic experience obtained from trembling that transcends rationality and sensibility at a higher level, under the irresistible self-exile of facing giants.

在艺术家董鹤的画作中，这一隐含的巨物信息，借由他的艺术予以表达。无论是巍峨而扑面的雪山，生命的摔碎与宣泄飞溅的瀑布，滚涛而隐藏深沉危险的大海，还是巨大而无声在山谷中的天外来石，那些细节之中的渺小人物，都在那汹涌而巨大的存在者面前战栗矗立。

In artist Dong He's paintings, this implicit information about the megalo object is expressed through his art. Despite the towering and overwhelming snow-capped mountains, the shattering life and splashing waterfalls, the rolling sea hiding deep dangers, or the huge and silent extraterrestrial rocks in the valley, every tiny figure in those details all trembles in front of the surging and massive existent.

巨物的存在，常被描述为“大它者”，它暗示了在艺术家心灵深处所指向的一位超越所有想象的“大它存在者”。它隐藏并超越在艺术家所成长经历中所获取的一切信息，无论是在幻想编织的宇宙中，还是在真实且体悟的超验之中，它的神秘在场，无时不刻使艺术家处于震颤与狂迷之中，如他手中随时呼喊着的线条和色彩。

The existence of such a colossus, often described as the ‘Big Other’, implies that there is a ‘The Great Being’ in the artist's deep mind beyond all imagination. It hides and transcends all the information acquired from the artist's experience of growing, whether it’s in the universe, woving with fantasy, or in the real and realized transcendence, its mysterious presence constantly makes the artist tremble and delirious, like the lines and colors that cry out in his hand at any time.

一种超越宇宙的“崇高”，借万物将祂彰显出来。艺术家在其中凝神思想，借着这世界之表象，将那隐藏之物表达。这是艺术家的一种捕捉，一种追影，尽管祂是神秘的，尽管万物不足以描述于祂，但祂仍然在场，因祂借这万物开口说话，祂是“自有永有”。

A "sublime" that transcends the universe and manifests itself through all things. The artist concentrates his thoughts and shows hidden things through the appearance of the world. He is a capture of the artist and a pursuit of the shadow. Although he is so mysterious that nothing is enough to describe him.He is still present, because he speaks through everything, he is ‘I AM THAT I AM.’