石珩伯的画引起我的注意，是他的《守护》系列。那是一组画在南极冰山上的石狮。石狮选用唐代帝王陵墓最典型的蹲式造型，威武雄壮，一副皇家派头，俨然是中国正统的化身。它们通身火红，有一股不可逼视的辐射力。这些置身冰面的石狮，形成视觉和知觉的冲突。它的辐射力越强，冰面融化的速度就越快，沉沦的时间就越短，它和它周边无所用心的企鹅越是会遭遇灭顶之灾。值得追溯的是，石狮不是地道的国货，它只是出自西亚的舶来品，时间在秦汉之际。中国从来都是一个擅长剽窃和仿造的山寨国度，把他人他家他国的成果拿来为我所用，在规模上大于前者，在质量上劣于前者，在推广的时空泛于前者。三千年来，除了屈指可数的四大发明，可以引为骄傲的中国创造无比稀少，以致从实体到精神，中国人的眼睛总是在仰视西方。近现代是西欧和美国，晋唐是西天佛国，周代和汉代是西王母。西王母的地位在伏羲女娲之上，佛教的声势在道教之上，欧美的魅力在国人的想象力之上。欧美过期的左或右的文化模式连欧美人都已抛弃或反思，中国人却将它们树为正统，一根筋地在维护。佛教在它的发祥地早已消亡，中国却始终香火旺盛。中亚和西亚古史至今没找到西王母的记录，中国人却把她供奉了一千多年。古今上百亿的中国脑袋，究竟用在何处，只有天知道。石珩伯的这批寓意作品，仿佛从一个侧面在提醒人们。
石珩伯的新作《造化》，用翠绿调子画成，绿色对应的是生长，是建构。这批画分为两式：类似风景写生的作品是为画大画作技术准备，而画有玫瑰色纸扎飞鸟、飞机、小船的画面则预示着个人探索的方向。这些纸扎的玩具，不是随波逐流，就是随风飘荡，或向前，或拐弯，或返回。我期待他通过这批小画，生发出像《守护》一样耐人寻味的构思。
My Look on Shi Hengbo
Peng De
It’s the series of Shi Hengbo draw my attention, which portrait stone lion put at the ice mountain of the South Pole. These stone lion in fiery red, crouching in typical shape as that of imperial mausoleum of Tang Dynasty and showing power and grandeur of Royal, is exactly the incarnation of Chinese legitimacy with overwhelming radiometric force. There forms a collision between visual sense and consciousness by installing these stone lion in the environment of ice surface. In a way, stronger radiometric force the stone lion have, faster the ice surface will melt and more likely all existence in this environment will be exposed to crowning calamity. However, we will come to a fact when assigning the origin of stone lion that they descended from west Asia around the Qin and Han Dynasty instead of being veritably Chinese goods. In a manner of speaking, for the sake of itself, China is a cheap copy country that is always good at plagiarism and counterfeit which is more mass, lower quality and more largely popularized. For about 3,000 years, there are creation so few and far between materially and mentally can be regarded as our pride except the four great invention of ancient China, that Chinese invariably look up to the West. What we Chinese look up to is the Western Europe and America in modern history, is the Buddhist kingdom between Jin and Tang Dynasty, is the Hsi Wang Mu in the Zhou and Han Dynasty. The place of Hsi Wang Mu, the influence of Buddhism and the charm of Europe and America are superior to that of Fuxi and Nuwa, to that of Taoism and to that of fellow countrymen. In addition, the discarded cultural mode of Europe and America is protected and treasured as legitimism by Chinese, the already disappeared Buddhism in its birth land still attracts a large number of pilgrims in China, the unknown origin Hsi Wang Mu in the ancient history of western and central Asia is worshiped by Chinese over 1,000 years. Only God knows to where we have applied our wisdom throughout our history. The serious message in the art work of Shi Hengbo seems to remind us of the answer indirectly.
The new works of Shi Hengbo called
painted with emerald green hue which corresponding to grow, or to say to construct. This series can be divided into two groups. One landscape paintings are technique preparation for big works, the other with rose pink paper birds, flights and boats predict self exploration. And these paper playthings not drifting with the current but blowing with the wind to forward, to turn or to revert. I expect him to create some thought-provoking conception as that of in < The Plan of Nature >.
【编辑：霍春常】
