Ex 201203

　　E-C

　　August was once a time for dreaming, wandering the empty streets of this city, reading silly-season newspaper stories after a leisurely lunch, gazing at squares where fountains splashed and the pregnant or the old chattered on benches at dusk. Then something happened. The world speeded up. Stress levels soared. Idle moments evaporated. Egos expanded. Money outpaced politics. Rage surged. August aborted this year. It morphed into the serious season. The beach lost out to the barricades. A time of outrage is upon us. Now a feeling has grown in Western societies that uncontrollable forces are at work shrinking possibility. History has never seen a global power shift as radical as the current one that managed to be peaceful.

　　Growth, jobs, expansion, excitement – and, yes, possibility – lie in the great non-Western arc from China through India to South Africa and Brazil. The world has been turned upside-down. What we are witnessing is how shaken Western societies are by such inversion. As new powers emerge, globalization has altered the relationship between capital and labor in the former’s favor. Returns on capital have proved higher relative to wages. The gap between rich and poor has become a gulf. The only people who walked away unscathed from the great financial binge were its main architects and greatest beneficiaries: such as bankers and financiers. This, too, is fueling a time of outrage that has left Western politicians chasing shadows.

　　C-E

　　传统的中国画，不模仿自然，是以表现心灵抒发情性为主体的意象主义艺术。画中意象与书法中的文字一样，是一种适于抒写的极度概括抽象的象征符号，伴随着意象的是传统的程式表现技巧。古代的大师们创造着独自心中的意象及其程式，风格迥异，生机勃勃。

　　后来，多数人惯于对古人程式的模仿，所作之画千人一面。这样的画作一泛滥，雅的不再雅，俗的则更俗。近代中国画仍然在庸俗没落的模式漩涡中进退两难。阿文与当今的有识同行一样，有志标新立异，寻找自我，建立起现代的属于自己的新意象、新格局，且一直背靠着这高雅的传统。

　　Translation version

　　(for Ex 201203 E-C)

　　八月曾经是这样的时候：遐想，在空无行人的街上东游西逛，慢悠悠的中午饭后阅读闲季报纸故事，黄昏时刻凝望广场上喷泉飞溅、孕妇或老人坐在长凳上叽叽喳喳地闲聊。后来，事情发生了。世界加快速度。紧张水平上升。闲暇时刻消失。自我迅速膨胀。金钱超越政治。愤怒骤然涌现。今年，闲暇的八月流产了，变成了严峻的季节。沙滩堆满路障。愤怒时代落到我们身上。现在，西方社会一种感觉已成长，那就是，不可控制的力量在起作用，使得可能性萎缩。历史从来没见过像当今这样急剧的处理得平和的全球力量转移。

　　增长，就业，扩张，兴奋──是的，还有可能性——都落在从中国，经印度，到南非，再到巴西这样一条不经过西方国家的大弧线上。世界被颠倒了。我们现在见证的是西方社会如何被这样的颠倒所动摇。当新兴大国崛起时，全球化改变了资本和劳动的关系，使资本受偏爱。相对于工资，资本回报证明更高。贫富差距变得犹如大海湾宽阔。从金融盛会毫发无损地走开的人只有它的主要设计者和大获利者，譬如银行业家和金融家。这种情况也正在给一个愤怒的时代火上浇油，让西方政治人物留下来驱赶阴影。

　　(for Ex 201203 C-E)

　　The traditional Chinese painting is an imagistic art which mainly demonstrates the painter’s spirit and manifests his emotions instead of simulating the nature. Just like the characters in calligraphy, the images in painting are highly abstract and symbolic signs suitable for depicting the author’s ideas. Going with mental imaging are the traditional form-manifesting skills. Ancient masters created their own unique mental images and forms, so their paintings were different in style but full of vitality.

　　Later on, the majority of painters used to imitate the maters’ forms, so the human figures in their pictures were almost of the same features. When such pictures were largely produced, elegant ones were no longer elegant and vulgar ones became more vulgar. Modern Chinese painting is still stuck in the mire of this vulgar and rotten pattern. Avon, like his fellow artists of insight, aspires to set a new distinct standard, seek ego, and establish his own original modern imagery and model on the basis of the tradition of “elegance.”