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申紅飆的鑄銅雕塑展現(xiàn)了人和動(dòng)物之間古老的聯(lián)系，多米尼克?拉斯戴樂明確指出文明源于動(dòng)物。在菏萊茵斯坦-斯達(dá)戴爾山谷發(fā)現(xiàn)了舊石器時(shí)代的獅子人雕像，它標(biāo)志著藝術(shù)的萌芽，考古學(xué)家所說的“抽象符號的爆發(fā)”也是出現(xiàn)在同一時(shí)期。遠(yuǎn)古人類開始把具體的圖像在頭腦中形成抽象概念，有目的的語言交流出現(xiàn)了，并且能夠給具體事物賦予特定的象征意義，這三種技能的發(fā)展促使藝術(shù)誕生 。到了新石器時(shí)代，人類用于應(yīng)付自然環(huán)境和社會(huì)兩方面的智慧得以融合，發(fā)展成了我們所說的“文明”。“在生理需要和自然環(huán)境限制之外，人類的自由在增長” ，精神層面的發(fā)展成為可能。法國的拉斯科溶洞保存著距今17000年的神秘繪畫，清晰有力的線條描繪著受傷的獵手和野牛，正一起面臨死亡。無論是史前還是今日，藝術(shù)家始終遵循著人類生存的法則，也就是遠(yuǎn)古人類狩獵的技巧：模仿。
Shen Hongbiao’s cast copper sculpture demonstrates the ancient link between man and animal and Dominique Lestel made clear that culture is originated from animal. The lion-man statue of the Old Stone Age was unearthed in the Valley of Hohlenstein Stadel, which symbolized the sprout of art while the “explosion of abstract symbol” the archaeologists said also appeared in the same period. Ancient people began to shape abstract concept of specific image in their mind, then came purposeful language communication. People could render specific symbolic meaning to specific matters. The development of the three skills contributed to the emergence of art. As of the Neolithic Age, people integrated their wisdom to deal with natural environment and society and developed the so-called “civilization”. “Beyond physiological requirements and the constraint of natural environment, people’s freedom is growing” and the development at the spiritual aspect was made possible. The Lascaus karst cave of France still preserves the mysterious painting with 17,000 years of history, with clear-cut and powerful lines describing the injured hunter and wild ox who are struggling with death together. Either before the history or today, artists are still committed to the rule of human existence, i.e., ancient people’s technique of hunting: simulation.

“文明源于動(dòng)物”這一觀點(diǎn)顛覆了我們對于文明的定義，但是文明產(chǎn)生的前提是生存。人類與動(dòng)物的不同之處在于征服對象。盡管近年來的研究說明“動(dòng)物也在一定程度上征服了精神領(lǐng)域” ，然而只有具備語言能力的人類才在歷史長河中留下了足跡，藝術(shù)家重新踏上這些足跡并向我們展現(xiàn)和分享著最古老的文明。申紅飆的雕塑中蘊(yùn)含著遠(yuǎn)古時(shí)期的動(dòng)物文化，作為作品的主題，動(dòng)物在藝術(shù)中重獲新生。人是作品的另一主題，他們以一種既古老而又鮮活的方式存在，使得作品脫離了現(xiàn)實(shí)，卻極富現(xiàn)代感。
The concept that “civilization originates from animal” overturned our definition for civilization, but the prerequisite for the generation of civilization is survival. What distinguishes man from animal is conquering the target. Researches in recent years showed that “animal has conquered the spiritual field to some extent”, but only humankind with the capacity of language leaves footprints in history. Artists re-embarked on the footprints to demonstrate and share the most antique civilization with us. Mr. Shen’s sculptures are filled with the animal culture of ancient times and as the theme of his works, animal revives in art. People, another theme of his works, exist in an ancient yet vigorous way, making the works far away from reality yet full of sense of modernity.

獵手（相當(dāng)于藝術(shù)家）依靠牛、馬和鳥而生，反之亦然。人類和動(dòng)物的角色可以互換，這樣的雙重關(guān)系擾亂了藝術(shù)家的理性思維。這并非偶然的靈感，而是普遍的體會(huì)：拉斯科溶洞存有牛和馬的繪畫，1994年考古學(xué)家則在法國阿列日省蕭韋巖洞里發(fā)現(xiàn)了熊的骸骨。申紅飆雕塑那古樸的黑色仿佛來自遠(yuǎn)古時(shí)期，這個(gè)藝術(shù)家從未到過的時(shí)代卻因他而得以延續(xù)，那個(gè)時(shí)代獨(dú)特的古拙氣質(zhì)在他身上緩緩蔓延，漸漸捕獲了他的靈魂。因此，藝術(shù)家同時(shí)擁有獵物和獵手的智慧，這是一種富于計(jì)謀的智慧，希臘人稱之為“莫提斯”（機(jī)智）。他懂得如何在古老和當(dāng)今之間取得完美的平衡。那古老源頭的微光就像受驚的動(dòng)物，猶疑不定又充滿野性，而他卻不露聲色地捕捉了它，將其定格在打磨光滑的黑色鑄銅里。
Hunters (equal to artists) exist by relying on ox, horse and bird and vice versa. Humankind and animal can exchange their role, and the dual relationship as such disturbs the rational thinking of artists. This isn’t an occasional inspiration, rather, a general experience: the Lascaus karst cave preserves the painting of ox and horse and in 1994 archaeologists discovered the skeleton of bear in Chauvet cave, Ariège of France. It seems that the primitive black in Shen Hongbiao’s sculptures comes from ancient times and the era he doesn’t experience is prolonged because of him. The primitive flavor typical of that era is spread on his body and gradually captures his spirit. Therefore, an artist has the wisdom as both prey and hunter – full of scheme and called “Metis” (wit) by Greeks. He knows how to strike a perfect balance between antiquity and now. The dim light at the antiquity source is restless yet tameless like a frightened animal, but he captures it undemonstratively, freeze framing it at the polished, smooth black cast copper.

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