Illusory Metaphorphoses No.1
宗教与艺术的关系是个经久不息的话题。
有人把宗教当信仰，艺术为宗教服务;有人把艺术当信仰，宗教为艺术服务;更有智者，宗教与艺术合而为一，幻生幻灭。有一种艺术观是：源于生活，高于生活。但无人敢称：源于宗教，高于宗教。显然，宗教有着无法逾越的高度。反倒可以宣称：艺术到宗教为止。用艺术反映宗教形态，首先是“善”的，但艺术不是善;其次若艺术家非叶公好龙，必是“真”的，但艺术不是真;必得有高超的艺术形式与宗教形态“合辙”，这才是“美”的。对艺术而言，形式即内容。
The relationship between religion and art is a topic that has endured through the ages.
Some regard religion as faith, with art serving religion; others take art itself as faith, with religion serving art. There are also wiser views in which religion and art merge into one, arising and dissolving like an illusion. One artistic belief holds that art is “derived from life, yet transcending life.” But no one would dare to claim that art is “derived from religion, yet transcending religion.” Clearly, religion possesses a height that cannot be surpassed. What may instead be said is that art comes to an end where religion begins. To use art to reflect religious forms is, first of all, an expression of the “good”—yet art is not goodness itself. Secondly, if the artist is not merely pretending admiration like Ye Gong loving dragons, the work must be “true”—yet art is not truth itself. Ultimately, only when an accomplished artistic form aligns seamlessly with a religious form does it become “beautiful.” For art, form is content.
Illusory Metaphorphoses No.2
傅文俊先生的这批作品《他心通》、《幻化》、《无界》系列，对形式有大胆的改制和突破，运用摄影、拼贴、后期等技术进行形而上的追问和探索。艺术语言上是简化的，内容寓意上是深邃的。显然，他经历过痛苦的思索和观念的提纯。这符合佛教“念念成形”的意旨——“念头”会变成“实在”。有怎样的念头，就会有怎样的实在。空色相遁。
外修艺术，内修止观。外修艺术是“游于艺”，内修止观是“依于仁”。文俊先生活在这样的境界里，体悟生命，体悟大道。当艺术作品与生命的存在、宇宙的本体“三位一体”时，艺术家便共振在宇宙的玄妙与极乐中，生生不息，绵绵不绝。世界还是那个世界，但已证得。
In this body of work—Thought Reading, Illusory Metaphorphoses, and the No Realms series—Mr. Fu Wenjun undertakes bold revisions and breakthroughs in form, employing photography, collage, and post-production techniques to pursue metaphysical inquiry and exploration. The artistic language is restrained and simplified, while the meanings it conveys are profound and far-reaching. Clearly, these works are the result of intense inner struggle and conceptual refinement. This accords with the Buddhist idea that “each thought gives rise to form”: thoughts become reality. As one’s thoughts are, so the reality that unfolds will be. Emptiness and form arise and dissolve in mutual retreat. Outwardly, he cultivates art; inwardly, he cultivates śamatha–vipaśyanā (calm abiding and insight). To cultivate art outwardly is to “wander within art”; to cultivate contemplation inwardly is to “abide in benevolence.” Mr. Wenjun lives within such a realm, contemplating life and apprehending the Way. When an artwork, the existence of life, and the essence of the universe become a trinity, the artist resonates with the universe’s profound mystery and bliss—unceasing, continuous, and enduring. The world remains the same world, yet it has been realized.
关于作者：胡赳赳，作家、文化学者、资深媒体人。
About the Author: Hu Jiujiu is a writer, cultural scholar, and senior media professional.