藝術創造了另一個世界，仿佛是一個可以期待的許諾。但那個世界其實是個永遠的夢。藝術超越現實，也不僅是想象的產物。它是人內心的影子。
　　Painting has the power to create a parallel world, like a promise that everyone can look forward to. Yet that world appears forever a dream. While art is certainly beyond reality, it is not merely a product of imagination – it is a reflection from the heart.
　　自有人類，藝術與現實就在進行著不可知的游戲。對我們凡夫俗子，猶如走不出的迷宮。
　　The unexplainable game between art and reality dates back to the very beginning of humanity, like an inescapable maze to ordinary men like ourselves.
　　事隔兩年，再次見到薄云的近作。
　　After two years, it is a pleasant surprise to see Bo Yun’s new works.
　　我知他對事物的領悟力頗強，所謂“世事洞明”者。他對宋元山水意境的領悟，對人文主義的西方藝術的領悟都在潛意識影響著他的抽象油畫的風格（圖1.2.3.4）。
　　I know him as a man of superb perception. The characteristics of his abstract oil paintings integrate his appreciation of landscape of the Song and Yuan dynasties, as well as his understanding of humanism of the Western art scene. (Figure 1.2.3.4)

1.<<輝煌的時代>> 160X70X(3) 2005
　　<Glorious Era>

2.秋天的陽光 The Autumn Sunshine160X220 2005

3.霧鎖江南 Fog Over Southern China160X70X(3) 2006

4.我是光的使者 Messenger Of Light 100X120 2006　　

　　說到抽象繪畫，常聽到“看不懂抽象繪畫”的說法。的確，抽象絵畫不是再現對象,而是表現事物表象背后的精神，即事物給人的精神的感染。這種表現也通過形象，卻不是具體的形象，具體的形象只能表現具體的感受。而抽象繪畫企圖表現的精神則更寬廣，更形而上。是的，抽象繪畫的語言和人心靈深處的冥想更為接近。不是所有的人都常內省自己的靈魂。抽象繪畫是給有文化藝術修養的人看的。當然，并不是所有“抽象繪畫”都值得留意,象所有行業一樣，這個行業也魚龍混雜，泥沙俱下。
　　We often hear the comment that abstract paintings are impossible to understand. Indeed, abstract paintings are not re-creations of tangible objects. Yet they re-create the spirit behind the objects, which also represent the feelings they inspire. The abstract re-creation is also based on an image, yet not a concrete image, as for concrete images only project a specific kind of feeling. The abstract attempts to convey a broader and more metaphysical collection of feelings. To better put it, the abstract language only resonates with one’s inner whisper during a deep meditation. Yes, the abstract is for the cultured and sophisticated souls who often choose to self-reflect. Yet not all abstract paintings are noteworthy. Like everything else, there is a mingling of good and bad in the space of the abstract.
　　我見過幾類抽象繪畫：偶然效果式；世界上本來有許多符合繪畫美感的自然痕跡：墻皮水漬，石紋，木紋......都是自然的畫面。于是一干抽象畫家便把顏料潑灑到畫布上，任其流淌，或大筆重色恣意狂涂，然后擇其中似畫者。其始祖可從波洛克算起，國內跟進者若干。這類畫不難看，做裝飾也好，只誰都可以復制。更主要是這類作品僅效果而已，少感人的精神。圖案式；自蒙德里安之后，有一種冷抽象從西方發端。這種理性的藝術，常似一絲不茍的圖案，或紋樣設計。平面，重復，單調。曾有一美國畫廊主說她會有時為這種畫感動流淚。真是匪夷所思。抒情抽象；趙無極，朱德群當屬此類。這類抽象才是中國人可以接受的抽象藝術。他們不是無形象，而是寓形象于筆觸，光影色調之中。畫面所造之意境與傳統繪畫無異。換句話說，他們擴大豐富了繪畫的表現手段，而不是顛覆你關于藝術的概念。他們的畫面能調動觀者的感情。欣賞此類作品與欣賞傳統繪畫的審美心理活動并無不同。反而，可能引起你更多的聯想。
　　I have seen a few types of abstract oil paintings. First, the Accidental Effect. There exist many works of nature beyond the bar of artistic beauty, such as water stains on a white wall and grains of rock and wood. Hence, there come groups of abstract painters who splash paint onto plain canvas, let it flow or apply recklessly heavy brushstrokes, and then pick the most painting-like ones. This technique dates back to Pollock and there are plenty followers around. Paintings of this type look decent, and are good for decoration, but anyone can copy them. More importantly, they often lack substance and the ability to touch souls. Second, the Pattern. This is a kind of cold abstract originated from the West, exemplified by Mondrian as a form of rational art, usually consisting of meticulous patterns, plain, repetitive, and monotonous. I was absolutely astounded when an America gallery owner told me she was sometimes moved to tears staring at such paintings. Third and last, the lyrical, a form of abstract more readily acceptable to the Chinese audience. Zhao Wuji and Zhu Dequn belong to this group. Instead of being figureless, this kind of abstract paintings use brushworks and light tones to create artistic conceptions that are no less concrete than traditional painting techniques. In other words, it enriches the ways of artistic expression, without disrupting the audience’s original concept of art. This kind of paintings stir the pond of emotion of their viewers, in very much the same way that traditional paintings do, only with the potential to bring the thoughts of the viewers further.
　　我以為薄云兄正是此類抽象繪畫的杰出代表。與趙無極，朱德群老一輩抒情抽象不同的是，薄云的畫融進了許多水墨畫的語言，用筆的力道，墨色豐富的變化，畫面空白的巧妙運用，無焦點的透視，等等。這正是東方畫家得天獨厚之處。
　　I believe Bo Yun is an extraordinary representative in last kind of abstract paintings. Unlike the distinguished older generation lyrical abstract artists Zhao Wuji and Zhu Dequn, Bo Yun’s works incorporate many characteristics of the ink painting, including its brushstrokes, rich varieties of the ink color, smart use of blank space, and non-focus perspective. This unique technique and perspective only comes from an artist from the East.
　　嚴格說，薄云的畫并不抽象。氤氳墨色中，山巒起伏，疾風勁草，或雨霽，或雪晴。又像是自然的寫照。但我看，他已經越過了具像與抽象，他眼里已經沒有具像與抽象的區別，獨留下從變幻無常的現實中抽離出來的本質。-----這世界上除了人眼看到的，還有一個只能用心去體會的世界。
　　Strictly speaking, Bo Yun’s works are not that abstract. Among the dense ink, you can see ranges of mountains, gale blowing over grasslands, landscape after a drizzle, or rising sun shining on land covered with thick snow, just like portrayals of nature. As far as I am concerned, he has gone beyond the line separating the concrete and the abstract. They make no difference to him anymore, instead what he sees is the everlasting essence stripped out of a forever changing reality. That is a world beyond what one sees with his own eyes – a world only visible to the heart.
　　2014年初，他重拾水墨，畫了一些水墨山水（圖5.6.7.8）。
　　At the beginning of 2014, Bo Yun his revisited Chinese Ink by painting ink landscapes (Figure 5.6.7.8).

5.秋風 145x37 2014 

Wind In Autumn

6.秋風秋雨圖 137x33 2014　

Wind And Rain In Autumn

7.西山暮雨143x37 2014 

Twilight Rain Over West Hill 

　8.秋郊訪友140x34 2014
　　At Friend’s Cottage In Autumn　

　　這些山水較他“星星美展”時期的水墨有所不同（圖9.10.11.12）。
　　These new ink landscapes are different from his ink paintings during the “Star Exhibition” period (Figure 9.10.11.12).

9.泊50x50 1979 第一屆星星美展
　　9. Lake50x50

10.漁村 50x50 1979第一屆星星美展
　　Fishing Village 1979 First Star Exhibition

11.水鄉50x50 1979第一屆星星美展
　　Watery Land 1979 First Star Exhibition

12.啊 長城50x63 1979第一屆星星美展
　　Ah! The Great Wall 1979 First Star Exhibition　　

　　傳統的立軸，濃重的墨色，遠山如黛，天或初晴，日或黃昏，云氣氤氳。近處則修竹掩映，舴艋隨波。相比30年前的水墨，情調依舊，然景物變矣，更恢宏，更深遠，更遼闊了。
　　He used traditional vertical scroll of dense ink, with distant objects as black mountains, sky just clearing up, the sun at twilight, or thick clouds. Close-ups are depicted with shades of bamboo and boats on waves. In contrast with his ink paintings from 30 years ago, while the sentiment remains the same, the objects and landscapes are now broader and deeper.
　　接著，他開始在畫布上，用黑白兩色涂抹自己心里營造了幾十年的那個世界。不聽命任何人，不為任何人，不受自己意識到的章法的束縛，只遵從自己的內心。一年來我悄悄的看著他偶爾發給我的圖像，不做一聲，怕我的意見干擾了他表現自己。
　　Then he began to put on canvas the world that he has been tirelessly building in his mind for decades, using only black and white. These paintings are for no one, catering to no one, and constrained by no one, but only a pure reflection of the world in his dream. For the past year, I only quietly admired the photos he sent to me from time to time, without offering any feedback, so as not to impose my thoughts on his creation.
　　如今，他的黑白世界呈現在我面前。那些畫面上，時而浪潮洶涌，時而寒風凜冽，時而陰云密布，時而細雨初晴。那些景物深刻動人，深厚而寧靜。如同遠方地平線邊傳來了交響樂聲。
　　Now, his world presents itself in front me, in only black and white. It feels like walking through one powerful scene after another - surging tides by the ocean, a chilling storm, dark clouds overcastting the sky, and the sun emerging from a light rain. These scenes are deeply moving, profound, and peaceful, reminding me of a symphony from the distant horizon.
　　重要的是，無論他的油畫還是水墨畫，幾十年來，他不停的在探索新的語言。但他的情調和意境不變。始終表達著在深沉安靜的氛圍中對宿命的思索與抗爭。他的畫，讓我們感到了我們心靈深處那個鼓舞著我們積極向上的，神圣而神秘的力量。
　　Most importantly, while keeping the same sentiment and artistic conception in both ink and oil spaces, over the past few decades he never stops exploring new languages to express his art. His paintings have always exhibited his peaceful but determined struggle versus fate, resonating with the mysteriously sacred force inside every one of us, encouraging us to stay positive and march forward.
　　每個人的作品都帶有自傳性質，作品不會說謊。
　　Everyone artist’s work speaks about the author like a biography – paintings do not lie.
　　我無需再去分析他藝術的獨創性及其藝術價值，明眼人一目了然。
　　It is not necessary for me to write about the originality and value of Bo Yun’s art. They are crystal clear to the right beholders.
　　畫給自己看，畫給知音看，話便是多余的了。
　　Paintings are for the pleasure of people who understand and appreciate. Any more words will be redundant.
　　Arthor Lee (詩人，藝術評論家）
　　Arthor Lee (Poet, Art Critic)