肖红：这几年看了好多佛教的书，在想怎么把《无量寿经》描述的西方极乐世界图绘下来?

　　Xiao Hong: I read numerous books on Buddhism in recent years, and I am thinking about painting the Western Paradise described in Sutra of Infinite Life.

　　赵力：你提到了佛教主题性的问题，你对佛教是怎样认识的，你是佛教徒吗?

　　Zhao Li: You just mentioned themes in Buddhism, so what’s your opinion on Buddhism, are you a Buddhist?

　　肖红：不是佛教徒。我在1989年夏天到过敦煌，那会儿人很少，敦煌研究院的一位副院长因为我在动乱刚过的时候到这里很感动，就派人带我看壁画。二十多天，天天看，边看边听逐渐有了兴趣。回学校后，敦煌印象挥之不去，尝试着用构成方式把敦煌表现出来，这样一点点发展过来。

　　Xiao Hong: No, I’m not. I went to Dunhuang in the summer of 1989, when people seldom went there. A vice director of Dunhuang Research Institution was deeply moved by my visit, which was just after the turmoil, so he sent his researchers to show me the frescoes. I visited the frescos while listening to the stories every day for more than 20 days. After I went back to university, the impressive Dunhuang urged me to express them through constructivism, thus things began to develop gradually.

　　赵力：敦煌壁画的早期窟型是中心塔柱式的，有一个主像，周围是连续变化的壁画。 “再造供养人”系列的画面也都是有一个主像，其余画面围绕展开，这应该和你看到的窟型和氛围有关。

　　Zhao Li: The early form of Dunhuang fresco is of central tower style with a major character surrounded by continuous variations of murals. In the series of “to Rebuild Providers”, there is also a major character surrounded by other elements in each painting, which could relate to the fresco styles and atmosphere you saw previously.

　　肖红：几乎是一种拷贝，加上了绘画的样式。

　　Xiao Hong: It is almost a kind of copy, plus the form of painting.

　　赵力：这些作品好像有一种模拟的场景，而且不完全是抽象结构的，我因此看到了另一个问题，学习写实绘画的你到了敦煌以后，材料、构成包括肌理变成你考虑的主要问题，而且有一种现代的表现。

　　Zhao Li: It seems that there is a mimic scene for these works, which is not in completely abstract structure. Thus I learned something else, that after you (who studied realistic painting) arrived in Dunhuang, material and structure, including texture, became your major concern as well as a kind of modern expression.