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　　In the preceding works, “To Rebuild Providers” series were created after his studying in the mural painting history in Department of Decoration Art Design, Central Academy of arts and design. From these works, we can figure out that besides of referring to the images of Dunhuang fresco, Xiao Hong endeavored to form a broad space-time concept in limited painting space, and a cultural conversation passing through history. “Here”, “I” am a basic spot in space-time. Yet, the provider, who appears as “supporting role” in the long history of Dunhuang fresco construction, can be considered as recurrence of secular life in each historical period, since it is not restricted by set patterns of Buddha and Bodhisattva and the like. Xiao Hong located them together in an extensive space-time tunnel, and had conversation with them regarding to culture and life noumenon. In the latter series of “A Broad Road toward Sky”, he further abandoned the metaphor method of using Buddha and Bodhisattva as the main portrait representation, instead, he utilized birth, age, sickness, and death, work and rest of “human” as key contents. It does not matter who they are, what they are doing, the essential point is Xiao Hong attempted to convey the message of life continuity and its ultimate value in this series.

　　总体而言，在肖红以上两个系列的作品中，他的历史视角还是“向后”的，是在对过往的人的生活、生命的一种历史文化关怀。而就绘画语言而言，这两个时期的作品的美学倾向基本上还是偏向于一种学院式的、较为收敛的语言探索。如果肖红的创作、生活没有太大的改变的话，也许他会一直持续着这种风格的发展，而成为一个在官方的沙龙式的美学趣味体系中的风格型画家。但是，置身于2000年前后的滨河小区的“前卫”氛围中，是他创作的一个转折点，醉心于历史情怀之中的文人式的油画语言趣味显然不符合弥漫于这里的“当代”逻辑。他自己也坦言这个时期是他的迷茫阶段，而出现于这个时期的《艳阳天》系列在他的创作历程中，也体现出了一种调整和转型的价值。

　　Generally speaking, Xiao Hong’s historic view is “backwards” in the two series above. It is a historical and cultural care for the past human life. Nevertheless, from the aspect of language of drawing, the aesthetic trend of works during these two periods fundamentally tends to be an academic and reserved language exploration. Xiao Hong might have been retained this style and become a stylish painter in official salon-like Aesthetic system, until his creation and life has changed significantly. However, situated in the ”Avant-garde” atmosphere in Binhe community around 2000, he encountered with a changing point of his creation. The intellectual painting language fascinating with historic affection obviously mismatched with the “contemporary” logic here. He frankly acknowledged that he was lost in confusion at that stage. The series of “Bright Sunny Skies” during this period, demonstrated the value of adjustment and transformation in his creation process.

　　在《艳阳天》系列中，作为叙事性因素的人物场景被高度概括，人物的面部特征也被进一步虚化，至此，以前出现在他的画面中的那些不同时代的芸芸众生被置换成一个凝练的符号，一个个具体的、个体的“他”被符号化为泛指的“他们”。从这一点而言，这个阶段的作品，对于肖红以后创作的意义就体现在人物形象不再拘泥于具体的生活场景和身份个性之中，而成为了一个高度凝练、概括的文化符号。所以，他的这个阶段的作品的价值就在于为以后的创作提供一种可能性。

　　In the series of “Bright Sunny Skies”, scenes of characters as narrative elements were highly generalized, and character’s facial features were further immaterialized. Till then, mortals in diverse generations appeared in his preceding paintings were replaced with a concise symbol. Each idiographic and individual “He” was symbolized to be a generic referenced “They”. From this standpoint, Xiao Hong’s works at this stage brought value for his future creation, which is character image would not adhere to specific life scene and figure personality, but become a highly condensed and summarized cultural symbol. Consequently, the value of his works at this point is to provide a possibility for his future.