究其源头,《愚公移山》其实是一个颇具浪漫主义色彩的故事。一位年逾古稀的老叟,欲以“子子孙孙无穷匮”的精神挪走眼前的两座大山,此一信念壮怀,从此得代代流传。而使其在今天增添了更多恢弘色彩的,前有徐悲鸿将其转化为中国现代艺术史上的经典图像,后有毛泽东将它设定为新中国社会主义建设的精神纲领。于此,当代的“愚公移山”脚本似乎总是被悬置在其寓意被提纯的那一刻——一幅“人定胜天”的励志画卷。因而,当杨福东以流动影像的方式重现这一经典叙事时,观众很可能会错愕于神话文本在高清影像里所建构的“真实”——山 Its origin, “Foolish Old Man” is actually a rather romantic story. An old seventy years old, want to “unlimited” offspring of children away the two mountains in front of this great belief, from generation to generation. But today it has become a classic image in the history of modern Chinese art after Xu Beihong transformed it into a more grand color today. Later, Mao Zedong set it as the spiritual program for the socialist construction in new China. At this moment, the contemporary “Foolish Mountain” script seems to always be suspended at the moment when its implication is purified - a motivational picture of “human beings will prevail.” Thus, when Yang Fudong reproduces this classic narrative in a fluid video format, the viewer is likely to be stunned by the “true” -shared mountain of mythological texts in high-definition video