在心理學(xué)上，有一個(gè)詞將“巨大”（megalo）與“恐懼癥”（phobia）聯(lián)系起來(lái)，叫做“巨物恐懼癥”（Megalophobia），它表示為一種在巨物狂迷下的暈厥。說是“恐懼”，倒不如說是一種更為復(fù)雜的情感表達(dá)，它包括著生理與心理雙重層面上的震顫，一種無(wú)法言說的，在極大與極小尺寸之間的敬畏，正如哲學(xué)家康德在他的墓志銘上所寫：“有兩樣?xùn)|西，我越是對(duì)它們思考得深沉與持久，它們?cè)谖倚闹袉酒鸬捏@懼就越恒久彌新，一個(gè)是頭頂浩瀚的星空，一個(gè)是心中的道德律。”

In psychology, there is a word that connects the ‘Megalo’ with ‘Phobia’ . It is called ‘Megalophobia’, shown as a kind of syncope when facing the colossus. It is a more complex expression of emotion than phobia, including both physical and psychological tremors, an unspeakable revere between the greatest and the smallest dimensions. As the philosopher Kant wrote in his epitaphs, ‘Two things tlthe mind with ever pew and ingreasing adtniratlon and awe. The more otten and steadlly we reflect upon them: the starry heavens above me and the moral law within me’.

這顯示了“巨物”不僅是一種外在可視的龐然大物，還有那看不見的心靈深幽。它激發(fā)了我們對(duì)渺小自我與無(wú)垠世界的強(qiáng)烈對(duì)比，它是“特殊的美感”，一種經(jīng)由直面巨物而不可抗拒的自我放逐之下，所獲得的由戰(zhàn)栗所得來(lái)的，在更高層級(jí)上超越理性與感性的審美體驗(yàn)。

The fact shows that ‘immensity’ is not only a kind of external-visible colossus but also an invisible deep soul. It stimulates a sharp contrast between our small self and the immensity of the world. As a "special beauty", it’s also an aesthetic experience obtained from trembling that transcends rationality and sensibility at a higher level, under the irresistible self-exile of facing giants.

在藝術(shù)家董鶴的畫作中，這一隱含的巨物信息，借由他的藝術(shù)予以表達(dá)。無(wú)論是巍峨而撲面的雪山，生命的摔碎與宣泄飛濺的瀑布，滾濤而隱藏深沉危險(xiǎn)的大海，還是巨大而無(wú)聲在山谷中的天外來(lái)石，那些細(xì)節(jié)之中的渺小人物，都在那洶涌而巨大的存在者面前戰(zhàn)栗矗立。

In artist Dong He's paintings, this implicit information about the megalo object is expressed through his art. Despite the towering and overwhelming snow-capped mountains, the shattering life and splashing waterfalls, the rolling sea hiding deep dangers, or the huge and silent extraterrestrial rocks in the valley, every tiny figure in those details all trembles in front of the surging and massive existent.

巨物的存在，常被描述為“大它者”，它暗示了在藝術(shù)家心靈深處所指向的一位超越所有想象的“大它存在者”。它隱藏并超越在藝術(shù)家所成長(zhǎng)經(jīng)歷中所獲取的一切信息，無(wú)論是在幻想編織的宇宙中，還是在真實(shí)且體悟的超驗(yàn)之中，它的神秘在場(chǎng)，無(wú)時(shí)不刻使藝術(shù)家處于震顫與狂迷之中，如他手中隨時(shí)呼喊著的線條和色彩。

The existence of such a colossus, often described as the ‘Big Other’, implies that there is a ‘The Great Being’ in the artist's deep mind beyond all imagination. It hides and transcends all the information acquired from the artist's experience of growing, whether it’s in the universe, woving with fantasy, or in the real and realized transcendence, its mysterious presence constantly makes the artist tremble and delirious, like the lines and colors that cry out in his hand at any time.

一種超越宇宙的“崇高”，借萬(wàn)物將祂彰顯出來(lái)。藝術(shù)家在其中凝神思想，借著這世界之表象，將那隱藏之物表達(dá)。這是藝術(shù)家的一種捕捉，一種追影，盡管祂是神秘的，盡管萬(wàn)物不足以描述于祂，但祂仍然在場(chǎng)，因祂借這萬(wàn)物開口說話，祂是“自有永有”。

A "sublime" that transcends the universe and manifests itself through all things. The artist concentrates his thoughts and shows hidden things through the appearance of the world. He is a capture of the artist and a pursuit of the shadow. Although he is so mysterious that nothing is enough to describe him.He is still present, because he speaks through everything, he is ‘I AM THAT I AM.’