新月月亮 Crescent Moonoil on canvas, 1996Quote: Painting is one way in which I search for something that is near yet not clear to me. In Hindu symbolism, the sky is a physical representation of a higher mental consciousness. (The sea is a representation of feelings and emotions) The moon represents spirituality. But those definitions can limit the painting. Try something after you hear an interpretation of a painting, let go of all words and meanings. With a quiet mind, your inner eye can become a window to another place. 新月月亮 帆布上的油,1996 画是一个方法我搜寻为仍然是近的不某物对我清除。 在印度的象征方面，天空是比较高的心智意识的实际表现。 (海洋是感觉和情绪的表现)月亮表现灵性。 但是那些定义能限制画。 在你听到画的解释之後 , 试某物,让去所有的字和意义。 藉由安静的思想，你的内部眼睛能变成到另外的一个地方的一扇窗户。

河 The Riveroil on canvas, 1994"Siddhartha had often heard all this before, all these numerous voices in the river but today they sounded different... They all belonged to each other: the lament of those who yearn, the laughter of the wise, the cry of indignation and the groan of dying... and all the voices, all the goals, all the pleasures, all the good and evil, all of them together was the world." Hermann Hesse 河 帆布上的油,1994"Siddhartha 时常有以前听到起来所有的这, 所有的这些很多的声音在河中但是今天他们听起来不同。。。 他们全部属于彼此: 悲叹那些渴望,明智者的笑，愤怒的哭声和死亡的呻吟...而且所有的声音，所有的目标，所有的快乐，所有的好和邪恶者,他们全部一起是世界。"

Europa Europa1980, oil on woodQuote: This is another case where Michael Parkes took a myth and elaborated upon the story of Europa in a tongue-in-cheek manner. The legend has it that Europa was a princess of Tyre. Zeus was so enamored with her that he disguised himself as a gentle bull and succeeded in tempting her upon his back. She was thus carried away to sea to mother his three sons. Europa 1980,在木材之上涂油水于 这是麦可 Parkes 以不认真的方式在 Europa 的故事之上拿了一个神话而且详细地说明的另外一个情形。 传说有它 Europa 是古代非尼基的港都一位公主。 天神宙士是如此的迷住由于她以致於他伪装成一只温和的公牛而且在～中成功在他的背面之上诱惑她。 她是如此拿走到对母亲他的三个儿子的海洋。

晚上浇水予甜 Night Water1980, oil on woodArtist Quote: Imagine a primordial world where water has never existed. Creatures in this sphere have no concept of what it is yet sense its power even before it is brought to light. Then it opens, offering itself and changing the barren planet forever. 晚上浇水予甜 1980,在木材之上涂油水于艺术家引证: 想像水从未存在的一个原始的世界。 在它被带来点燃船搬运之前 , 人在这个球体中没有它所仍然是感觉它的力量观念甚至。 然后它打开,提供它本身而且永远地变更不育的行星。

绿洲 Oasis1978, oil on woodQuote: The idea was to show the end of life on a planet not unlike our own. Nothing is left in this airless, sulfuric atmosphere but one protector carrying a sole pair of living birds. As they search for a safer, greener destiny, her skirts become their oasis. 绿洲 1978,在木材之上涂油水于引证: 主意要不像我们的自己不展现行星上的生活结束。 无除了正在搬运一双唯一的活鸟一个保护者之外在没有风的, 硫磺的大气中被留下。 当他们寻找比较安全的, 比较绿色的命运时候,她的裙子变成他们的绿洲。

天鹅精神 Swan Spirit1982, oil on woodQuote: Tribal traditions throughout the world have rites enabling their members to enter a liminal space allowing an expansion of vision. Circles are drawn in the sand, elaborate rituals proceed... creating a sacred space where time is suspended and the unseen is seen. The young girl stands within such a circle and is able to see the deva of swans. 天鹅精神 1982,在木材之上涂油水于引证: 部落的传统在世界各处让进入识门的空间允许视觉的扩充仪式促成他们的成员。 圆周被在沙子方面画,精细的仪式着手进行。。。 创造时间是中止的神圣空间，而且未见过者被看到哪里。 在里面的年轻少女台子如此的一个圆周而且能够看见天鹅的 deva。

梦 Petrouchkas Dream1982, oil on woodQuote: Petrouchka, a ballet choreographed by Fokine, is fascinating historically in so far as it was choreographed for Nijinsky. Nijinsky a genius in his art, was not unlike Petrouchka, a trapped soul thinly masked in real life. Here Petrouchkla offers his love, but he is a puppet. Unrequited love is the marionettes fate.Petrouchkas 梦 1982,在木材之上涂油水于 Petrouchka, 一支被 Fokine 设计(指导)舞蹈表演动作的芭蕾舞, 历史的是迷人，在～的范围内 它为 Nijinsky 被设计(指导)舞蹈表演动作。 Nijinsky 他的艺术天才, 不像 Petrouchka 不是, 一个被困住的灵魂薄戴假面具在真正的生活方面。 这里 Petrouchkla 表示他的爱，但是他是一个傀儡。 无报答的爱是木的命运。

月亮竖琴 Moon Harpoil and pencil on paperboard, 1994Quote: This painting came about partly because my wife plays the harp. We were discussing what a wonderful metaphor the harp is for our inner life: the strings are grounded in the soundboard and yet stretch upward towards the sky. The tension between earth and sky must be just right to produce a beautiful tone. Only then are we in tune with our true self. The nakedness of the harpist reflects how we must strip ourselves of ego to allow the music to shine. 月亮竖琴 paperboard 上的油和铅笔,1994 这幅画部分发生因为我的妻子游戏竖琴。 我们正在讨论多麽令人惊奇的隐喻啊竖琴是为我们的内部生活: 线在 soundboard 被将～置于地面和仍然伸展向上的向天空。 紧张在地球和天空之间一定是仅仅正确生产一个美丽的明暗。 唯一的然后是我们在歌曲中由于我们的真实自己的。 harpist 的裸反映我们一定如何自我脱衣我们自己允许音乐发亮。

史芬克斯 Sphinxoil and pencil on paperboard, 1994Quote: I have painted the Sphinx before but in a more serious vein. Here the Sphinx takes on an entirely different feeling because of the angels youthful innocence. Just as young children play with make-up, so too, this little angel has been painting the Sphinxs face. A swan helps by holding a ribbon in place, and even a teddy bear is included in their make-believe. 史芬克斯p aperboard 上的油和铅笔,1994 我以前有画史芬克斯但是在一条比较严重的血管中。 这里史芬克斯因为天使的年青无罪在一完全地不同的感觉上拿。 正如年轻的孩子如此也和～玩化妆这位小天使有油漆史芬克斯的脸。 天鹅藉由在地方中握住一条缎带帮助，而且甚至一个儿童的玩具熊被包含在～中他们的假装。

秘密的跳舞 Dance of Secretsoil on canvas, 1997Quote: What you see here are two aspects of one dancer: the introspective and performing sides. The young star on the rope is self-confident, sure of her seemingly effortless technique, and almost arrogant in her attitude. Yet without the reflective dancers strength of body and mind there cannot be a performance of grace and apparent ease. 秘密的跳舞 帆布上的油,1997 你所看见的这里是一个舞者的二个方面: 内省和表演的边。在粗绳之上的年轻星是有自信的,当然表面上容易的技术她,和几乎傲慢在她的态度中。 仍然没有反射的舞者身体和思想的力量能够不有优雅和显然的安逸表现。

非洲的精神 Spirit of Africaoil on wood, 1996Quote: The number of civilizations that have risen and fallen is too great to recall. Although their grandeur may be destroyed, seeds of knowledge sometimes managed to escape, to be carried on, often unwittingly, by a few. This young Nubian girl watches as all that she knows is consumed by fire, unaware that she is to be one of these few. 非洲的精神 木材上的油,1996 有升起而且跌落的文明数字是太很棒而无法取消。 虽然他们的庄严可能被破坏，但是知识的种子有时设法逃脱, 到是继续,时常不知情的, 被一些。这个年轻的努比亚人少女看当做全部她知道被火耗尽,不知道的她要这些是一

提婆 Devaoil on wood, 1988Quote: Some believe that long ago devas shared in the making of this Creation. Could it be that this image depicts the making of the very first dragonfly? Is the snow leopard a creation of hers, a companion, or perhaps both? Did she strive for perfection as symbolized by the lotus she holds? What we see at a first glance is enough: a world of beauty and harmony. 提婆 木材上的油,1988 一些相信很久以前提婆构成这创造分享。 它能是这幅图像描绘做第1 只蜻蜓吗？ 作那些雪创造的她的，同伴的豹，还是或许两？ 她象通过她拿的荷花体现的那样争取完美了吗？ 我们在第一个一瞥看见的是足够的： 许许多多的美丽和协调。

马戏团记忆 Circus Memoriesoil on wood, 1992Quote: On the summit, the mask is removed. The sound of the distant circus beckons, but she hears only silence. 马戏团记忆 木材上的油,1992 在高峰会上，假面具是离开的。 远的马戏团的声音招手，但是她只听到沈默。

乔治 t. George1978, oil on woodQuote: Not everything in Michael Parkes work is serious. This is a "classical, yet humorous portrait of St. George after the fight with the dragon." He has won the hand, and everything else, of the naked maiden. The sword represents the triumph over evil. "Naturally, the real question continues to be whether it was really a bad dragon or nothing more than a dragon trapped within the emotional circumstances of the moment!"St. 乔治 1978,在木材之上涂油水于 不是每件事物在麦可 Parkes 工作中是严重的。 这是 "古典的 , 仍然 St. 乔治的富幽默感的肖像在打架打架之后由于龙 ." 他有嬴得手, 和其他每件事物,赤裸的年轻未婚女子。 刀剑表现关於邪恶的凯旋。"自然地，真正的问题继续当是否它真的是一条坏的龙，否则毫不超过 一条龙在片刻的情绪环境里面困住!"

呵呵 …………END…………

真好!!!

8錯 偶粉喜歡, 感謝樓屬

希望多发些,非常感谢.

图很好 有很高的艺术价值和哲理性 但是文字看起来很费劲 顶是没的说 楼主辛苦了 本人也在创作类似这些风格的作品 希望以后有机会能发上来大家一起PP

很不错的  谢谢了