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--- Zeng Xiang’s New Year Calligraphy Exhibition of Blessings艺术家：曾 翔
地址：北京市房山区阎富路78号院1号楼岚羽国际会议中心二层源书院源美术馆
时间：2025.1.24—2025.3.16
注：每周周一闭馆／1月26日至2月4日（假期休息）
address：Yuan Academy, Yuan Art Museum, 2nd Floor, Lanyu International Conference Center, Building 1, Courtyard 78, Yanfu Road, Fangshan District, BeijingTime: 2025/1/24—2025/3/16Note: Closed on Mondays / January 26 to February 4 (holidays)姜 勇
万福金安，曾经是个颇为等级化的宫廷问候。今天，既然旧的制度业已瓦解，世界进入众生平等的新秩序，这个问候也就重现了它的民主性。万福源于苍生的付出，自当散于万众。百姓各得福报，吉祥平安，正是理所当然的祝愿。
曾翔的写“福”计划从几年前就开始了。但与其说是计划，不如说是内心善念的自然流露。这些福字，或纠缪窃曲，虫蜒凫屈；或踟蹰顾盼，熊踞猿伸。既焕发出强烈的图案倾向，又经由线条书写呈现了意绪的律动。它是象征性的，又不乏感性和戏剧化，令人远离了当下明白无误的直截和苍白，重返前文字时代的惚恍和深湛。
如此这般的意象营造，由福字而福图而福象，通过费解的有形之迹——一种突兀的非透明性——连接和暗示了无形的世界。语义缺席之际，即意蕴充盈之时。在伊利亚德看来：“物体一旦成为外在力量的容器，这力量便会使它与周遭的环境有所分别，并赋予它意义与价值。”这话其实更适合反过来说：一旦事物以其特殊的形态与周遭的环境呈现断裂，它就会产生神力，并被赋予超越的意义和价值。
中国上古有铸鼎象物之事：“百物而为之备，使民知神奸。”在初民那里，此物不是僵死的物件，而是信物，各部族之图腾。福，既然早已为国人朴素的愿望所寄，它当然可以被理解为民众最溥泛的精神图腾。无形的福泽，于此绽出它可视化的真身。
人类学家发现，在古往今来全世界的范围内，普遍流行着一个周期性的仪式。意在使人类重返宇宙初始、鸿蒙未判的混沌状态，以涤除污秽，开启世界的再造和重生。这个周期性的仪式，就是新年。
乙巳新年将至，愿见者有福，日新其德，如意吉祥！
甲辰小寒 姜勇于长春
Jin An—— Zeng Xiang’s New Year Calligraphy Exhibition of Blessings
Jiang Yong
May all blessings come to you, and may all be blessed. This was once a rather hierarchical court greeting. Today, since the old system has collapsed and the world has entered a new order of equality, this greeting has also revived its democratic nature. May all blessings come from the efforts of the common people, and should be distributed to the masses. It is natural that the people will receive blessings, and be auspicious and safe.Zeng Xiang’s plan to write “Fu” began a few years ago. But rather than a plan, it is a natural expression of his inner good thoughts. These characters of blessing are twisted and twisted, like insects and ducks; or hesitant and looking around, like bears and monkeys. They not only exude a strong tendency towards patterns, but also present the rhythm of emotions through line writing. It is symbolic, yet not lacking in sensuality and drama, which makes people stay away from the current unmistakable directness and paleness, and return to the hazy and profoundness of the pre-text era.Such image creation, from the word "Fu" to the "Fu" picture to the "Fu" image, connects and implies the invisible world through the incomprehensible tangible traces - a kind of abrupt opacity. When semantics are absent, the meaning is full. In Eliade's view, "Once an object becomes a container of external forces, this force will distinguish it from the surrounding environment and give it meaning and value." This is actually more suitable to say the other way around: once things are disconnected from the surrounding environment with their special form, they will produce divine power and be given transcendent meaning and value.In ancient China, there was a thing called casting a tripod to represent things: "All things are prepared for it, so that the people know the gods and treacherous." For the primitive people, this thing is not a dead object, but a token, a totem of each tribe. Fu, since it has long been the simple wish of the Chinese people, it can certainly be understood as the most widespread spiritual totem of the people. The invisible blessing blooms its visualized true body here.Anthropologists have found that a periodic ritual has been popular all over the world from ancient times to the present. The intention is to return mankind to the chaotic state of the universe at the beginning, to cleanse the filth and start the reconstruction and rebirth of the world. This periodic ritual is the New Year.The Yisi New Year is coming, I wish those who see it will be blessed, improve their virtues day by day, and have good luck!Jiachen Xiaohan Jiang Yong in Changchun
展览现场
Exhibition view
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关于艺术家
About the Artist
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号一夫、曲堂、木木堂、三牖竹榴斋。
1958年出生，湖北随州人，国家一级美术师。
现为中国国家画院研究员、中国国家画院曾翔书法工作室导师，云南大学昌新国际艺术学院硕士生导师。
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