梁会长好，各位老师好，谢谢你们的分享。各位朋友们好。
President Liang, teachers, thank you for your beautiful sharing. Hello, my friends.
我外婆的二伯是清朝的秀才。年纪很轻便中了乡试科举。杨沚芗先生被当时的中国政府派来南洋。太伯公便携带家眷南来。外婆在南洋出生。这样算来我是来自中国的第四代移民。我的外公年轻的时候来到南洋。这样算来，我是来自中国的第三代移民。
我十三岁从马来西亚到新加坡念书，直到三年前（2020年）当了新加坡公民。这样算，我又是到新加坡的第一代移民。
My grandmother's second uncle was a scholar in the Qing Dynasty. He passed the provincial examination at a very young age. Mr Yang Zhixiang was a trainee consul sent to Nanyang by the Chinese government. My granduncle brought his family to Nanyang, and my grandmother was born in Nanyang, so I'm a fourth-generation immigrant from China. My grandfather came to Nanyang when he was young, so I'm a third-generation immigrant from China. I came from Malaysia to study in Singapore at 13, and three years ago, in 2020, I became a Singaporean citizen. This makes me a first-generation immigrant to Singapore.
我的风水是外公教的。我的外公的风水又是他的外公教的。我们家族好多代人都是堪舆风水的。外公在我三十岁的时候去世。过不久我便继承家业。到十七年后的今天，在世界各地，云龙子旺财馆只有两个地方没有客户。南极和北极。其它地方都有云龙子旺财馆的客户。
My fengshui knowledge was inherited from my grandfather, and my grandfather learnt fengshui from his grandfather. So many generations of our family have been fengshui masters. My grandfather died when I was 30. Soon after, I inherited the family business. Seventeen years later, there are only two locations in the world without my clients: the Antarctic and the Arctic. Lotus on Water's clients is everywhere except for Antarctica and the Arctic.
那我游访的这么多国家里头，除了结识了不同肤色的人，也结识了许多在各个国家落地生根的华人。我们华人，虽然身处国家不同，却有一些共同点：当各地的华人邀请我到他们家中作客的时候，无论是贫穷门第或富贵大家，你会发现他们家里头都会挂上风水画。牡丹花啦、龙凤啦、鲤鱼、金鱼、荷花、山水、等等等等。
In the many countries I have visited, besides meeting people of different colours, I also met Chinese who have sunken roots in various countries. Although we Chinese are in other countries, we have something in common: when Chinese everywhere invite me to their home, whether poor or rich, you will notice a fengshui painting hanging in their home: peony, dragon, phoenix, carp, goldfish, lotus, landscape etc.
可是很奇怪的是，当我表扬他们：“咦！你家里也挂风水画呀？”他们便会很不好意思地否认。说：这些不是风水画啦！我只是喜欢这些鲤鱼的颜色。
又或者，他们会推给家里的老人家。“哎呀！都是我奶奶。说非得挂上这个不可。”
But it’s strange that whenever I comment: "So you have fengshui paintings at home?” They would be embarrassed and deny it: “These are not fengshui paintings; I just love the colour of these carps.” Or they would push it to the seniors at home and say: “My grandmother insisted on hanging it.”
我们华人的家里（无论是哪个国家的华人），墙上绝对不会挂上骷髅头、不会挂上像毕加索Picasso 的立体主义cubism画里头被支解成一块一块的人像画。有许多华人的家里，连肖像画也不许挂上墙。我可以简单一点地说，华人家中挂墙上的画，基本上都符合风水画的要求。“画中有图，图必吉祥；画中有字，字必吉利。”
In Chinese homes, regardless of our country, we will never hang a skull on the wall. We won’t hang a cubism painting by Picasso featuring a dismembered human body. To put it simply, the paintings put up in Chinese homes generally meet fengshui requirements. When there’s an image in a painting, that image will be an auspicious motif; when there are words, the terms will be auspicious sayings.
我们华人，除了在过年过节的时候，用我们的嘴巴对亲人朋友说出美好、正面的祝福，连我们家中的墙壁，也必须无时无刻，向我们至亲的人传达我们最美好、最幸福的期望。
Apart from festivals like Chinese New Year, when we use our mouths to express blessings to our family and friends, the walls in our homes must always convey our dearest wishes to our loved ones.
不过即然挂风水画有着一个这么善良、美好的用意，我们为什么会不好意思承认自己挂风水画？甚至，以它为恥呢？
原因可能有好几个。我在这里试举三个。
Since hanging fengshui paintings has such a kind and beautiful intention, why are we hesitant to admit that we hang them? Why even be ashamed of it? There may be several reasons; I will give you three possible ones.
其一，是许多人认为“风水”本身是迷信的，是不科学的。甚至有“欺骗”的嫌疑。
“风水”，科学不科学？骗人不骗人，不是我今天的课题。也不应该由我来讲给你听。而是应该由我的客户讲给你听。
Firstly, many people believe that fengshui is superstitious and unscientific. Whether fengshui is scientific or not, whether it's a scam or not, that's not the topic for today, nor should I be the one to explain it to you. But instead, it should be defined by my clients.
其二，便是当前的风水画的价值太低。风水画的什么价值太低？文化价值太低，市场价格也太低。
The second reason is that the value of fengshui paintings needs to be higher. What values of the fengshui paintings are too low? The cultural value is too low; its market price is also too low.
风水画是人画的。可是当前许多画风水画的人都不是风水师。而许多风水师又不画画。仅剩的一些会画画的风水师又不愿意画风水画。
People paint fengshui paintings, but many of those who paint fengshui paintings today are not fengshui masters. Many fengshui masters do not paint. There are only very few fengshui masters who can paint, but they are not willing to do so.
所以，当前的许多风水画都是农民在秋天收成之后，闲来无事，以按图抄写的方式，大量生产风水画，以供市场的需求。这是当前的风水画的状况。
Therefore, farmers copying the patterns produce many current fengshui paintings in large quantities. However, after their autumn harvest, they inevitably look the same with a flat and unremarkable painting style. This is the current state of fengshui paintings.
其三。当前的风水画的舞台太低。我们很少看到正统的博物馆，高档的画廊，大品牌的拍卖公司，展览风水画。
The third reason is that fengshui paintings have a small stage. We rarely see traditional museums, high-end galleries, and big brand auction houses exhibiting fengshui paintings.
那风水画本身是否真的是一种没有历史背景、没有文化底蕴的无根之物？它是否完全是无稽之谈、是江湖术士骗人钱财的套路？如果真是这样，为什么白莲教灭绝了，罗马帝国灭亡了，埃及不再建造金字塔，制作木乃伊了；不被人看重，甚至让人瞧不起的风水画却无声无息地在各地华人家里默默绽放？
So is fengshui painting really without history or cultural heritage? Is it just a scam that charlatans use to deceive people for money? Why did the White Lotus Sect go extinct if that's the case? Why did the Roman Empire fall? Why did Egypt stop building pyramids and making mummies? Whilst fengshui paintings, which are not valued or even despised by people, are silently blooming in the homes of Chinese all over the world?
邹衍是春秋战国时期，百花齐放之时，阴阳五行学说的创始人。听说有一天他到了某个地区，当时天寒地冻，寸草不生。邹衍对着大地吹奏音乐长达三天三夜。接着，春暖花开，大地回春。可以这样说，早在春秋时期，己有风水音乐，只是现今失传而已。将风水能量溶入艺术如：音乐、书画、雕塑之中，是不是始于春秋时代？我认为是更早。出土文物当中，最早与风水哲学有关系的，是凌家滩文化的玉龟。玉龟里头有一块玉版，上头雕有原始八卦图。凌家滩文化距今多少年？大约5300年。这是个什么概念？孔子出生的春秋时代距今2500年，可是5300年以前的凌家滩文化已经出现了有风水概念的雕刻。
Zou Yan lived during the Warring States when many schools of thought emerged. He’s the founder of the theory of Yin-Yang and the Five Elements. One day he arrived in a particular region, the weather was freezing, and no grass grew. Zou Yan played music to the earth for three days and three nights. After that, spring arrived, and the flowers bloomed again. It can be said that fengshui music already existed in the Spring and Autumn period, but it has been lost. Incorporating fengshui energy into art such as music, calligraphy, painting, and sculpture, did it originate in the Spring and Autumn period? I think it's even earlier. Among the unearthed cultural relics, the earliest one related to fengshui is a jade turtle from the Lingjiatan culture. A jade tablet inside the turtle is carved with an original Eight Trigrams design. How long ago was the Lingjiatan culture? Approximately 5300 years ago. What’s the significance? The Spring and Autumn period when Confucius was born was 2500 years ago. However, 5300 years ago, during the Lingjiatan culture, carvings with fengshui concepts had already appeared.
那么风水艺术是不是只专属我们华人的呢？西方艺术历史著作家，贡布里希先生，E.H. Gombrich 在他的美术史著作《艺术的故事》The Story of Art里头，第一章，研究了原始人在山洞里头留下的壁画。他说：“艺术在最开始的时候，与我们现今对艺术的概念是不一样的。当时的艺术不是一种装饰品，而是一种近似于“法术”的东西。
贡布里希的原文是Magic。有的中文翻译成“法术”，有的中文翻译成“巫术”。可是“法术”与“巫术”都含有贬义，与原文的Magic不相符。所以我翻译成“超自然能量”。
So, is fengshui art exclusive to Chinese culture? The Western art historian Sir Gombrich, in the first chapter of his art history book The Story of Art, which studied cave paintings left by primitive humans, stated that art, in the beginning, was not the same as our contemporary concept of art and was not just a form of decoration. Instead, it is something akin to “magic”. Gombrich used the English term “magic”, Which some Chinese translations render as fashu or wushu. However, both fashu and wushu have negative connotations. Therefore, they do not accurately reflect the original term “magic”. Thus, I translated it as “supernatural energy”.
贡布里希认为，原始人的艺术是一种超自然能量。比方说他们在石壁上画一只野兽，然后用弓箭射它，用石块砸它。然后就觉得自己已经把猎物降服了。可见这种艺术的信仰十分接近风水艺术。所以我很有理由相信风水艺术是全人类的，大家开始都把艺术当成超自然事物。只是华人把原来艺术的概念，以风水艺术形式，更好地保留了下来。
Gombrich believes that primitive art is a form of supernatural energy. For example, when they painted a wild animal on a rock wall and then shot arrows at it or threw stones at it. They believed they had conquered their prey. This belief is very similar to the idea in fengshui, so I have good reason to think that fengshui art is universal. Everyone used to consider art as a supernatural thing at first. But the Chinese have better preserved the original concept of art in the form of fengshui art.
如果你再不相信可以拜访一下洋人的住宅。在西方美术里头，毕加索的画是最昂贵的。可是那是在拍卖行里头。在洋人的家里，你很少发现他们墙上挂有毕加索的作品，也很少挂有他的作品的印刷版。而洋人家里，挂的往往是法国印象派French Impressionism 的作品及其印刷品。而印象派里头常画的是江河湖水、莲花垂柳。十分符合我们华人风水画的要求。所以无论是华人还是洋人，似乎是心灵本能的，都喜欢风水画。所以风水画不是无根之物，甚至可以说它有着一个非常辉煌的前生。
If you don't believe it, you can visit the homes of Westerners. In Western art, Picasso's paintings are the most expensive, but that's in auction houses. In Westerners' homes, you rarely find Picasso's works hanging on the walls or many of his prints. Instead, Western homes often have pieces of French Impressionism and its prints hanging on the walls. Impressionist paintings often depict rivers, lakes, lotus flowers, and willow trees, which align with the Chinese fengshui paintings. So whether Chinese or Westerners, there is an instinctual liking for fengshui paintings. Therefore, fengshui paintings are not without historical backing; they even have a brilliant past.
既然风水画的前生是辉煌的，是全人类共同拥有的，而当今的際遇不堪明朗，这表示它除了有进步的空间，也有增值的空间。
Since feng shui paintings have a glorious past shared by all of humanity. But the current situation is still being determined. This indicates that there is not only room for improvement but also room for value appreciation.
我己经针对上头所说的风水画的三个方面的欠缺作出了许多的补救。而且，一直努力不懈地增加风水艺术的价值。我们一直说“价值”、“价值”。似乎是先有价才有值。我认为应该把这个词改一改，说“值价、值价。应该是先有值，然后价会跟着来。“值”有虚也有实，有阴也有阳。
I mentioned three shortcomings of fengshui paintings just now and have made many remedies for them. First, I have been tirelessly working to increase the value of fengshui art. We always discuss “value-worth” as if the matter comes before worth. I think this word should be changed to “worth-value”. It should be “worth” before “value”, and “worth” be either “abstract” or “real” or yin and yang.
我先说“实”的值吧！我个人是个很务实的人，十分相信“实”的东西。所以我们的风水馆卖的，都是十分真实的东西。我们的风水馆，十六年前成立的时候，是新加坡第一家，至今为止，依然可能是唯一一家只卖百分之分天然翡翠的风水馆。有一些人认为，只要有你有信念，用塑料珠子做的风水都可以点石成金。可是，如果连“实”的材料都是假的，那么“虚”的风水能量有可能是真的吗？所以江湖上对我们的风水馆只有一句批评，“贵”。我们最便宜的入门产品都要新加坡币一万元。可是效果却是非同凡响的。
Let me talk about the “real” worth first. I am a very practical person; I believe in things that are real. So our fengshui gallery sells only very authentic items. When our fengshui gallery was established 16 years ago, it was the first and possibly the only fengshui gallery in Singapore that sold only 100% natural jadeite. Some people believe that fengshui objects made of plastic beads can have magical powers as long as you have faith. I'm not sure about that. If even the “real” materials are fake, can the “abstract” fengshui energy be real? The criticism we receive in the industry is that we are expensive. Even our cheapest entry-level product costs SGD10,000. But the effect is extraordinary.
有人问我：“你不可以卖便宜一点的东西吗？让客人先小旺个幾千元才来买贵的。”我说啊！要小旺个几千，甚至几万元，何必做风水？加班加点不就行了吗？
Some people ask if I can sell something cheaper? Let our clients make a few thousand first. How did I reply? There’s no need to rely on fengshui if you want a few thousand more, work some overtime and put in some extra effort.
我们云龙子旺财馆卖的任何东西，除了必须有风水效果，还必须符合三个要求：美丽的、恒久的，稀罕的。
Lotus on Water’s products, besides having fengshui effects, must fulfil three requirements: beauty, durability, and rarity.
同样的，我也把这个理念用在我的风水画里。在我作画的材料里，常常令许多人惊艳的是，我会用真金与白银作画。除了真金白银之外。我其它的许多作画材质，都十分珍贵。比方说我的泼彩。我很喜欢张大千的泼墨山水。但我泼彩用的却是香槟，而且是法国的罗兰柏悦香槟。幸好法国罗兰柏悦香槟是我的赞助。
I also apply this principle to my fengshui paintings. My materials often amaze me because I use real gold and silver. Besides gold and silver, many of my other painting materials are also very precious. For example, for my splashed ink paintings, I love Zhang Daqian's ink landscape paintings, but I use champagne instead of ink. Specifically, I use Laurent-Perrier champagne from France. Fortunately, they sponsor me.
罗兰柏悦是法国五大香槟品牌之一。酿制香槟世家有二百多年之久，他们第一次与画家合作，把画作印在他们的酒瓶上的，不是一个法国画家，而是一位华人的风水画。我除了感恩祖上这么多代风水的加持，也十分荣幸自己能为风水画的来生裹上一层华丽的锦衣。
Laurent-Perrier is one of the top five champagne brands in France. They have been producing champagne for over 200 years, and it’s the first time they collaborated with a painter to print a painting on their champagne bottle. It was not a French painter but a Chinese fengshui artist. Besides being grateful for the blessing of my ancestors' fengshui, I am also very honoured to add a layer of gorgeousness to the future of fengshui paintings.
除了这种＂实”的价值，我们也为风水画增加了“虚”的值。我所说的“虚”，不是“虚假”的“虚”。而是一种“形而上”的能量。往往虚与实是阴阳相依的。我和柬埔寨的王室是十分要好的朋友。王子公主殿下们常常会飞到新加坡来找我玩几天。每次过来我会送他们一些礼物。他们也很礼貌地回礼。直到后来他们说：“云大师，不如你告诉我们你要什么，你好像什么都有了。每次想送什么给你都让我们想疯了。”
Besides the “real” value, we add “abstract” value to fengshui paintings. What I mean by “abstract” is not “fake” but a kind of metaphysical energy. Often, the “abstract” and the “real” are interdependent. I am an excellent friend of the Cambodian royal family. The princes and princesses often fly over to spend time with me. I give them gifts every time they come, and they politely return the favour. Later, they said: “Master Yun, why don't you tell us what you want as it seems like you have everything. Whenever we try to give you something, we go crazy thinking about it.”
后来我无意中硏究到，我们作画用的藤黄，最好的其实是产自柬埔寨的。原来啊，在十七世纪欧洲著名油画家，比方说：伦勃朗Rembrandt, 在作画的时候也只舍得用上一点点的柬埔寨的滕黄。我马上打电话给柬埔寨的天娑王子，问他：你们国家是不是有出产这种颜料。藤黄。学名叫Garcinia Cambogia。王子一听，说，有啊！我们皇宫里头拿来送给得道高僧，用来染他们的袈裟的便是这种颜料。你喜欢我下次拿一些过来送你。我一听开心得不得了。说，下回你过来，什么都别拿来送我，就送我这个藤黄行了。
Later, I researched and found out that the best gamboge used in our paintings is produced in Cambodia. In the 17th century, renowned European oil painter Rembrandt only used a tiny amount of Cambodian gamboge when painting. I immediately called Prince Tesso of Cambodia and asked if their country produced a paint called gamboge, scientifically known as Garcinia Cambogia. The prince confirmed that they did and used it to dye the robes of their high-ranking monks. He offered to bring some over for me, and I happily agreed. I told him not to get me anything next time he comes; bring me gamboge.
所以我的风水画里头除了有连伦勃朗都不舍得用的藤黄（这藤黄是“实”的值），而且这藤黄还带有王气。（而“王气”便是一种形而上，虚的值）。那你说，这种“虚”的值，到底是真的还是假的呢？当然，这个答案最好是由我的客户回复你。
不过我可以告诉你，我自己的一个亲身经历。
So in my fengshui paintings, I used gamboge, which even Rembrandt couldn’t bear to use. This gamboge carries a “real” value and a royal aura, a metaphysical value. But is this "metaphysical" value real or fake? My clients would answer best, but I can share a personal experience.
疫情期间，我们很多很多事情不能做。不能出国，不能出门，不能见朋友，不能逛街。所以，我便多出了许多时间在家做两件事：画风水画与睡觉。因为疫情期间睡太多了嘛，便睡不着。有一个晚上，我在床上瞪大着眼睛，望着墙壁上，我自己画的风水画里头的一只孔雀。我对那只孔雀说：这段时间，我哪里都不能去，日日夜夜都对着你，望着你。请问，你到底有什么能量，能够帮助我完成一些我平时都不能完成的事情吗？
During the pandemic, when many things were not allowed. No international travel, going out, meeting friends, or shopping. I spent more time at home doing two things: painting feng shui paintings and sleeping. However, sleeping too much caused me to have trouble falling asleep. One night, I was lying in bed staring at the peacock I painted in my fengshui painting. I said to the peacock. During this period, I cannot go anywhere; I look at your day and night; what kind of energy do you have that can help me accomplish things that I usually cannot?
我一说完，心里突然有一种莫名的感觉。有点儿好像通了电一样，又有点好像周围亮起来了一样。总之，好像那只孔雀听到了我说什么，而且，回应了我。
As soon as I finished speaking, I suddenly felt strange, like an electric current was flowing through me. It seemed as if the surroundings were becoming brighter; it was as if the peacock heard what I was saying and responded to me.
那后来发生了什么事呢？长话短说，我受中国中央电视台的邀请，在长城展览了我的风水画。当时2020年12月17日。万里长城，那是三千五百年历史的世界七大奇观之首啊！我竟然是第一个，至今是唯一个上长城展览风水画的人。这难道是我画得比别人好吗？这绝对不可能。中国有十四亿人口，全世界又有这么多艺术家，画得比我好的人太多了。我只可以说我特别幸运，也是我风水画里头的孔雀，把我的风水画带上了长城。也或者说，这是个预兆，风水艺术，有着凤凰浴火重生的再生能力。它华丽灿烂的来世既将到临。
What happened later? Long story short, I accepted an invitation from China CCTV to exhibit my fengshui paintings on the Great Wall of China. The Great Wall of China is one of the world's Seven Wonders with a history of 3500 years. I’m the first and only person to hold a fengshui art exhibition on the Great Wall. Is this because I painted better than others? This is not possible. China has a population of 1.4 billion, so many artists are better than me. I can only say that I am fortunate, and the peacock in my feng shui painting brought my paintings to the Great Wall. Perhaps this is a sign that feng shui art can be reborn like a phoenix. Its magnificent and brilliant future is about to arrive.
去年，我很荣幸受邀到南洋理工大学讲课。课题是：《风水艺术中的富裕哲学》来听课的，有许多是资深的学者与教授。在大学学府里头讲风水画，应该是前所未曾发生过的事。我想，许多人开始意识到风水画绝不是一个廉价落伍的商品，也不是一个没有哲学深度，美学含量的行货。风水画有深厚的人性历史文化前生，虽然经历遭人无知蔑视的今貌，却即将享有华丽转身的来世。
Last year, I was honoured to be invited to a lecture at NTU titled The Philosophy of Prosperity in Feng Shui Paintings. Many of the attendees were senior scholars and professors. To talk about fengshui painting at a university is unheard of. Many people are beginning to realise that fengshui painting is neither a cheap and outdated product nor a commodity without philosophical depth and aesthetics. Fengshui art has a profound historical and cultural background. Although it has been despised due to ignorance, it is about to have a magnificent turn in the future.
这次的“妙笔生花”国际女性艺术家作品展，让本岛聚合了海内外重量级的艺术家
。
我个人很喜欢传统的艺术，也很喜欢现代艺术。喜欢东方的美术，也喜欢西方的美术。我以前听现代艺术家批评传统艺术为传统而传统，又听到传统艺术家批评现代艺术家为现代而现代。所以我个人常常引以为戒。千万别只为画风水画而画风水画。也别只为艺术而艺术。
This “Elegant Strokes, Exquisite Art” International Women Artists Exhibition has brought together heavyweight artists worldwide. I like traditional art, but I also like modern art. I like both Eastern and Western art. I used to hear contemporary artists criticise traditional artists, saying they were keeping to standard for the sake of tradition. Then I heard traditional artists criticise contemporary artists, saying they were being contemporary for the sake of being trendy. I personally always take this as a warning. Don't just draw fengshui paintings for the sake of doing so, and don't just do art for the sake of doing art. So why do I draw fengshui paintings? Because it can make people prosperous. Not just one person but everyone.
你想看，一幅风水画挂在大厅里，不是一个人看到的，而是全家人看到的。还有亲戚朋友来也看到，左邻右舍来窜门也能看到，儿子女儿的同学朋友过来也能看到。你想，一个人很有才能，富贵了。可是如果子女不夠贤孝，那这个富贵能够千秋万载吗。又想想，一个人很富贵，可是朋友亲戚都很穷，难道不怕亲朋亲友来借，来妒嫉，来算计吗？一个人富贵了。可是社会里如果有许多人还是赤贫的，又怎么做到路不拾遗、夜不闭户呢？
Imagine a fengshui painting hanging in the living room. Not just seen by one person, but by the whole family: relatives, friends, neighbours, and friends of your children can come and see it. Think about it, if one person is talented and wealthy, but their children are not virtuous and filial. Can this wealth and prosperity last for generations? If one person is rich, but their friends and relatives are all poor, won't they fear that others will borrow, envy, or plot against them? If one person is wealthy, many people in society are impoverished. How can they be a society where people don't pick up lost items and doors don't have to be locked at night?
有人说，让人不做坏事有三个方法：不敢做，不能做，不必做。
There are three simple ways to make people not do bad things: One is that they are afraid to do it, the second is that they cannot do it, and the third is that they do not need to do it.
新加坡法律很森严，夜晚走在街上很安全，这叫不不敢做。银行大厦的门户十分牢固，盗贼不能进到里头偷钱，这叫不能做。如果大家都能共同富贵，忙着愉悦地赚钱，根本不必偷偷抢抢，这叫“不必做”。
Singapore's laws are strict, and it’s safe to walk on the streets at night; this is called being afraid to do it. The doors of banks are very secure, and burglars cannot enter to steal money. This is called not being able to do it. But if everyone can be wealthy together and be busy joyfully making money, there will be no need to steal or rob. This is called not needing to do bad things.
这，我希望，便是风水画的目的与精神。让人富贵起来，而不必打歪心思，邪念头。谓之：“思无邪”。
The purpose and spirit of fengshui paintings are to make people wealthy without resorting to twisted and evil thoughts. This is called thinking without evil.
在此祝福您：富贵传千代，吉祥满人间。
I wish you all the best. May wealth and prosperity be passed down for generations, and may auspiciousness fill the world.
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