《云龙子艺术在传承中囯文化而发扬至国际的效果，及其深入民心的影响》~简应隆先生 致辞

尊敬的王子殿下、各位领事阁下、各位领导、各位老师，早上好！

Your Royal Highness, Your Excellencies, Leaders, a very good morning!

我们还在春季，而这已是今年第二场关于云龙子大师艺术的研讨会，很庆幸云龙子艺术越来越受到关注、认可。

We are still in Spring, and this is already the 2nd symposium about Master Yun Long Zi’s art. It’s definitely a joy to see Master Yun’s art gathering more attention and recognition.

今天在人大的研讨会当然是不一样的，非常荣幸，我们有柬埔寨天娑王子以及六国大使公使，这真是国际性意义十足的一天！

But today’s symposium at this prestigious National People's Congress Conference Center, is different. We are honored to have His Royal

Highness Prince Tesso Sisowath from the Kingdom of Cambodia, and Ambassadors and Consuls from 6 different countries. This is truly a day of international significance!

论及云龙子大师艺术的国际性，我想从云大师一个别出心裁的项目开始说起。这个项目叫做《廊外有画》。也就是，在画廊之外，也有画。云大师的画。

When we consider the international significance of Master Yun’s art, I would like to begin with a unique project called “Art Beyond Museum”. Which literally means you can find art outside museums, specifically, Master Yun’s art.

起初，针对疫情，当画廊和美术馆都封门拒客时，云大师问：是否要默默等待，难道要让艺术的进程倒退回“黑暗世纪”？

Initially, during the COVID pandemic, when art galleries and museums were under lockdown, Master Yun asked: shall we wait endlessly, and let art sink into the “dark ages”?

不，我们不能怠慢。我们需要让艺术走出遭封锁的画廊和美术馆，走向人民；因为云大师确信艺术可以是一道光明，尤其在疫情的黑暗期间，给大众可期盼的曙光。而云大师欢庆主义的艺术，更加可以是如此。

No, we should not. We need to bring art out of art galleries and museums which had closed their doors, and bring art to the people. Because Master Yun believes that art can be light, especially in the darkness of the pandemic. Especially Master Yun’s art of Celebrationism.

这个《廊外有画》的线上节目，在新加坡，云龙子艺术就去了：孕育了新加坡繁荣的新加坡河、荣获米其林星的法式餐厅、家喻户晓的传统潮州菜馆、纯丝绸波斯地毯和巴拿马手工帽子的精品店等等。

This “Art Beyond Museums” online exhibition series, in Singapore, Master Yun’s art went to: the Singapore River which started Singapore’s prosperity, Michelin-starred French restaurant, well-known restaurant of traditional Teochew cuisine, boutiques for silk Persian carpets and Panama hats, and so on.

结果，疫情结束了，但《廊外有画》节目继续了；《廊外有画》走向了全世界。

Eventually, the pandemic was over, but “Art Beyond Museums” continued. “Art Beyond Museums” went international.

到底去了多少个国家呢？除了新加坡，还有英国的伦敦和伯明翰、老挝、印尼的巴厘岛、马来西亚的槟城等等。

How many countries did we go to? Other than Singapore, we were in England’s London and Birmingham, Laos, Indonesia’s Bali, Malaysia’s Penang, and so on.

如果《廊外有画》在一个国家到了至少12个地点，那云大师的艺术因为这个节目系列就已经在多过60个地点留下踪迹。

If “Art Beyond Museums” hit at least 12 locations for one country, then Master Yun’s art has left its mark at more than 60 locations.

云大师把艺术带到人民的生活中，感染他们，与他们的衣、食、购物等产生共鸣。比方说，美食结合不同元素的烹调与云龙子艺术的异曲同工，由此让艺术在民众的心里种下根苗。

Master Yun brought art into the lives of the people, influencing them, connect with what they wear, what they eat, what they buy. For instance, how combining different ingredients and elements while cooking a sumptuous dish is similar to creating Master Yun’s art. And so, planting the seed of art in the hearts of the masses.

也因此，云大师重新定义了什么可以是画廊。 原来，一个餐馆也可以兼任画廊、历史古迹也可以成为艺术馆、文化名胜也可以融合人生和艺术。

With this, Master Yun redefined what it means to be an “art gallery”. A restaurant can double as an art gallery. A historical site can be an art museum. A cultural site of attraction can merge art and life.

同样的破格思路，于2023年10月云大师在万里长城的书法展体现了难以超越的高度。我们都知道，万里长城3,500多年历史，云大师是长城艺术展第一人。那次历史性的书法展，其国际性有别于《廊外有画》走访了不同的国家，反而是有十三个不同国家的贵宾齐聚中国万里长城，对话云龙子艺术。

With the similar disruptiveness, Master Yun attained an unimaginable new height in his 2023 October calligraphy exhibition at the Great Wall of China. Master Yun is the first person to exhibit on the Great Wall, which has over 3,500 years of history. Its international significance, unlike “Art Beyond Museums” which brought Master Yun’s art to all over the world, we brought guests from all around the world of 13 countries to the Great Wall to converse with Master Yun’s art.

这肯定是重新定义了什么是画廊、什么是美术馆。也由此，更重要的是，审视并重组了艺术品与受众、观众的关系。

This is definitely a redefinition of what an “art gallery”, “art museum” mean.

And more importantly, this is a re-examination and restructuring of the relationship between artworks and audience.

原来，画作和书法，可以不再单单是沉默地挂在墙上。反而，云大师的作品积极与受众对话，让他们发现，其实他们每一天的一点一滴，都可能与云大师艺术有着共鸣之处。

Now we know, paintings and calligraphies, don’t have be in an inverse relativity with their audience, silently on the walls. In fact, Master Yun’s artworks actively converse with the audience, allowing them to realize, that in their daily lives, there are many aspects that are connected with Master Yun’s art.

换句话说，云龙子大师，给予了当代美学一层新的的意义。

In other words, Master Yun Long Zi, has given contemporary art, another paradigm and definition.

如果说上古艺术是为了神明和往生，之后的艺术是为了宗教和权贵，再后来，为了道德、为了抒发画家的个人情绪，又到了19世纪的“为艺术而艺术”，甚至到了当代“为解构艺术而艺术”……云大师的艺术，可谓是重新回到人本位，是为了人类而艺术。

If ancient art was for the sake of gods and afterlife, then after, it was for the sake of religion, the powerful and the wealthy, and then for the sake of morality and the expression of the artist’s emotions, and by the time it was 19th century, “art for art’s sake”, and even now with “art for the sake of deconstructing art”… Master Yun’s art is a refreshing return to art for the sake of humans.

或许因为如此，云龙子艺术在世界各地出场时，唤醒着民众内心的崇高、高雅、优美、积极、伟大。

Perhaps so, while Master Yun’s art is appearing all around the world, it evokes the sense of grandeur, elegance, beauty, positivity, the sublime, in the hearts of many.

云大师艺术在白天和夜里发光发亮的时候，不同国家、不同民族的民众，内心也正发扬着欢庆主义带来的光明。

And while Master Yun’s art shine bright in the day and glow in the night, people from different countries and ethnicities, their hearts also brighten with Celebrationism.

最后，引用云大师今天在会场的书法的一些成语，祝各位：大展宏图、万事大吉、大得人心。

Lastly, I would like to quote some phrases used in Master Yun’s calligraphies that are with us today. Wishing you: achieve big aims, receive big blessings, touch the hearts of the big majority.

谢谢。

Thank you.

~~简应隆，执行董事

云龙子北京人大研讨会 （北京4月3日2024年）

On Master Yun Long Zi’s Calligraphy Art - Speech by Li Mingquan (2/2)

Master Yun Long Zi’s calligraphy exhibition, coinciding with the traditional Chinese festival Dragon Head-Raising Day, aims to deeply and multidimensionally analyze his fengshui art and, amid the clash of different cultural contexts, evoke a resonance and encouragement in the art fields within and outside China, from techniques to artistic concepts. The exhibition was truly a spectacle of dragons soaring and phoenixes dancing, birds returning to their nests!

Master Yun Long Zi, a sixth-generation descendant of a fengshui family and born into a scholarly family, is the first Chinese artist to hold over a hundred calligraphy and painting exhibitions worldwide. His fengshui art advocates “Celebrationism,” celebrating everything worth celebrating, anytime, anywhere. Day or night, victory or loss, surprises or disappointments, all are moments for celebration. This is not just a mindset but a state of being, enlightening people to celebrate, reflecting genuine wealth and elegance.

A peculiar phenomenon has emerged in the domestic calligraphy scene, where some seek to subvert tradition with a bizarre fascination for ugliness, promoting “ugly calligraphy” without any cultural or artistic content, changing the structure and layout of Chinese characters arbitrarily for sensationalism and shock value, in a rush for quick success and instant benefits, mistakenly believing they are “innovating”. In contrast, Master Yun’s calligraphy is a true innovation, rooted in and promoting the excellent traditional national culture. With a profound foundation in Chinese culture and integrating his understanding of the world into calligraphy art, he has created a form that thrives and flourishes on Singapore’s soil, embodying both form and spirit with a strong vitality.

During his “Seeking the Way in the Central Plains” study trip, he enriched his artistry through learning traditional Chinese culture, studying at the Songyang Academy and Zhongyue Temple on Mount Song, and pondering ancient, free, vibrant, and dynamic characters and paintings. His day visits and night reflections, amidst early winter winds and snows, travelling to Laozi’s hometown and ancestral lands, drawing nourishment from the rich loess, transplanting the art of Chinese calligraphy to Singapore’s soil, organically merging with the local cultural atmosphere and spiritual aura, blossoming into vibrant flowers of the soul, bearing the unique fruits of his art.

May Master Yun Long Zi’s calligraphic and painting works achieve greater success in this kingdom of art! May the flowers of China’s excellent traditional culture bloom across the world!

Mr Li Mingquan

National First-Class Artist

Silk Road Alliance China Cultural Cooperation Ambassador

On Master Yun Long Zi’s Calligraphy Art - Speech by Li Mingquan (1/2)

My first encounter with Master Yun Long Zi’s calligraphic works was in March of last year at the Lotus on Water gallery in Singapore. I, along with several painters from China attending an international women’s painting exhibition in Singapore, was astounded! Having seen various calligraphy exhibitions in China, traditional, contemporary, innovative, and subversive, none was like Master Yun’s integration of tradition with modernity, solid brushwork foundations with dazzling and fantastical forms presented in calligraphy art! This was a first for me, and the spiritual shock experienced on foreign soil cannot be succinctly conveyed!

In the Lotus on Water gallery, the moment the interior lights were switched off, we were instantly transported into a mysterious and ancient time-space. Here, stars twinkled, colours burst forth, and a succession of both figurative and abstract images and symbols appeared before us, evoking a profound sense of the vast, majestic, and awe-inspiring universe deep within our souls. The magical and subtle feelings from distant galaxies followed, with the calligraphic images on the paper transforming into dragons soaring in the sky or phoenixes dancing above. An abundance of information on the paper, through oracle bone and large seal scripts, conveyed the beauty and auspiciousness of the world, transmitting positive energy from the universe, all while being perfectly framed by the radiant forms. This experience made us traverse through millennia and roam through wildernesses, evoking a strong sense of righteous qi within us! Overwhelmed by emotion, I penned a couplet with the Caobaozi brush technique to capture my excitement and profound feelings: “Clouds surge and winds rise, startling heaven and earth; dragons soar and phoenixes dance, stirring the cosmos.”

Last October, in the golden autumn season, Master Yun Long Zi hosted his calligraphy exhibition on the Simatai section of the Great Wall in Beijing, themed around this couplet. This was the first-ever art feast on the Great Wall’s over two thousand years of history. Holding a calligraphy exhibition on the Great Wall was unprecedented, a perfect blend of world art and paper art. On that day, as the exhibition opened under the clear skies and sea-like blue of Simatai, clouds gathered, and winds blew unexpectedly, shocking heaven and earth – truly, a celestial response! Master Yun’s 69 pieces of calligraphy, imbued with the essence of dragons and phoenixes, sought to organically combine ancient Eastern oracle bones, inscriptions, large and small seal scripts, regular script, running script with Western colours, structures, philosophies, aesthetics, Sinology, and metaphysics, embarking on a bold and beneficial exploration that defined his “Celebrationism” artistic characteristic. The integration of calligraphy, painting, the Great Wall, red carpets, lighting, installations, lion and dragon dances, vocal music, and fashion evolved into a grand performance art, leaving us with an unforgettable impression!

Traditional Chinese calligraphy is a unique art form, encompassing not just the writing of characters but also brush techniques, structures, compositions, and layouts, serving as an important medium for conveying emotions and sentiments. For instance, the joyous Wang Xizhi left us the eternally celebrated Preface to the Poems Collected from the Orchid Pavilion, while the sorrowful Yan Zhenqing penned the heartfelt Lament for My Nephew! The significant position of calligraphy art in Chinese culture is evident. It uses Chinese characters as a medium, merging the expression of form and meaning. The primary tools are, of course, the brush, ink, rice paper, and inkstone, but Master Yun Long Zi has incorporated elements like gold, silver, champagne, and pigments into his calligraphic creations, demonstrating high artistry in aspects such as handling the brush, brush movements, dotting, structuring, outlining, and shading, achieving a perfect artistic presentation.

The development of calligraphy is rooted in traditional Chinese culture, an integral part of Chinese heritage, described as “the silent poem, the formless dance, the imageless painting, the soundless music.” Master Yun has promoted this ancient yet youthful art in Singapore, inheriting the fine traditions of Chinese calligraphy while creating a new art form that aligns with Singapore’s customs, modern aesthetics, and fashionable lifestyle, without deviating from the principles or acting recklessly, demonstrating a robust vitality and high aesthetic value.

2024年3月11日 云龙子北京艺术展兼研讨会圆满成功

“璀璨绚丽、金壁辉煌、贵重高贵”：云龙子北京艺术展兼研讨会圆满成功

不知不觉，著名艺术家云龙子大师已经在世界各地举办了17场大型个展。继2023年在万里长城及东京书法展的辉煌，云大师在2024年3月11日，也就是农历二月初二龙抬头日，在北京展开了《云龙子艺术展兼研讨会》。

此次《云龙子艺术展兼研讨会》，意义在于深度及多维地解析云大师的风水艺术，追溯其渊源，以及在不同文化话语的碰撞之下，激起中国内外艺术领域从技巧至艺术概念上的共鸣与共勉。

与会重点贵宾，毛里求斯共和国驻华大使王纯万阁下 (His Excellency Mr Alain Wong) 在欣赏了云龙子大师的风水书法之后，说道：“我非常欣赏云大师的作品。云大师的书法，简直是天才般的杰作，同时也在把整个世界团结在一起。就像毛里求斯的精神，我们虽然面积小，却包罗万有；单单是云大师的一幅作品，竟然如此目不暇给、老少咸宜。我肯定会把云大师的艺术常常挂在嘴边了。”

之后，中宣部老干部局书记、中央宣传部办公厅原主任、北京大学第一届研究生会原主席，薛启亮书记也表示：“云龙子大师是有真正的才华的，他的作品也是这个时代的急切所需。云龙子大师的作品，是把中华文化带到现在，再带向全世界。我们华人的价值观，仁义礼智信，都能在云大师的书法找得到。可能，很多人都认识到文化自信的重要性，但云大师的画作是真正做到了。”

针对云龙子大师的艺术层面，国家一级美术师、丝路联盟中国文化合作大使、中国美术家协会会员、中国书法家协会会员、中国作家协会会员，李鸣泉老师高度分享道：“云龙子大师继承了中国书法的优良传统，而又根据新加坡的国情和现代人的审美及时尚生活，‘与时俱进’地创造出了这种全新的艺术形式，而又不离经叛道、恣意妄为，实乃有源之水、有本之木，具有顽强的生命力和很高的美学价值。”

李鸣泉老师接着教诲：“目前国内书坛上出现一种割裂、颠覆传统的怪现象和江湖书法，他们以丑为美，鼓吹‘丑书’，无任何文化艺术含量的随意改变汉字的结构、布局，哗众取宠、惊世骇俗，以博取人们的眼球，急功近利，自以为是，还美其名曰是在‘创新’。其实，这与真正意义上的创新根本是风马牛不相及的，是要把书法带入歧途！而反观云大师的书法则是以优秀的民族传统文化为根基和支撑而加以发扬光大的。大师博学多才、积学贮宝，有着深厚的国学文化根底，把他对世间万物的认知和理解融入到书法艺术创作中，是真正的艺术再创作。是为书法内容创造了一个在新加坡那块土地上更宜生长和发扬光大的形式，使之形神兼备、骨肉丰满，具有顽强的生命力！”

云龙子大师回应道：“我想艺术表达人生。即然我的思维中含有中西两种语言，两种文化，就让它们在我的艺术作品中表达岀来也不妨。” 并以明朝郑和在东南亚对人类的贡献对比西方殖民如何对待土著为例子，强调了中华文化优越特征：“中国文化不旦是个包容性极强的文化，也是个福泽天下，恩惠世界的文明。中国文化，才是世上的盐与世界的光。所以，当世界各地不同囯家的记者采访我，问我是哪里的艺术家。我总回答：我是来自新加坡的中国艺术家。I am a Chinese Artist from Singapore.”

为了这次的云龙子艺术研讨会，云龙子大师特地新创21幅以不同鸟类为主题的书法作品，例如《筑巢引凤》、《鹏程万里》、《百鸟朝凤》、《群鸿戏海》等等。云大师沿用甲骨文和篆书、参入行草，并注入新时代应有的新生命，开拓他一贯欢庆主义的画风，成就了一幅幅在日光下色彩斑斓、在荧光下星光灿烂的振奋人心之作。真可谓是：百鸟归巢，万雀朝凤！

河南省花鸟画研究会副会长、焦作市美术家协会副主席，张玲丽老师发表了意见：“云龙子大师是个很有传奇色彩的风云人物。第一次看到云大师的作品，就自问了：原来绘画可以这样画？必然的，云大师的艺术作品是自成一格的。突破了绘画的边界。原来，一种好的艺术作品，可以不被局限于某种特定的形式、画派………这个与我们的传统画风是大有不同的。”

张玲丽老师也乘此研讨会的机会，回顾了云大师委托她绘画一幅至圣先师孔子像。张老师表示，在绘画过程中，云大师多次跟她交流孔子像的细节，她领会到了云大师对孔子和儒家的独到见解，也非常荣幸能为大力传承中华文化的云大师绘制文圣人孔子画像。

之后，国家一级美术师、中国美术家协会会员、全国中国画大展组委会办公室副主任、中央党校书画院副院长、中国美术家协会山西创作中心副主任，谭翃晶老师延伸说：“第一次看到云龙子大师的艺术作品，简直让我想起了，我第一次看到毕加索画作的感受：他怎么能够这样画？再看云大师的作品，实在热情洋溢，又让我想起了我看到梵高作品时的感受：那生命力，从画框奔涌而出！”

谭翃晶老师接着说：“作为一个职业的画家，我能说，云大师的作品，那是……新颖、震惊，他是如何把截然不同的绘画元素结合在一起的……实在是不容易。”

云龙子大师是风水世家第六代传人，书香世家，自幼习学美术书法，是首位在西班牙世界遗产La Pedrera-Casa Milà举行画展的华人，更是中国万里长城书法展第一人。

云大师的风水艺术主张欢庆主义，即欢庆一切值得欢庆的事物，无论任何时刻，白天或夜晚，胜利或失落，惊喜或落差，都值得我们欢庆。

接着，于《云龙子艺术展兼研讨会》，中国美术家协会会员、中国书画家联谊会副主席、中国女画家协会副秘书长、北京妇联执委、北京国画艺术家协会副主席 、黑龙江省美术家协会理事、黑龙江省书画院（美术馆）美术创研员、国家一级美术师、中国同泽画院副院长，曾迎春老师说到：“之前，我看过云龙子大师的艺术作品，那是耳目一新，有种莫名的感染力。今天，我参览云大师新的书法作品后，我有几个词：璀璨绚丽、金壁辉煌、n重高贵。身为一个专业艺术家，很多时候，我们不敢踏出太大的一步，生怕‘踩到地雷’。云大师的突破界限、出其不意……真的得向云大师学习。”

曾迎春老师接着分享：“我是画写意画的。很多时候，我曾想过，要让展览时的各种不同元素衬托我作品的写意氛围、感受……但一直没有做得到。如今，云大师无论是画展的地点，画作的灯光、画框等等……我们想做的，但做不到的，云大师都成就了。这都得向云大师学习。”

云大师的风水画是启迪人们欢庆的杰作，他以真金白银为颜料，体现真真切切的富贵与高雅。风水画目前还被印在法国罗兰柏悦的两款香槟上。大师自创以香槟作画，并以这个手法绘制风水画。云大师更以其对香槟界的贡献，于2018年受邀加入法国香槟襟章会。

云大师在艺术上的突破也受到中国中央电视台的认可。于2019年，云大师凭着在风水和风水艺术上的贡献，被甄选为“华人楷模”。其经历和理念也被特制成一部个人纪录片。同时，云大师也受颁“行业领军人物奖”、“艺术成就奖”，以及封号“易经绝学金牌大师”和“全球华人金莲花大使”。于2021年，云大师被认可为以下四项的起源创始人：风水画、风水书法、风水珠宝，以及风水艺术。

当代国礼书法家、中国书画艺术研究院院长、亚太地区文化委员会执行主席、中华民族经济发展促进会名誉主席，高腾岳主席在研讨会上也提道：“云大师的艺术很高超、成就恨超越”。

之后，中国作协美术副编审、中国书法家协会会员、中央直属机关书画协会理事、中国书法家协会高级注册教师、中华诗词学会会员、湖南工业大学客座教授，沈鹏(正举) 发表：“云龙子大师的书法是很有‘嚼头’的艺术、是有很多味道艺术”。

接着，著名书画家范曾弟子、国家一级美术师、中国书法家协会会员、山西省美术家协会会员，叶建波老师竟然指出：“我们在艺术界中常常提及并关注‘具象、意象、抽象’；没想到，云龙子大师的作品除了此三象，竟然巧妙地运用万千色彩，在艺术上更上一层楼。”

此外，国家科技部战略研究院韦东远处长在观赏了云大师的书法作品后，发现了材料科学原来与艺术可以有如此大的关联。比方说，云大师对丙烯颜料和真金的运用。如此新颖的绘画方式，又是我们华人(云龙子)发现的，这是云龙子大师对我们中华民族的贡献。

与会的国家发改委城市和小城镇改革发展中心城市战略部荣西武主任提出：风水是我们的科学、文化，并提出应该将云大师的艺术产业化，从而将云大师的艺术传播至更广大的民众，也由此，让云大师的欢庆主义画派得意更有效传承、传播。

其他参与这次研讨会的嘉宾还有张天保部长 (教育部原副部长、国家总督学顾问)、徐德顺先生 (国家商务部国际经济研究院研究员)、李浩先生 (中国高科技产业化研究会科技成果转化协作工作委员会秘书长/副主任)、王军法先生 (齐鲁智库执行秘书长)、简应隆先生 (云龙子旺财馆执行董事)，以及陈刚先生 (云龙子先生助理)。胡问遂先生 (新加坡著名演员、叶问咏春拳第四代传人) 担任了这次研讨会的大会主持。

云龙子艺术展兼研讨会

2024年3月11日