撰文 / 范海民

傅榆翔2024年原创设计的巨型雕塑《牛气冲天》以其跨文化的艺术表达和复合象征系统，重新定义了当代公共艺术的范式。这件高19米的青铜不锈钢复合装置（贴金/贴银工艺），通过三头围绕呈27°螺旋上升杠杆的牛体造型，构建了一个融合东方农耕文明、全球金融符号与天体运行智慧的当代艺术文本。其7.9米宽、9.9米长的精密尺寸设计，暗合中国"九五之尊"的数字哲学，展现了艺术家对传统符号的现代转译能力。

全球艺术史中的牛图腾谱系

从西班牙阿尔塔米拉洞窟的野牛壁画到毕加索的《格尔尼卡》，从印度神牛南迪到华尔街铜牛，牛的形象始终是人类文明的精神投射载体。傅榆翔的创新之处在于：

突破静态表现：突破了西方艺术史中牛题材的单一静态表现（如鲁本斯的《劫夺欧罗巴》），创造性地将中国汉代青铜器《马踏飞燕》的动力学原理与杜尚《下楼梯的裸女》的连续运动感相结合；

跨时空对话：将金融杠杆的数学美感（27°黄金分割倾斜）与殷商甲骨文"牛"字的象形结构进行跨时空量子对话，形成独特的视觉图腾修辞。

材质象征系统的全球对话

作品采用的青铜、不锈钢+金银等复合材质构成多重文化指涉：

青铜牛作为第一层基底：呼应美索不达米亚青铜时代（公元前3000年）的文明记忆；

贴金工艺：延续古埃及、三星堆、金沙遗址等太阳神崇拜（如图坦卡蒙金面具、三星堆金面具、权杖等）的视觉传统；

不锈钢镜面（贴银）：继承了安尼施·卡普尔《云门》的都市反射美学。

这种材质矩阵不仅隐喻资本流动的物理形态（固态储备-液态流通-气态蒸发），还构建了从两河流域到华尔街的文明对话通道。

全球金融地标雕塑的范式革新

与迪·莫迪卡 1989 年的华尔街铜牛（单一进攻形态）相比，《牛气冲天》呈现了纵横向上更加复杂的象征维度：

三牛结构：暗合美联储、欧央行和中国人民银行三大金融体系；

螺旋上升轨迹：对应道琼斯指数百年K线形态；

日晷倾斜角度：精确计算北纬40°（北京/纽约纬度）的日照投影。

这种设计使作品同时具备金融占星仪（如伦敦金融城"摩羯座"雕塑）和经济增长极（如新加坡鱼尾狮）的双重属性。

全球城市IP的生成机制

在巴塞尔艺术展（Art Basel）定义的"超级符号"时代，《牛气冲天》展现了惊人的文化适配性：

在迪拜国际金融中心，其金色表面与伊斯兰几何纹样产生光学共振；

置于伦敦金丝雀码头，不锈钢镜面可反射诺曼·福斯特的碎片大厦；

在东京丸之内，27°倾角与皇居轴线形成微妙的天文对应。

这种跨文化适应性源自艺术家对"全球本土化"（Glocalization）的深刻理解，使其比芝加哥《云门》、大阪《太阳之塔》更具金融叙事张力。

艺术经济学的价值重构

这种"三位一体"的价值架构超越了杰夫·昆斯《气球狗》的单一商品逻辑，建立了类似佛罗伦萨大卫像的永恒性经济模型。

在人类世（Anthropocene）的金融文明语境下，《牛气冲天》以其拓扑学的文化变形能力，既延续了威尼斯公牛奖（Golden Bull）的欧洲传统，又重构了上海陆家嘴金融图腾的东方表达。它标志着中国当代艺术从"符号输出"到"范式输出"的战略转型，其螺旋上升的三牛结构，或许正隐喻着全球艺术权力格局的重新洗牌。这件作品不再仅是城市装饰物，而是成为了记录21世纪资本文明的活态化石。

2025.5.3.

北京

作者：范海民（高级工艺美术师，重点专业期刊/中国《雕塑》杂志执行主编，中国民族品牌艺术品创意中心主任，中国城市雕塑家协会理事，跨文化与国际交流学者。）

Fu Yuxiang’s “Golden Bull Ascending”: Redefining Public Art’s Financial and Cultural Symbolism

Written by: Fan Haimin

Fu Yuxiang’s 2024 original design of the monumental sculpture Golden Bull Ascending redefines the paradigm of contemporary public art through its cross-cultural artistic expression and complex system of symbolism. This 19-meter-high bronze and stainless steel composite installation (gold and silver gilding techniques) features three bulls spiraling around a lever at a 27° incline, creating a contemporary artistic text that merges Eastern agricultural civilization, global financial symbols, and celestial mechanics. With precise dimensions of 7.9 meters in width and 9.9 meters in length, the design subtly echoes the Chinese numerology of "9-5" (the highest respect), showcasing the artist’s modern reinterpretation of traditional symbols.

The Bull Totem Legacy in Global Art History

From the wild bull murals in Spain’s Altamira Caves to Picasso’s Guernica, from the Indian sacred Nandi bull to Wall Street's Charging Bull, the bull has always been a spiritual vessel for human civilization. Fu Yuxiang’s innovation lies in:

Breaking Static Representation: Moving beyond the static representation of bulls in Western art history (e.g., Rubens' The Rape of Europa), the artist creatively combines the dynamic principles of the Chinese Han dynasty bronze Galloping Horse with the continuous motion of Duchamp’s Nude Descending a Staircase.

Cross-Temporal Dialogue: Fu creates a cross-temporal quantum dialogue between the aesthetic of the financial lever’s mathematics (27° golden ratio incline) and the pictographic structure of the "ox" character from the Yin Shang oracle bones, forming a unique visual totemic rhetoric.

The Material Symbolism and Global Dialogue

The materials used in the sculpture — bronze, stainless steel, gold, and silver — form a multi-layered cultural reference:

Bronze Bull as the Foundation: Echoing the civilization memory of the Mesopotamian Bronze Age (3000 BCE).

Gold Gilding Technique: Continuing the visual tradition of sun-god worship in ancient Egypt and the Sanxingdui and Jinsha sites (such as the golden mask of Tutankhamun, the gold mask from Sanxingdui, and scepters).

Stainless Steel Mirror (Silver Gilding): Drawing on the urban reflective aesthetics of Anish Kapoor’s Cloud Gate.

This material matrix not only metaphorically represents the physical form of capital flow (solid reserves - liquid circulation - gaseous evaporation) but also constructs a cultural dialogue from the two river basins to Wall Street.

A Paradigm Shift in Global Financial Landmark Sculpture

Compared to the 1989 Wall Street Charging Bull by Di Modica (a single aggressive form), Golden Bull Ascending introduces a more complex symbolic dimension with its upward, vertical, and horizontal axes:

Three Bull Structure: Symbolizing the three major financial systems: the Federal Reserve, the European Central Bank, and the People's Bank of China.

Spiraling Trajectory: Corresponding to the century-long trend of the Dow Jones index.

Sundial Incline: Precisely calculating the solar projection at a latitude of 40° North (Beijing/New York).

This design imbues the work with dual attributes: both a financial astrological instrument (similar to the Capricorn sculpture in London’s financial district) and an economic growth symbol (like Singapore’s Merlion).

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Generating Global City IP

In the era of "super-symbols" defined by Art Basel, Golden Bull Ascending demonstrates remarkable cultural adaptability:

In the Dubai International Financial Centre, its golden surface resonates optically with Islamic geometric patterns.

Placed at Canary Wharf in London, its stainless steel mirror reflects Norman Foster’s Shard building.

In Tokyo Marunouchi, the 27° angle subtly aligns with the axis of the Imperial Palace.

This cross-cultural adaptability stems from the artist’s profound understanding of "glocalization" (global localization), making the work more narratively powerful in financial terms than Chicago’s Cloud Gate or Osaka’s Tower of the Sun.

The Economic Value Reconfiguration of Art

This “trinity” value structure transcends the single-commodity logic seen in Jeff Koons’ Balloon Dog, establishing an eternal economic model akin to Florence’s David.

In the context of Anthropocene financial civilization, Golden Bull Ascending uses its topological cultural transformation abilities to continue the European tradition of the Golden Bull award in Venice while reconstructing the Eastern expression of Shanghai’s Lujiazui financial totem. It marks a strategic shift in Chinese contemporary art from “symbol export” to “paradigm export.” Its spiraling three-bull structure may symbolically hint at the reshuffling of global art power dynamics. This piece is no longer merely an urban decoration but has become a living fossil documenting the financial civilization of the 21st century.

2025.5.3.

Beijing

Author: Fan Haimin (Senior Craft Artist, Executive Editor of China Sculpture Magazine, Director of China Ethnic Brand Art Creative Center, Board Member of the Chinese Urban Sculptors Association, Scholar of Cross-Cultural and International Communication).