雅昌拍卖图录：傅榆翔《信使》（Messenger），2023

2025年10月25日｜香港汇烽秋季拍卖会

https://auction.artron.net/paimai-art0189700846

傅榆翔2023年的熊猫雕塑作品《信使》（Messenger），于2025年10月25日在香港汇烽秋季拍卖会上亮相。这件作品被视为艺术家近年来在“金属”与“光”介质实验上的重要成果之一，凝聚了他在“有机诗学”与“意识光场”之间的最新探索。

形式语言：金属的有机诗学

作品通体以“不锈钢镂空结构＋贴金＋汽车烤漆”构成，内部嵌置漫射灯光系统。傅榆翔并未将金属视为冰冷、机械的材料，而是通过“镂空”与“光”的交互，使沉重的钢体得以“呼吸”。在光影的流动中，质地不断游移，从物质形态向能量态过渡——仿佛这座雕塑是一段被暂时凝固的光。

熊猫形主体立于浮云状基座之上，动物的具象与能量的抽象在此叠合。熊猫的身体以镜面黑与五行元素（金、木、水、火、土）化作星屑般的金属镂空颗粒构成，呈现出极强的“时间表面感”——既似宇宙尘埃的聚合，又如信使穿越维度后留下的光迹。

观念核心：“信使”的象征

题名“信使”在傅榆翔的艺术体系中具有深刻的哲学寓意。在其持续探讨的“时空虫洞”与“意识迁徙”命题中，“信使”不仅是传递者，更是维度之间的信息界面。它既可理解为文化、自然与宇宙之间的中介，也可被视作人类精神在技术文明之后的隐喻化身——携光而行，从一个意识场迁徙至另一个。

熊猫这一母题在傅榆翔的创作中多次出现，象征力量与温度的并存——他在金属语言中注入柔性的灵魂，回应其“共情的雕塑”理念。此处的“熊猫”不再是生物学意义的存在，而是一种宇宙的“心智生命体”：承载信念、温度与时间的象征体。

技术与精神的统一

傅榆翔擅长将工业语言与诗性哲学融为一体。《信使》采用汽车烤漆与贴金工艺，使金属表面呈现流动光泽，既具未来感，又保留东方器物的仪式性与庄严感。其内部的漫射灯光系统让雕塑在昼夜之间呈现不同的视觉层次——白昼显“体”，夜色显“魂”。

这种“内发光”不仅是一种视觉策略，更是一种象征语言：光自内生，意指信念与精神的自我照明。艺术家似乎在追问——谁才是现代性的“信使”？是技术、人类，还是艺术本身？

语义与市场：学术与价值的并行

作品高1.5米、长2.1米、宽1.1米，估价人民币450万至650万元，已跻身中国当代雕塑市场的一线标杆。雅昌艺术网将其列入“当代中国艺术品专场”，显示其在学术与市场层面的双重认可。

从艺术史角度看，《信使》可被视为傅榆翔“后生命体系列”的重要节点——它将“雕塑的物质性”转化为“光与信息的载体”，标志着艺术家从“造形”迈向“造场”的转型。艺术不再是被观看的对象，而成为能量场的生成机制。

一件在未来发光的雕塑

《信使》既是形体的存在，也是意识的显现。它代表傅榆翔在“金属”与“灵光”之间所追寻的灵性平衡——在坚硬与柔性、物质与信念之间，开辟出新的精神介质。

这件作品不仅是一件高价拍品，更是一场艺术语言的跃迁。傅榆翔以光为墨、以钢为纸，在时间与空间的缝隙中，雕刻出一则关于“信仰如何被继续传递”的诗性寓言。

它不是被点亮的雕塑，而是自身发光的未来。

Artron Auction

CatalogueEnglish Version (Polished)

Fu Yuxiang | Messenger, 2023

HuiFeng Autumn Auction, Hong Kong | October 25, 2025

Fu Yuxiang’s Messenger (2023), unveiled at the 2025 HuiFeng Autumn Auction in Hong Kong, stands as one of the artist’s most significant achievements in his recent exploration of metal and light as poetic media. The work encapsulates his ongoing inquiry into how matter and consciousness converge within a living field of energy and form.

Formal Language: The Organic Poetics of Metal

Constructed from stainless steel with intricate openwork, gilded surfaces, and automotive lacquer, Messenger contains a diffused internal lighting system. Rather than treating metal as a cold or inert substance, Fu transforms it into something that breathes. Through the dialogue between void and light, the heavy steel oscillates between matter and luminosity—like light momentarily condensed into form.

The panda-like figure stands upon a cloud-shaped pedestal, where figuration and abstraction intertwine. Its mirrored black body, infused with metallic particles that evoke the five Chinese elements, reveals a vivid “temporal surface”—simultaneously resembling cosmic dust in formation and the lingering trace of a messenger traversing dimensions.

Conceptual Core: The Symbolism of the Messenger

The title Messenger holds profound philosophical resonance in Fu’s artistic lexicon. Within his discourse on “wormholes of consciousness” and “migrations of awareness,” the messenger is not merely a transmitter but an interface between dimensions. It may be read as a conduit between nature, culture, and the cosmos—or as an allegory of the human spirit in the post-technological era, carrying light across shifting fields of awareness.

The panda motif, recurring in Fu’s oeuvre, symbolizes the coexistence of strength and tenderness—a gesture of empathy within metallic language. Here, the panda transcends biology to become a “cosmic mind-being”: a vessel of faith, warmth, and time.

Unity of Technique and Spirit

Fu seamlessly merges industrial precision with poetic sensibility. The combination of automotive lacquer and gilding gives the surface a fluid sheen—bridging futuristic aesthetics and the ceremonial solemnity of Eastern craftsmanship. The internal lighting system allows the sculpture to shift across time: corporeal by day, ethereal by night—“the body” and “the soul.”

This inner radiance functions not merely as a visual strategy but as a symbolic act: light born from within, signifying the self-illumination of belief and spirit. Through it, the artist seems to ask—Who is the true messenger of modernity? Technology, humanity, or art itself?

​Semantics and Market Recognition

Measuring 1.5 meters high, 2.1 meters long, and 1.1 meters wide, Messenger carries an estimated value of RMB 4.5–6.5 million, placing it among the foremost works in the Chinese contemporary sculpture market. Its inclusion in Artron’s “Contemporary Chinese Art” section signifies dual recognition across academic and commercial spheres.

From an art historical standpoint, Messenger marks a critical node in Fu Yuxiang’s Post-Biological Series. It transforms sculpture from a physical object into a vessel of light and information, signaling Fu’s transition from “creating form” to “creating field.” For him, art is no longer an object to behold—but a field of energy that generates presence.

A Sculpture That Shines from the Future

Messenger is both corporeal and conscious. It embodies Fu’s pursuit of equilibrium between “metal” and “aura,” hardness and tenderness, material and faith. The sculpture becomes a spiritual intermediary—a radiant entity bridging worlds.

More than a prized auction piece, Messenger represents a metamorphosis of artistic language. Fu Yuxiang writes with light as ink and steel as paper, sculpting—within the seams of time and space—a poetic allegory of how belief continues to be transmitted.

It is not a sculpture illuminated by light,

but a sculpture that illuminates the future.