加拿大龍年紀念幣賞析
龐進
近日，筆者就美國郵政局發(fā)行甲辰龍年生肖郵票引起爭議事，回答了《環(huán)球時報》記者的提問。答問文章在媒體發(fā)表后，閱讀、回響者眾。全球校友峰會加拿大委員會主席張志立先生微信筆者，言“美國郵政的龍年郵票圖案，以丑為美，極具妖魔化、丑化中國龍之能事，觀后令人作嘔，其理念令人鄙視。應(yīng)該予以譴責”。同時，張先生發(fā)來了加拿大皇家造幣廠設(shè)計、發(fā)行的兩枚龍年紀念幣圖案，認為該圖案“美觀大氣”，圖案上的龍“騰云駕霧，具有昂揚向上的精神，觀后令人贊嘆、倍受鼓舞”。世界文化保護與發(fā)展基金會中華區(qū)總監(jiān)、社會活動家姜明吾認為：“美、加兩個國家設(shè)計的龍年徽標，充分體現(xiàn)出不同文化、不同國度的人格和國格，一則堂堂皇皇，體現(xiàn)出一種優(yōu)雅的氣質(zhì)，一種委瑣至極，盡是小肚雞腸的邪惡?！睆堉玖⑾壬ㄗh筆者再寫文章，對美、加兩國推出的不同的生肖龍形象做些分析、評論。
于是，筆者上網(wǎng)搜看，了解到加拿大皇家造幣廠策劃、設(shè)計、發(fā)行的甲辰龍年系列紀念幣共有五枚：兩枚純金幣和三枚純銀幣。其推介詞中有這樣的話：“圖案是一條巨大的幸運龍”“圖案中央是中華神龍盤旋漂浮在天空中，掌管著農(nóng)業(yè)賴以生存的元素：風、雨、云，以及憤怒時的風暴。尊崇神龍，開啟龍年?！?/span>
中國農(nóng)歷紀年采用的是“天干”和“地支”相結(jié)合的方式，其“天干”又以“五行”即“金木水火土”來分組，其中的“甲”和“木”被分在一組，于是“甲辰年”就又稱“木龍年”?？少F、可嘆，也堪贊的是，加拿大皇家造幣廠的策劃、設(shè)計、發(fā)行人員也知曉了這個許多中國人未必知曉的“講究”，于是，下面的話就出現(xiàn)在他們的廣告語中：
“龍被認為是中國十二生肖中的天生領(lǐng)袖，象征著力量和財富。當龍集中精力時，它以能夠創(chuàng)造奇跡而著稱，在與木元素相關(guān)的年份里，龍有可能產(chǎn)生突破性的想法，帶來進步和繁榮。”“龍是最吉祥的動物象征，是自然的領(lǐng)導者和實干家，勇于挑戰(zhàn)，愿意冒險。特別是木龍，每六十年才會有一次，是沉穩(wěn)、創(chuàng)新的思考者。在2024年的木龍感召下，他們的火熱、活力氣質(zhì)將被柔化，變得更為冷靜和內(nèi)向、創(chuàng)新和好奇，他們會全力以赴地解決任何問題，并總是能想出創(chuàng)新的想法或解決方案?！薄白屛覀円黄鹩幽君堉?！這枚2024加拿大龍年精鑄金幣滿載著豐富的象征意義，是專為慶祝農(nóng)歷龍年及其出生的人士所設(shè)計。它將龍年的權(quán)力、繁榮和智慧綻放于您的掌心之中。這枚金幣的包裝也有其獨特之處，將金幣封裝在華麗的紅色漆木盒內(nèi)，并配有一個紅色美容盒，象征著中國新年賀歲的‘紅包’習俗?！薄斑@枚金幣不僅是一種資產(chǎn)，也是一種象征，它揭示了中華文化深遠的影響力。”
筆者在仔細地賞看了這五枚加拿大龍年紀念幣后，有了三點認識：
第一，尊重中華傳統(tǒng)，寓意吉祥。紀念幣上的龍，一個正面像、四個側(cè)面像，皆昂首、聳角、披發(fā)、睜目、翹鼻、張口、吐舌、挺胸、曲身、奮足、揚尾，有的還飾以火珠、江牙、海水、云團、燈籠、花朵等，整體上符合寓意吉祥的成熟的中華傳統(tǒng)龍的形象。
第二，精心設(shè)計描繪，有所創(chuàng)新。紀念幣的推介詞中講，“設(shè)計者Jai Paek從中國民間藝術(shù)中汲取靈感，通過硬幣背面的龍及其復(fù)雜的細節(jié)進行描繪”“金幣的設(shè)計靈感來自于傳統(tǒng)的中國藝術(shù)形式，由藝術(shù)家Simon Ng精心設(shè)計，它以木龍追趕龍珠（象征智慧和繁榮的火球）的形象來慶祝龍年。其周圍則以櫻桃花連接成的纖細花朵裝飾，呼應(yīng)了祥龍的波瀾壯闊”。的確，我們從該龍圖所展示的凸圓的眼珠、櫛比的鱗片、尖利的趾爪、和悅的神態(tài)，就能看出設(shè)計者匠心之精細，而以“櫻桃花連接成的纖細花朵裝飾”，就屬于容合、創(chuàng)新的范疇了。
第三，旨趣貴和向善，心態(tài)陽光。五枚紀念幣不光體現(xiàn)、展示了加拿大皇家鑄幣廠高品質(zhì)的先進的設(shè)計技術(shù)和精美的工藝制作，還體現(xiàn)、展示了策劃、設(shè)計者心態(tài)之陽光和旨趣追求的貴和向善。筆者在各種場合反復(fù)講：龍是中華先民對自然界中的多種動物和天象，經(jīng)過多元容合而發(fā)明、展現(xiàn)的，具有容合、福生、諧天、奮進等精神蘊涵的神物。龍的實質(zhì)，是中國人對宇宙自然力的感悟、認知和神化。經(jīng)過至少八千年甚至上萬年的演進和升華，龍已成為中華民族的廣義圖騰、精神象征、文化符號、文明標志、信仰載體和情感紐帶。海內(nèi)外華人大都認同自己是人文意義上的龍的傳人。與中華民族根脈相連、與中華文明血髓交融、與時代的脈搏同頻共振的中國龍，已完成了它的當代轉(zhuǎn)型，已隨著中華民族前進的腳步，甄別、清理了歷史上一些負面的承載，告別了皇權(quán)、保守和軟弱，成為自覺自信、團結(jié)合力、適變圖強、愛好和平、開放包容，以天下人的幸福為幸福的形象美好、姿態(tài)矯健、精神昂揚的新龍?！@樣的認識、觀點，顯然已被加拿大人中心態(tài)陽光、貴和向善，且有知識、有智慧、有格局者所理解和接受，并應(yīng)用到了龍年紀念幣的策劃、設(shè)計、發(fā)行中。
和加拿大龍年紀念幣的策劃設(shè)計者相比，美國龍年生肖郵票的策劃設(shè)計者就暴露出了其認知的短淺、教養(yǎng)的缺乏、心理的陰暗和格局的狹隘。他們以為通過一枚郵票的設(shè)計、發(fā)行，就可以把中國人心目中神圣的龍形象丑怪化、鬼魅化；他們不懂得，仰頭向太陽吐唾沫，那唾沫一定會落在自己的臉上；貶低、羞辱、侮蔑一個偉大民族的象征物，其實是在貶低、羞辱、侮蔑自己。
希望美國龍年生肖郵票的策劃設(shè)計者，以及某些對中國龍抱有偏見的人，能向加拿大龍年紀念幣的策劃設(shè)計者學習、看齊，汲取此次事件的教訓，知錯改過，不再做諸如此類的事情。
（2024年1月24日于加拿大楓華閣）
補：《加拿大龍年紀念幣賞析》一文發(fā)出后，全球校友峰會加拿大委員會主席張志立先生轉(zhuǎn)發(fā)了幾個群。南開大學俞瑛女士告訴張先生，已將該文轉(zhuǎn)發(fā)給了設(shè)計師Simon，他非常高興！
有群友在購買龍年紀念幣過程中，與加拿大郵政和加拿大鑄幣廠取得了聯(lián)系，加拿大郵政和加拿大鑄幣廠對我們的做法非常贊賞。
作者簡介：龐進 龍鳳文化研究專家、作家、龍鳳國際聯(lián)合會主席、中華龍文化協(xié)會名譽主席、中華龍鳳文化研究中心主任、西安日報社高級編輯。中國作家協(xié)會會員，陜西省作家協(xié)會理事，陜西省社會科學院特約研究員，中華龍鳳文化網(wǎng)（www.loongfeng.org）主編，加拿大西安大略出版社副總編輯。20世紀70年代開始從事文學創(chuàng)作和文化研究，至今已發(fā)表各類作品逾千萬字，出版《創(chuàng)造論》《中國龍文化》《中國鳳文化》《中國祥瑞》《靈樹婆娑》《龐進文集》等著作四十多種，獲首屆中國冰心散文獎、首屆陜西民間文藝山花獎、西安市社會科學優(yōu)秀成果一等獎等獎項八十多次。有“龍文化當代十杰”之譽。微信號：pang_jin
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Appreciation of Canadian Loong Year Commemorative Coins
Pang Jin
Recently, in response to the controversy over the U.S. Postal Service's issuance of the Jia Chen Loong Year zodiac stamps, I answered questions from a reporter from the "Global Times." After the interview article was published in the media, it received a wide readership and many responses. Mr. Zhang Zhili, the chairman of the Global Alumni Summit Canada Committee, messaged me on WeChat, criticizing the design of the U.S. Postal Service's Loong Year stamp for its demonization and uglification of the Chinese loong, which he found repulsive and contemptible. He suggested that this should be condemned. At the same time, Mr. Zhang sent me images of two Loong Year commemorative coins designed and issued by the Royal Canadian Mint, praising them as "beautiful and grand." The loong on these coins, depicted as soaring through clouds, is seen as embodying an uplifting and inspiring spirit.
Jiang Mingwu, the Director of the Chinese Division of the World Cultural Preservation and Development Foundation and a social activist, observed that the loong designs from the U.S. and Canada reflect the distinct cultures and national characters of the two countries. He described one as dignified and elegant, embodying a noble temperament, and the other as petty and evil.
Mr. Zhang suggested I write an article to analyze and comment on the different loong images released by the U.S. and Canada. Accordingly, I conducted online research and learned that the Royal Canadian Mint planned, designed, and issued a series of five Loong Year commemorative coins for Jia Chen Year, including two in gold and three in silver. The promotional materials describe the design as a "massive lucky loong " and center on a Chinese loong spiraling in the sky, controlling the elements essential for agriculture: wind, rain, clouds, and storms. The loong, a revered figure, ushers in the Year of the Loong.
In the Chinese lunar calendar, years are marked using a combination of the "Heavenly Stems" and "Earthly Branches," with the "Heavenly Stems" categorized into the "Five Elements" of metal, wood, water, fire, and earth. "Jia" corresponds to wood, hence "Jia Chen Year" is also known as the "Wood Loong Year." Impressively, the designers at the Royal Canadian Mint were aware of this nuanced detail, not commonly known even among many Chinese. The promotional literature highlights the loong as a natural leader and symbol of strength and wealth in the Chinese zodiac. Especially in a wood element year, the loong is seen as capable of generating groundbreaking ideas, bringing progress and prosperity. The loong, particularly the Wood Loong which occurs once every sixty years, is viewed as a stable, innovative thinker.
After closely examining these five Canadian Loong Year commemorative coins, I gained three insights:
First, they show respect for traditional Chinese culture and embody auspicious meanings. The loongs on the coins, depicted in various poses, conform to the mature image of the auspicious Chinese traditional loong.
Second, the coins are meticulously designed and innovative. The designer, Jai Paek, drew inspiration from Chinese folk art for the intricate details on the loong depicted on the coin's reverse. Simon Ng, who designed the gold coin, drew from traditional Chinese art forms, depicting the Wood Loong chasing a dragon ball (symbolizing wisdom and prosperity), surrounded by delicately connected cherry blossoms.
Third, the coins reflect a positive and virtuous intention. The Royal Canadian Mint's advanced design techniques and exquisite craftsmanship are evident, as is the sunny and noble disposition of the planners and designers. The essence of the loong, as I've often discussed, represents the Chinese people's understanding and mythologization of natural forces. Over thousands of years, the loong has evolved into a broad totem and symbol of Chinese culture, civilization, and spirit. It's a symbol that resonates with Chinese people worldwide. The contemporary loong, having shed negative historical connotations, now embodies self-confidence, unity, adaptability, love for peace, and inclusiveness.
In contrast, the U.S. Postal Service's designers of the Loong Year stamp have revealed their limited understanding and narrow-mindedness. They failed to recognize that debasing a great nation's symbol ultimately reflects poorly on themselves.
I hope that those responsible for the design of the U.S. Loong Year stamp and others with misconceptions about the Chinese loong can learn from the Canadian approach, taking this incident as a lesson and refraining from similar actions in the future.
(January 24, 2024, at Maple Hall, Canada)
About the author: Pang Jin is an expert and writer in loong and phoenix culture, serving as the Chairman of the Loong and Phoenix International Federation and the Honorary Chairman of the Chinese Loong Culture Association. He is also the Director of the Chinese Loong and Phoenix Culture Research Center, a Senior Editor at Xi'an Daily, a member of the China Writers Association, a council member of the Shaanxi Writers Association, and a special researcher at the Shaanxi Academy of Social Sciences. He is the chief editor of the Chinese Loong and Phoenix Culture website (www.loongfeng.org) and the Deputy Chief Editor of the Ontario Publishing House in Canada. Since the 1970s, he has been involved in literary creation and cultural research, publishing over ten million words in various works. His publications include more than forty titles such as "Theory of Creation," "Chinese Loong Culture," "Chinese Phoenix Culture," "Chinese Auspiciousness," "Dancing Spirit Trees," and "Collected Works of Pang Jin." He has received over eighty awards, including the First China Bing Xin Prose Award, the First Shaanxi Folk Literature and Art Mountain Flower Award, and the Xi'an Municipal Social Science Outstanding Achievement First Prize. He is renowned as one of the contemporary "Ten Outstanding Figures in Loong Culture." WeChat ID: pang_jin
