Marvel is a spiritual journey from "observing a corner" to "seeing the world."

The cognitive starting point for artist Xu Jiong is the gentle, subtle language of brush and ink from the Jiangnan region. Yet the intense and unresplendent blossoming of a northern spring revealed to him an entirely different theater of life. This contrast did not cause hesitation, but rather pushed open a door—he saw that beauty is not a singular answer, but a polyphonic poem composed of countless possibilities by the earth and the passage of time.

Thus, his vision quietly flowed from "observing things" to "reading the world." The cadences of dialects, the textures of temperaments—each, like seasonal flowers, follows its own rhythm, yet they intertwine to form a vast cultural landscape. Xu Jiong's distillation of the forms and spirits of a hundred flowers through the abstract lines of calligraphy is precisely the embodiment of this gaze. Within the intent of his brushwork lies both the restraint of the south and the openness of the north, alongside fragrances from distant lands, ultimately converging into a generous and profound contemplation—one that can simultaneously hold tenderness and grandeur, tradition and contemporaneity, Eastern charm and the spirit of the world.

From being captivated by one kind of fragrance to understanding the solemnity of every form of existence, the artist completed an inner migration. He no longer carries the ruler of his hometown to measure the world, but instead lets the myriad phenomena of heaven and earth grow freely within his heart. That diverse and varied landscape no longer brings anxiety; instead, it becomes a deep anchor for his creation and life.

This is the Dao that Xu Jiong found amidst the blooming and fading of flowers: only a heart broad enough for serene observation can calmly embrace the world's abundance and differences, and within this intricate reflection, see oneself and see all beings.

Is this not a kind of marvel?

《奇跡》這件作品，是一場從「觀一隅」到「見天地」的精神遠行。

藝術家許炯的認知原點，是江南那套溫婉含蓄的筆墨語彙；而北方春日那般熾烈且坦蕩的綻放，向他揭示了另一種全然不同的生命劇場。這差異非但沒有令他遲疑，反而為他推開了一扇門——他看見美並非單一的答案，而是大地與時序用無數可能寫就的複調詩篇。

由此，他的視野從「觀物」靜靜流向「閱世」。方言的韻腳、性情的紋理，都如花信般各成章法，卻又彼此交織，構成一片遼闊的人文風景。許炯以書法抽象線條提煉百花之態之魂，正是這種目光的具現：筆意間既蘊江南的含藏，亦蓄北地的開張，更有異域的芳華，最終匯成一種寬厚而深邃的凝視——一種能同時安放細膩與磅礡、傳統與當代、東方韻致與世界精神的凝視。

從迷戀一種芬芳，到懂得每一種存在的莊嚴，藝術家完成了一場內在的遷徙。他不再攜帶故鄉的尺規去丈量世界，而是讓天地萬象在心中自在生長。那參差多態的風景，不再帶來惶惑，反而成為他創作與生命的深沉支點。

這便是許炯在花開花落間尋得的道：唯有心懷寬廣的靜觀，方能從容擁抱世界的豐盛與差異，並在這紛繁的映照中，看見自己，也看見眾生。

這何嘗不是一種奇蹟。