【陈一源——环球艺术名家】元宵节云端线上邀请展
更新时间：2026-02-28 16:36 浏览量：1
前言：
2026年，岁次丙午，春意正浓。值此元宵佳节来临之际，当五彩斑斓的灯火点亮夜空，艺术大家以笔墨为媒，以云端为纸，诚挚邀请您参与“2026丙午马年元宵特辑·环球艺术名家云端线上邀请展”。
元宵节，是中华民族祈求团圆、向往光明的传统节日，也是中华文化中最具诗意与浪漫色彩的时刻。本次展览旨在汇聚全球范围内在书画领域卓有建树的艺术名家，通过数字艺术的形式，将传统笔墨的神韵与元宵佳节的祥和意境完美融合，为您呈现一场跨越时空的视觉盛宴！
本次展览将通过先进的数字平台，高清作品线上展示、全方位展示当代书画艺术的多元风貌与创新成果。在这里，您将欣赏到东方水墨的氤氲之美，也能感受到西方色彩的构成之妙；既有对元宵佳节民俗风情的生动描绘，也有对新时代精神风貌的艺术诠释。我们希望通过这次云端相聚，让全球的艺术爱好者在欣赏佳作的同时，共同感受中华传统文化的魅力与艺术的无限可能！
Preface:
In the year 2026, during the season of spring when the air is thick with the fragrance of, as the Lantern Festival approaches and the vibrant lights illuminate the night sky, we, the artists, invite you cordially to participate in the "2026 Y-Mao Year Lantern Festival Special Edition • Global Art Masters Cloud Online Invitational Exhibition".
The Lantern Festival is a traditional Chinese festival that symbolizes and the pursuit of brightness, representing the most poetic and romantic moment in Chinese culture. This exhibition aims to gather renowned artists from around the world who have made outstanding contributions in the field calligraphy and painting. Through the form of digital art, we strive to perfectly integrate the charm of traditional Chinese brushwork with the tranquil ambiance of the Lantern, presenting you with a visual feast that transcends time and space!
This exhibition will be showcased through advanced digital platforms, featuring high-definition works online and presenting a view of the diverse styles and innovative achievements of contemporary calligraphy and painting art. Here, you will not only appreciate the misty beauty of Eastern ink but also feel the of Western color composition; there are vivid depictions of the folk customs of the Lantern Festival and artistic interpretations of the spirit of the new era. We hope that through this gathering, art lovers from all over the world can experience the charm of traditional Chinese culture and the boundless possibilities of art while enjoying the masterpieces
陈一源，红墙艺术家，联合国特邀观察员，“五一”全国劳模，享受国务院特殊津贴。四川成都彭州市人，中西文化研究独立学者。
先生儒释道兼修，国家高级书法师，社会活动家，平生爱诗词，略通丹青，偏好书法，亦用力于中医与长寿养生，以中华民族的伟大复兴为乐事。
主要社会职务：
CCTV《星光大道》艺术顾问
成都启培抗疏力工程技术研究院 高级顾问
央广国际文化交流艺术委员会 副主席
全国人民艺术家信用管理中心书画艺术委员会主席
联合国中医专业委员会 秘书长
中央国家机关书法家协会 会员
世界华商联合会 荣誉主席
中国周易专家委员会 名誉会长
中非共和国驻华大使馆 特邀名誉顾问
《人民书画报》理事会主席
亚洲文化 首席艺术主席
中华文化全球推广大使
中国文化国际大学创始人、终身校董
改革以降，有诗词、杂文和书法作品集问世。他在研究了中国近代三大显学后，在学界首倡《彭学》应该成为中国的第四大显学。
先生侧重人文、宗教、书画艺术和中医养生版块，尤以实现中华民族的伟大复兴为乐事。多年以来，先生喜欢的一句话是：
"上下五千年，纵横十万里，经纶三大教，出入百家言。"有人选择了当下的苟且，有人选择了诗和远方，他选择了"苟日新，日日新，又日新"。
陈一源先生认为中国人应该有自己坚定的文化自信：书法是我们中华民族独有的国粹，中国书法不仅仅是艺术，它还有远远高于艺术的东西。西方所谓"艺术"只是一个近100多年来才在中国叫响的舶来词汇，在没有"艺术"之前，中国的书法就已经存在2000多年了。我们的书法可以涵盖西方的艺术，而西方的艺术绝不可能涵盖我们中国的书法。只讲“术”不讲“道”的作品，我们只需要用眼睛去欣赏就够了，而“术”、“道”兼容的作品，却需要我们用心灵去感悟，才能获得更多的艺术体验。由于中西文化的差异和维度的高低不同，也许我们中国书法是西方人永远望尘莫及的一座文化高峰。
一个有品位的书法家，应该用自己的一生去做好文化积淀和自己心性的修炼。有了这个基本功，才有可能出现"下笔如有神"笔尖下的精妙表达。西方艺术，它怎么摆弄也只不过是在三维空间里面的一种技术活。
纵观世界艺术史，我看到许多西方艺术作品都只是停留在"术"的层面玩技巧，而没有上升到"道"的层面，中国好的书法作品都是灵魂的结晶，是在"道"层面上的高维呈现，二者不可同日而语。
学习中国书法，没有更高维次的思维和认知，是不可能写好有品位的书法作品的。经云："寂然不动，感而遂通","运用之妙，存乎一心"。不明白这些道理，谈所谓书法都是隔靴搔痒。因此，主动捍卫中国书法神圣而圣洁的地位，应该是衡量一个中国书法人有没有对自己祖国的文化认同和文化自信的具体尺度。中国书法不仅有法，有形，更重要的是还得有神和韵。
学习书法的过程除了练习技法之外，也是一个人格提升和灵魂修炼的过程。学书，功夫在书法之外。中国书法的底层逻辑不仅是技法，个人才华与天赋，更是坚实的中国文化底气和书法人的格局与情怀。
中国书法是我们祖先留给人类的一块璀璨的文化瑰宝，我们中华文化必将引领世界，中国书法这种独具魅力的文化形式也必将越来越受到世人的喜爱，它也必将会永远在人类的文化史上闪烁着耀眼的光芒。
Chen Yiyuan, an artist of the Red Wall, a special invited observer of the United, a national model worker of "May Day", and an enjoyer of special allowances from the State Council. A native of Pengzhou City, Chengdu,ichuan Province, he is an independent scholar of Chinese and Western cultural research.
The gentleman practices Confucianism, Buddhism, and Taoism, a national senior calligher, a social activist, fond of poetry in his lifetime, slightly familiar with painting, prefers calligraphy, and also works hard on traditional Chinese medicine and longevity health preservation taking the great rejuvenation of the Chinese nation as a pleasure.
Main social positions:
Art consultant of CCTV's "Star Avenue"
Advanced consultant of Chedu Qipei Anti-Permeability Engineering Technology Research Institute
Vice Chairman of the Central Broadcasting International Cultural Exchange Art Committee
President of the Calligraphy Painting Art Committee of the National People's Artist Credit Management Center
Secretary-General of the United Nations Traditional Chinese Medicine Professional Committee
Member of the Central State Orans Calligraphers Association
Honorary Chairman of the World Huasheng Federation
Honorary President of the China Zhouyi Expert Committee
Special Invitedary Consultant of the Embassy of the Central African Republic in China
President of the Council of the People's Calligraphy and Painting Newspaper
Chief Art of Asia Culture
Ambassador of the Global Promotion of Chinese Culture
Founder and Lifetime Director of the China Cultural International University
Since the reform, there have been collections poems, essays, and calligraphy works. After studying the three most prominent disciplines in modern China, he first advocated in the academic circles that "Pengology" should China's fourth most prominent discipline.
The gentleman focuses on the fields of humanities, religion, calligraphy and painting art, and traditional Chinese medicine health preservation, in the great rejuvenation of the Chinese nation. For many years, a sentence that the gentleman likes is:
"Five thousand years up and down, ten thousand miles horizontally and, governing the three major religions, and speaking in hundreds of schools." Some people choose the present compromise, some people choose poetry and the distance, and he chooses "new every, new every day, and new again."
Mr. Chen Yiyuan believes that the Chinese people should have their own firm cultural confidence: calligraphy is unique national essence of our Chinese nation, Chinese calligraphy is not only art, it also has something far higher than art. The so-called "art" in the is just a foreign word that has been ringing in China for only 100 years. Before the "art", Chinese calligraphy had already existed for more than2000 years. Our calligraphy can cover the Western art, but the Western art can never cover our Chinese calligraphy. The works that only talk "art" and not about "Tao" only need us to appreciate them with our eyes, but the works that are compatible with "art" and "Tao" need to comprehend them with our heart, in order to get more artistic experience. Because of the differences between Chinese and Western cultures and the different dimensions of high and low, perhaps our Chineseigraphy is a cultural peak that Westerners can never catch up with.
A calligrapher with taste should use his life to do a good job in cultural accumulation cultivation of his own nature. With this basic skill, it is possible to have the wonderful expression under the tip of the pen of "as if there is a God". Western, no matter how it is manipulated, is just a technical job in a three-dimensional space.
Looking at the history of world art, I see that many Western art works just staying at the level of "art" to play tricks, without rising to the level of "Tao", and good Chinese calligraphy works are the crystallization the soul, and are high-dimensional presentations on the level of "Tao", which can not be compared with each other.
To learn Chinese calligraphy, is impossible to write a tasteful calligraphy work without higher dimensional thinking and cognition. The Sutra says: "Quiet and motionless, feeling and then connecting, "the wonderful use, exists in one heart".