前言：【国际书画精英——陈一源】官方首席特聘专家！陈一源先生的书法作品呈现出前所未有的气度，向国际社会展示着中华民族的文化价值观。他作为文艺创作者以博大、开放和包容的精神，形成了既传统又多元的艺术格局，表现出极强的艺术创造性。他弘扬时代正气，坚定文化自信、在承前启后的创新性发展中，贯通古今，留下了属于这个时代的艺术印记，彰显出魅力中国的精神与气度。此次特邀陈一源先生担任【国际书画精英】官方首席特聘专家，他以“抒胸臆，化妙境，情怀境界融墨韵”的宗旨，展示深厚的艺术底蕴与审美追求；用文艺的力量呈现民族精神，描绘万象之美，在传承中华优秀文化的同时，讲好中国故事，传播世界声音，以文化传承创新赋能，用艺术向世界助力美好发展。

陈一源，红墙艺术家，2024年“五一”全国劳模，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。近年，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。

改革以降，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"。

主要社会职务：

央广国际文化交流艺术委员会副主席

全国书画艺术委员会副主席

联合国中医专业委员会秘书长

中国乡村振兴诗书画院院长

中央国家机关书法家协会会员

中国警察网警用装备在线顾问委员会委员

海南投资商会高级顾问

世界华商联合会荣誉主席

孙中山博爱基金会高级顾问

中国．巴基斯坦（海德拉巴）文化交流中心高级顾问

亚洲国际青年电影节评审团主席

中国中医专家委员会副委员长

中国周易专家委员会名誉会长

世界非物质文化遗产研究院副院长

中非共和国驻华大使馆特邀名誉顾问

加纳共和国驻华大使馆特邀文化顾问

《文心雕龙》有语云："操千曲而晓声，观千剑而后识器"，经多年的读帖临池先生执着的认为：欧洲工

业革命以来，西学东渐，在科技、医学、文化、艺术方面的话语权都是西方人制定的，在这些方面的很

多标准都是他们说了算。我们中国书法具有像宗教一样神圣而圣洁的地位，中国书法这个独有的民族文化

形式也被稀里糊涂的拉进了西方的艺术行列"下嫁"于西方的"艺术"。中国应该有自己坚定的文化自信：书法就是我们中华民族独有的国粹，书法不仅仅是艺术。西方所谓"艺术"只是一个近100多年以来才在中国叫响的一个泊来词汇，在没有"艺术"之前，中国的书法就已经存在2000多年了。书法可以涵盖艺术，而艺术绝不可能涵盖我们中国的书法。也许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"笔尖下的精彩表达。西方艺术，它怎么折腾也只是在三维空间里面的一种技术活。纵观西方的艺术史，我所看到的他们许多作品都只是停留在"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，是不可能写好书法的。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。中国书法有点类似中国佛教的禅修，一切想偷奸要滑，走捷径都是不成的，只有经过多年的盘腿打坐，吃斋念佛，持戒修心……功夫到了，自然某一天你就"悟"了，自己作品的神韵也就出来了。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。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永远在人类的文化史上闪烁着耀眼的光芒。

Chen Yiyuan, red wall artist, 2024“May 1” national model workers, Sichuan Chengdu Pengzhou people, Chinese and Western cultural studies independent scholar. He is a scholar of Confucianism, Buddhism and Taoism, a national senior calligrapher, and a social activist. He loves poetry and calligraphy, and is devoted to traditional Chinese medicine and longevity. In recent years, there are poetry essays and calligraphy works published. After studying the three famous schools in modern China, he first advocated that Peng Xue should be the fourth famous school in China. Since the beginning of the reform, he has focused on humanities, religion, calligraphy and painting, and Chinese medicine, especially for the great rejuvenation of the Chinese nation. For many years, he has been fond of saying, “Five thousand years up and down, 100,000 miles across, three great religions of economics, and a hundred different schools of thought.” Some have chosen to live in the present, some have chosen poetry and faraway places, he chose“New Day, New Day, New Day.”. Principal Social Position: vice-chairman of the Central Committee for International Cultural Exchange and arts, vice-chairman of the National Committee for Calligraphy and painting, vice-chairman of the United Nations Professional Committee of Chinese Medicine, secretary-general of the United Nations Chinese Medicine Committee, President of the Chinese Rural Rejuvenation Poetry and Painting Academy, Member of the Calligraphers Association of the Central State Organs, member of the Online Advisory Committee on Police Equipment of the Chinese police network, member of the Advisory Committee of the Hainan Investment Chamber of Commerce, Senior Adviser of the World Federation of Chinese businessmen, Honorary Chairman of the Sun Yat-sen Philanthropic Foundation, China. Senior Advisor, Centre for CulturalExchange,Pakistan-HyderabadabSeniornAdvisorisAsiansInternationaloYouthoFilmfFestivaliJuryjChairmanrmChinesenese traditional medicineexpertcommitteevicechairmChinesenZhouyioExpertpCommitteetHonoraryrPresidentdeWorldoIntangibleiCulturaluHeritagetCulturaluHeritagetResearchaInstitutetuEmbassyassyofCentraltAfricaniRepublicblChinahSpecialcAdvisorisEmbassyassy of RepublicblicGhanahaChinahina After years of reading the The Literary Mind and the Carving of Dragons, Mr. Tie Linchi insisted that since the European Industrial Revolution, Western learning had spread to the east, in science and Technology, medicine, culture, art, the right to speak are made in the west, in these areas are a lot of the standards are what they say. Our Chinese calligraphy is as sacred and holy as religion. Chinese calligraphy, a unique form of national culture, has been dragged into the western art ranks and“Married down” to the Western art. China should have its own firm cultural self-confidence: Calligraphy is the unique quintessence of our Chinese nation, calligraphy is not just art. The so-called“Art” in the west is just a word that has been heard in China for more than 100 years. Before there was“Art”, Chinese calligraphy had existed for more than 2000 years. Calligraphy can cover art, and art can never cover our Chinese calligraphy. Perhaps Chinese calligraphy is a cultural peak that westerners can never reach. A tasteful calligrapher, should use his life to do a good job of cultural accumulation and their own spiritual cultivation. With this basic skill, it is possible to appear“Writing such as God” under the nib wonderful expression. Western art, no matter how it is, is only a kind of technical work in the 3D. Throughout the history of Western art, I have seen many of their works only stay in the level of“Art” to play skills, but not to rise to the level of“Tao”, China's good calligraphy are the crystallization of the soul, it is a high-dimensional presentation on the level of“Tao”. Learning Chinese calligraphy, there is no higher-dimensional thinking and cognition, it is impossible to write good calligraphy. Jing Yun: “Still Still, feeling and then pass”, “The use of the wonderful, exist in one mind. Do not understand these truths, talking about the so-called calligraphy is scratch. Therefore, to actively defend the sacred and holy status of Chinese calligraphy should be a measure of a Chinese calligrapher's cultural identity and cultural confidence of their own country's specific yardstick. Chinese calligraphy is not only law, tangible, more importantly, there must be charm and charm. Chinese calligraphy is a bit like Chinese Buddhist meditation, all want to cheat to slip, take shortcuts are not, only after many years of cross-legged meditation, eat vegetarian meditation, abstinence heart... ... Kungfu, natural one day you will“Understand”, his work will come out of the charm . The process of learning calligraphy is not only the practice of skills, but also a process of personality promotion and soul cultivation In addition to calligraphy, the underlying logic of Chinese calligraphy is not only skill, personal talent and talent, but also a solid foundation of Chinese culture and the pattern and feelings of calligraphers . Chinese calligraphy is a resplendent cultural treasure left to mankind by our ancestors, our Chinese culture will lead the world, Chinese calligraphy this unique charm of the cultural form will always be in the history of human culture shining a dazzling light.