陈振濂，字颐斋，丙申冬月降于沪上，祖籍浙江鄞县。自少嗜艺，才情出众，凡书法、篆刻，皆有所究;国画、日本书艺，亦精研而通。其学兼诗词之奥，故其艺与理水乳交融，内外兼修，蔚为大观。
观其书，纵横提按，抑扬顿挫，气韵流转如行云流水，潇洒自如。行草之中，线条若断若续，轻重转折，飘若游龙，绵若垂丝，游走自如，力与气并行，神与韵共在。隶书尤具巧思，融篆法汉简之规，厚重之中暗藏灵动，观者每见，必为其妙境所摄。
陈氏深耕艺途，历四十载，不拘技艺形迹，心存高远。其艺事不止笔墨间，背后所蕴，乃深厚文脉与人生感悟。少时即志在超脱，常求思想之新，不甘拘泥旧章，心逐艺海，以艺载道，所求者非止形而下，意在引领书坛之风潮。其探求，未曾停步，凡有所创，皆根深积厚，绝非一时之兴。
壬辰之岁，陈振濂于一场“社会责任”展览，始思艺与世事之微妙关联。是展所陈，皆寻常人间之事，或关民生琐务，或涉时局变迁，如农工购票之难、柯达影业之衰。此举一时间引发议论，或谓此道恐损艺术本真。然陈氏心定如磐，深悟艺术非独为赏心悦目，亦应负有时势之重。展毕获誉，愈坚定其步履，益发笃行于艺事新途。
自壬辰至辛丑，陈氏笔耕不辍，书写凡间所历之瞬，将点滴日常汇为十载卷帙，名曰《书法史记》。此集所载，既是其对俗世万象之细致察觉，亦为“读书法”之理念延展。陈氏素有高见，书艺不当囿于古人之言，而应融己思于字里，关切当世风云，书写时代脉动，以守艺道之真，免流于空陈之具。
陈振濂于篆刻之道，胸怀远见，不拘于古学之框。非囿于方寸之界。其倡“大印学”，旨在拓古今之通途，融中外之殊妙，求于印学中开新境。目光远及，览古今文明，察印章之道，虽发乎异邦，然理自相通。故立“文明交融”“学科交叉”二纲，将青铜、甲骨、石刻，及敦煌古卷之精髓，悉入其中，使旧学焕然，格局大开。 基于此见，陈氏创“世界图纹与印记”之巨作，涵“一带一路”沿途各国文字图纹，兼纳异域风采于方寸印面。汉字为骨，然外文符号暗含其中，交织中西，灵韵自生。斯作方正，古朴苍茫，透金石之厚，寓时风之变，正合“大印学”之旨，蕴藉深远，气象万千。
陈振濂近岁书风，厚重沉凝，气象万千。昔之轻灵，渐化为深沉博远，质朴中蕴雄健气势。此非技之变易，乃心境升华，艺道愈发通达辽阔。时人评曰：“振濂之艺，超卓学识与心性并见，胸中丘壑深远，目识千里，举艺负大任，思致高瞻。”其草书如风过林梢，龙翔九霄，纵横捭阖，浑然天成，遂为“陈家样”。观其展者，非仅赏笔墨，实窥其心境，与其人生之历程相融，观者驻足久之，神游其境，妙悟其中，不止目阅耳。
陈振濂年岁虽增，步伐依旧不缓，高教、学问、艺事并举，无倦无止。自言如思想“无尽之机”，常怀新意，志于超越今昔。引张载遗训：“天地立心，生民立命，往圣继绝，万世开平。”此语久植于怀，深契其志，乃艺道长进之源泉，亦文脉承续之重托。振濂以此自策，恒思艺境无垠，唯在拓展天地间永恒之道。
Chen Zhenlian: Unbounded by Limits, Mastery in Ink and Brush
Chen Zhenlian, styled Yizhai, was born in the winter of Bing Shen year in Shanghai, with ancestral roots in Yin County, Zhejiang. From an early age, he displayed great talent and passion for the arts, excelling in calligraphy and seal carving. His studies extended to Chinese painting and Japanese ink art, achieving mastery in both. His knowledge of poetry and classical Chinese prose enriched his artistic expressions, allowing his work to seamlessly blend theory and practice, forming a grand and integrated vision.
Observing his calligraphy, the strokes flow with dynamic grace, alternating between boldness and subtlety, as smooth as drifting clouds. In his cursive script, the lines shift fluidly, alternating between light and heavy strokes, like a dragon flying through the air or silk swaying in the breeze. His work balances strength and elegance, spirit and rhythm in harmony. His clerical script is particularly ingenious, combining seal script with the structure of Han dynasty manuscripts, lending a lively energy to the otherwise weighty forms, captivating viewers with its hidden brilliance.
Chen has dedicated over forty years to his artistic journey, never constrained by mere techniques or superficial forms. His works reflect not just skill in ink and brush, but a profound cultural heritage and deep personal insight. From a young age, he sought to transcend conventional boundaries, always pursuing new ideas and refusing to be limited by traditional norms. His heart follows the vast sea of art, using his craft as a vehicle for higher ideals, aiming not just for mastery of technique but to inspire and lead the field of calligraphy. His pursuit of innovation has never ceased; each creation is deeply rooted in decades of cultivation, never a fleeting moment of inspiration.
In the year of Ren Chen, Chen Zhenlian participated in an exhibition on "Social Responsibility," beginning his deep reflection on the subtle relationship between art and society. The exhibition displayed works reflecting everyday life, addressing issues such as migrant workers’ struggles to buy train tickets and the decline of Kodak’s film industry. This move sparked debate, with some questioning whether such themes diluted the purity of art. However, Chen remained resolute, understanding that art is not merely for aesthetic pleasure but must also bear the weight of its time. The success of the exhibition further strengthened his resolve, pushing him to continue on a new path in art.
From Ren Chen to Xin Chou years, Chen persisted in using calligraphy to record the moments of everyday life, compiling these small details into a decade-long collection named "Calligraphy Chronicles." This body of work not only reflects his keen observations of worldly affairs but also embodies his philosophy of “reading calligraphy.” Chen holds a unique vision: calligraphy should not be limited to copying ancient texts but should infuse the artist's own thoughts, engaging with contemporary realities and capturing the pulse of the times, thus preserving the true essence of the art and avoiding empty formalism.
In the realm of seal carving, Chen maintains a broad vision, unconfined by the traditional frameworks of seal study. His “Grand Seal Study” concept aims to bridge the ancient and modern, blending the unique qualities of Chinese and foreign cultures, seeking new horizons in the field. His vision spans across civilizations, recognizing that although seals originate from different lands, their principles are universally connected. Thus, he established two guiding principles: "Civilization Integration" and "Disciplinary Intersection," incorporating elements from bronzeware, oracle bones, stone carvings, and the essence of Dunhuang manuscripts. This approach revitalized traditional seal study, expanding its scope significantly.Building on this vision, Chen created the grand project "World Patterns and Seals," incorporating the characters and symbols of countries along the Belt and Road Initiative, blending foreign elements into the small space of a seal. The foundation is in Chinese characters, but foreign scripts and motifs are interwoven, merging Eastern and Western aesthetics with a natural harmony. These works, solid and ancient in form, exude the weight of metal and stone while also reflecting the changing winds of modern times, fully embodying the essence of the "Grand Seal Study" with profound depth and boundless vitality.
In recent years, Chen’s calligraphic style has become increasingly weighty and profound, full of vast grandeur. The lightness of his earlier work has transformed into depth and expansiveness, with simplicity imbued with powerful energy. This shift is not merely a change in technique but a reflection of a deeper state of mind, with his art reaching greater levels of comprehension and breadth. Contemporary critics have said, "Chen’s art reflects his extraordinary knowledge and character, with a mind as deep as valleys and vision as far-reaching as the horizon. His art carries great responsibility and foresight." His cursive script flows like wind through the treetops or a dragon soaring through the heavens, exuding natural power and fluidity, establishing the distinct "Chen Family Style." Visitors to his exhibitions do not merely appreciate his brushwork but immerse themselves in his state of mind and life journey, standing in contemplation for long periods, spiritually transported and deeply enlightened.
Though Chen grows older, his pace has not slowed. He continues to balance higher education, scholarly research, and artistic creation, tireless and undeterred. He likens himself to an "inexhaustible engine of thought," constantly filled with new ideas, always striving to surpass the present and explore new frontiers. He frequently cites the teaching of the Northern Song Confucian Zhang Zai: "Establish a heart for heaven and earth, set the destiny for the people, continue the wisdom of the sages, bring peace to all generations." These words have long taken root in his heart, deeply resonating with his ambitions, serving as the wellspring for his progress in the arts and the guiding principle for his responsibility in passing down cultural heritage. With this as his compass, Chen continually seeks to expand the infinite realm of art, aiming to forge an eternal path between heaven and earth.
责任编辑：苗君
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