陳振濂，字頤齋，丙申冬月降于滬上，祖籍浙江鄞縣。自少嗜藝，才情出眾，凡書(shū)法、篆刻，皆有所究;國(guó)畫(huà)、日本書(shū)藝，亦精研而通。其學(xué)兼詩(shī)詞之奧，故其藝與理水乳交融，內(nèi)外兼修，蔚為大觀。

觀其書(shū)，縱橫提按，抑揚(yáng)頓挫，氣韻流轉(zhuǎn)如行云流水，瀟灑自如。行草之中，線(xiàn)條若斷若續(xù)，輕重轉(zhuǎn)折，飄若游龍，綿若垂絲，游走自如，力與氣并行，神與韻共在。隸書(shū)尤具巧思，融篆法漢簡(jiǎn)之規(guī)，厚重之中暗藏靈動(dòng)，觀者每見(jiàn)，必為其妙境所攝。

陳氏深耕藝途，歷四十載，不拘技藝形跡，心存高遠(yuǎn)。其藝事不止筆墨間，背后所蘊(yùn)，乃深厚文脈與人生感悟。少時(shí)即志在超脫，常求思想之新，不甘拘泥舊章，心逐藝海，以藝載道，所求者非止形而下，意在引領(lǐng)書(shū)壇之風(fēng)潮。其探求，未曾停步，凡有所創(chuàng)，皆根深積厚，絕非一時(shí)之興。

壬辰之歲，陳振濂于一場(chǎng)“社會(huì)責(zé)任”展覽，始思藝與世事之微妙關(guān)聯(lián)。是展所陳，皆尋常人間之事，或關(guān)民生瑣務(wù)，或涉時(shí)局變遷，如農(nóng)工購(gòu)票之難、柯達(dá)影業(yè)之衰。此舉一時(shí)間引發(fā)議論，或謂此道恐損藝術(shù)本真。然陳氏心定如磐，深悟藝術(shù)非獨(dú)為賞心悅目，亦應(yīng)負(fù)有時(shí)勢(shì)之重。展畢獲譽(yù)，愈堅(jiān)定其步履，益發(fā)篤行于藝事新途。

自壬辰至辛丑，陳氏筆耕不輟，書(shū)寫(xiě)凡間所歷之瞬，將點(diǎn)滴日常匯為十載卷帙，名曰《書(shū)法史記》。此集所載，既是其對(duì)俗世萬(wàn)象之細(xì)致察覺(jué)，亦為“讀書(shū)法”之理念延展。陳氏素有高見(jiàn)，書(shū)藝不當(dāng)囿于古人之言，而應(yīng)融己思于字里，關(guān)切當(dāng)世風(fēng)云，書(shū)寫(xiě)時(shí)代脈動(dòng)，以守藝道之真，免流于空陳之具。

陳振濂于篆刻之道，胸懷遠(yuǎn)見(jiàn)，不拘于古學(xué)之框。非囿于方寸之界。其倡“大印學(xué)”，旨在拓古今之通途，融中外之殊妙，求于印學(xué)中開(kāi)新境。目光遠(yuǎn)及，覽古今文明，察印章之道，雖發(fā)乎異邦，然理自相通。故立“文明交融”“學(xué)科交叉”二綱，將青銅、甲骨、石刻，及敦煌古卷之精髓，悉入其中，使舊學(xué)煥然，格局大開(kāi)?！　』诖艘?jiàn)，陳氏創(chuàng)“世界圖紋與印記”之巨作，涵“一帶一路”沿途各國(guó)文字圖紋，兼納異域風(fēng)采于方寸印面。漢字為骨，然外文符號(hào)暗含其中，交織中西，靈韻自生。斯作方正，古樸蒼茫，透金石之厚，寓時(shí)風(fēng)之變，正合“大印學(xué)”之旨，蘊(yùn)藉深遠(yuǎn)，氣象萬(wàn)千。

陳振濂近歲書(shū)風(fēng)，厚重沉凝，氣象萬(wàn)千。昔之輕靈，漸化為深沉博遠(yuǎn)，質(zhì)樸中蘊(yùn)雄健氣勢(shì)。此非技之變易，乃心境升華，藝道愈發(fā)通達(dá)遼闊。時(shí)人評(píng)曰：“振濂之藝，超卓學(xué)識(shí)與心性并見(jiàn)，胸中丘壑深遠(yuǎn)，目識(shí)千里，舉藝負(fù)大任，思致高瞻?！逼洳輹?shū)如風(fēng)過(guò)林梢，龍翔九霄，縱橫捭闔，渾然天成，遂為“陳家樣”。觀其展者，非僅賞筆墨，實(shí)窺其心境，與其人生之歷程相融，觀者駐足久之，神游其境，妙悟其中，不止目閱耳。

陳振濂年歲雖增，步伐依舊不緩，高教、學(xué)問(wèn)、藝事并舉，無(wú)倦無(wú)止。自言如思想“無(wú)盡之機(jī)”，常懷新意，志于超越今昔。引張載遺訓(xùn)：“天地立心，生民立命，往圣繼絕，萬(wàn)世開(kāi)平。”此語(yǔ)久植于懷，深契其志，乃藝道長(zhǎng)進(jìn)之源泉，亦文脈承續(xù)之重托。振濂以此自策，恒思藝境無(wú)垠，唯在拓展天地間永恒之道。

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.

責(zé)任編輯：苗君