陈建新,浙江温州人,1987年毕业浙江大学。中国当代著名书法家,诗人,收藏家。中华人民共和国国宾礼艺术家,国家高级书法师。中国书法家协会会员,中国书画家联谊会会员,中国收藏家协会会员,中国硬笔书协会员,中国中外名人文化研究会学术委员会会员兼艺术顾问,中国国际书画艺术研究会会员,水墨丹青书画院会员。中国人民艺术网艺术顾问,中国工业合作协会国策智库专家委员会专家,中国书画家联谊会新文艺群体书画家工作委员会理事副秘书长、特聘书画家;《新文艺》杂志编委;中国民族建筑研究会书画专业委员会理事,客座教授;中国楹联学会理事;中国楹联学会书法艺术研究会书画专家兼副秘书长;华港书画文化研究院副院长;中国互联网联盟理事兼艺术总监,副主编;国际名人百科外联部主任; 孔子美术舘签约艺术家;收藏天下全国数字电视频道学术指导与特邀艺术家。东方兰亭诗社理事,东方诗人协会副主席,东方收藏家协会副主席,东方文明传播会副主席,兼任总会管理委员会委员。曾受聘担任开封苏富比艺术发展中心艺术总监。
陈建新老师书法
Chen Jianxin, a native of Wenzhou, Zhejiang Province, graduated from Zhejiang University in 1987. Famous calligrapher, poet and collector in contemporary China. National Guest Ceremony Artist of the People's Republic of China, National Senior Calligraphy Master. Member of Chinese Calligraphers Association, Chinese Calligraphers Association, Chinese Collectors Association, Chinese Hard Pen Book Association, Academic Committee and Art Consultant of Chinese and Foreign Celebrity Culture Research Association, China International Painting and Calligraphy Art Research Association and Ink Painting and Calligraphy Institute. Art consultant of the Chinese People's Art Network, expert of the National Policy Think Tank Expert Committee of the China Industrial Cooperation Association, deputy secretary-general of the New Literature and Art Group Painting and Calligraphy Working Committee of the Chinese Painting and Calligraphy Association, and special painter; Editorial Board of New Literature and Art magazine; Director and visiting professor of national architecture institute of china Painting and Calligraphy Professional Committee; Director of China couplets society; Painting and calligraphy expert and deputy secretary-general of calligraphy art research institute of China couplets society; Vice President of Hua Gang Painting and Calligraphy Culture Research Institute; Director and artistic director of China Internet Alliance and deputy editor-in-chief; Director of outreach department of international celebrity encyclopedia; Confucius Art Museum signed an artist; Collect the academic directors and invited artists of national digital TV channels. Director of Oriental Lanting Poetry Society, Vice-Chairman of Oriental Poets Association, Vice-Chairman of Oriental Collectors Association, Vice-Chairman of Oriental Civilization Communication Association, and concurrently a member of the Management Committee of the General Assembly. He was employed as artistic director of Sotheby's Art Development Center in Kaifeng.
陈建新老师书法
书画作品入编《中国美术选集》,书法作品入编《世界艺术家大辞典》和由中国文联出版社出版的《新时代四十年40家书画作品选》,《中国艺术大家典藏》,《中国书画名家作品集》,《联墨薪传书法优秀作品选》,《中国美术70年》,《新中国美术图鉴》,《世界华人艺术名家收藏年鉴(典藏集)》,刊登《中国民族博览》…。书法作品多次在全国大赛中获奖。2017年被评为中国好品牌影响力书法家,中国年度骄傲人物。2018年荣获改革开放40年功勋艺术家,人民艺术家,"华夏品牌2019新年书画展十大书法名家。2019年被评为"艺术功勋人物","中华联墨艺术联墨双优人才",“人民心中的大师”。荣获“聚焦两会2020年国际书画艺术创新人物”,同时录入全国书画大师数据库,书法作品入档国宝档案。2020年荣获全国两会官方重点推荐人民艺术家荣誉称号。多幅作品版权在香港证券交易所上市。
陈建新老师书法
Painting and calligraphy works are included in Selected Works of Chinese Fine Arts, calligraphy works are included in Dictionary of World Artists, Selected 40 Painting and Calligraphy Works in the New Era 40 Years, Collection of Chinese Artists, Collection of Famous Chinese Painting and Calligraphy Works, Selected Excellent Calligraphy Works of Lianmo, 70 Years of Chinese Fine Arts, New China Fine Arts Picture Book and Yearbook of World Famous Chinese Art Collection published by China Federation of Literary and Art Circles Calligraphy works have won many awards in national competitions. In 2017, he was named as a calligrapher with good brand influence in China and a proud figure of the year in China. In 2018, he was awarded as a meritorious artist and people's artist in the 40 years of reform and opening-up, and was one of the top ten calligraphy masters in Huaxia Brand 2019 New Year Painting and Calligraphy Exhibition. In 2019, he was named as "Artistic Meritorious Person", "Excellent Talent of China-Dalian Art and Mexico" and "Master in People's Heart". Won the title of "Focus on the Innovative Figures of International Painting and Calligraphy Art in 2020", entered into the national master database of painting and calligraphy, and put calligraphy works into national treasure archives. In 2020, he won the honorary title of people's artist recommended by the National People's Congress. Many works are listed on Hong Kong Stock Exchange.
陈建新老师书法
名家点评:
笔力雄强写筋骨正大气象歌时代一一记著名书法家陈建新
诸书皆修非巅峰,专精一门是造诣。每一位书法大家都有自成一体的非凡造诣,所以人们提起书圣王羲之自然会倾意于他的行书气韵,如果提到欧阳询自然是楷书的正宗,再提怀素则是狂恣无拘的大草仰望。书法家应修一体绝顶功夫,方可以成为书法有神通的大手笔。当代著名书法家陈建新先生,不满足于诸书皆修的造诣,在全能掌握了真草行隶篆各种形体的真诀之后,又专致行书的春秋磨炼,以二王法帖的抒情言志风格为师法,创建自己精琢行书的磨炼体系,博涉多优行书立巅峰,让他的书法也拥有自成一品的实力风范!他的行书创作带有鲜明的艺术妙韵,用笔施千钧之力,但不是拙劲,而是巧力,依巧摄变,依巧致动,运笔千钧之力就转化成姿逸丰神的笔墨动逸,筋骨雄存,儒雅风行,书法完全脱离了匠工制作的呆板僵化,走向了追风逐云使转自如的洒脱境界。提摁蹲点,总显跳跃。生动的节奏感让他的笔法如踏歌而行,一气呵成就有蛟龙出水凤舞九天的动态美姿,奇欹焕神,妙在自然!他的书法以动为美,以变制神,所以就不会显得僵化,也不会写得很沉闷,放手写心的抒情格调正是王羲之十七帖,米芾蜀素帖这种信札体的天工自然。以心驱笔,以情注墨,书法如赋一首诗,、如填一首词,既不是江湖书法的粗头乱服,也不是展览体的造作矫饰,这我手写我心的笔墨体验,正是书如其人的文品内涵。文人书法的书卷气息扑面而来,悦目动心,法证正宗。所以他的书法是当代书法回归传统晋韵宋意的典范。如果书法只有书卷气,那么也难免显得柔媚糜弊,还要在书卷气中融进铁笔立骨的精气神,书法才会在书卷气韵中再生成凌空杀纸秋鹰逐兔的气度。很明显陈建新的行草作品,就是雄劲立筋骨的表现力。书写迅捷,八面出锋,转折无碍。转为圆润风情,折成雒钗坚骨,洒脱不失坚毅,恰是行书表现盛世意象的切意,这让他的书法可以统略当代文化的气骨精神,书不但如其人有侠者气度,也如这个时代有民族风骨!这正是艺术家的笔墨主动与时代思想胶着一体的文化担当!笔力雄强写筋骨,正大气象歌时代。他的书法作品制成邮品发行,拥有了国家文化名片的品格资粮!书法不是小文人的自娱狭窄,而是赋歌时代的视享大观。一气呵成,便是俯仰乾坤的精气神。以碑学立骨,以贴学生韵,碑帖双休,当然是翰墨大成!
著名书画评论家田继学2019年12月30日
陈建新老师书法
Famous reviews:
Strong writing skills, strong writing skills, great weather songs, a famous calligrapher, Chen Jianxin All books are not the pinnacle, but specialization is an accomplishment. Every calligrapher has his own extraordinary attainments, so when people mention the calligrapher Wang Xizhi, they will naturally be interested in his running script. If Ou Yangxun is naturally the authentic regular script, then Huai Su is a wild and unrestrained grass. Calligraphers should cultivate one's best skills, so that they can become powerful calligraphers. Mr. Chen Jianxin, a famous contemporary calligrapher, is not satisfied with the attainments of repairing all the books. After he has mastered the true tactics of all kinds of forms, he devoted himself to the spring and autumn tempering of running script. Taking the lyrical style of the second king's Fatie as his teacher, he created his own tempering system of exquisite running script, and made his calligraphy have its own strength style. His running script creation has a distinct artistic charm, and it uses a pen to exert great strength, but it is not my strength. Instead, it is a skillful force, which changes according to the skill and activates according to the skill. The power of running a pen is transformed into a pen and ink that is graceful and vivid, and its bones and muscles are vigorous and elegant. Calligraphy has completely broken away from the rigid and rigid craftsmanship, and has moved towards a free and easy state of chasing the wind and chasing the clouds to make it turn from itself. When you press the casing, you always jump. The vivid sense of rhythm makes his brushwork walk like a stepping song. In one go, he has the dynamic beauty of nine days of dragon and phoenix dance, which is wonderful in nature! His calligraphy takes movement as beauty and changes the spirit, so it won't appear rigid, and it won't be dull. The lyrical style of letting go of writing heart is just the nature of Wang Xizhi's seventeen posts and Mi Fei's Shu Sutie. Drive the pen with the heart and note the ink with the emotion. Calligraphy is like giving a poem or filling a word, which is neither the rough clothes of Jianghu calligraphy nor the artificial decoration of exhibition body. This experience of writing my heart's pen and ink is exactly the literary connotation of books as human beings. The scroll breath of literati calligraphy comes to me, which is pleasing to the eye and tempting, and the legal evidence is authentic. Therefore, his calligraphy is a model for contemporary calligraphy to return to traditional Jin Yun and Song Yi. If calligraphy is only bookish, it will inevitably appear soft and charming, and the spirit of making bones with an iron pen should be melted into the bookish, so that calligraphy can reproduce the bearing of killing paper by volley and killing eagles by rabbits in the bookish charm. It's obvious that Chen Jianxin's cursive works are the expressive force of making great efforts to build up bones and muscles. Writing is quick, with front on all sides, and turning is clear. Turning into a mellow style, folding into a sturdy hairpin, free and easy without losing perseverance, is precisely the eagerness of running script to express the prosperous image, which makes his calligraphy can unify the spirit of contemporary culture. Books are not only chivalrous, but also national in this era! This is the cultural responsibility that the artist's pen and ink initiative and the thoughts of the times are glued together! Writing bones and muscles with strong pen strength is in the era of meteorological songs. His calligraphy works are made into stamp products for distribution, and he has the character resources of national cultural business cards! Calligraphy is not a narrow self-entertainment for young literati, but a grand view in the age of Fu Song. In one go, it is the spirit of pitching Gan Kun. Build bones with stele study, stick students' rhyme, and have a double rest with stele, which is of course a great achievement in calligraphy! Famous painting and calligraphy critic Tian Jixue December 30, 2019
陈建新老师书法
锋纤往来与曲折钢钩,成就刚柔相济——陈建新
作品观赏书法写得飞动一些,并不是非常大的困难,因为通过不断的练笔,达到娴熟之后,飞动自然来,在书法术语中这叫“笔墨滑畅”。但是要像书法家陈建新先生的书法这样,写得飞动而不失凝重,还有曲折如钢钩一般的气势表现,就显得比较困难了,这需要笔法、墨韵、结体、章法要有更多的塑造力和控制智慧,并不是仅仅娴熟就可以达到的。法由师授,是传统书法技法传承的重要方式。这种方式在怀素传里有明示,说怀素练书法,练了好长时间,有一天忽然觉悟:法无师授,如不由户出。乃师金吾兵曹邬彤为师。有了老师之后,从老师那儿学来了凌冬枯树的书风,为他的铁画银钩打下了方向性的基础,这就是法由师授的重要性,一是可以打基础,二是可以找方向。陈建新先生的书法学习,也是法由师授的过程。从其艺术经历上,了解先生也是幼承家训,天资聪颖,自幼酷爱书画艺术。在大学就读期间就得到当代著名书法家马世晓先生赏识收为入室大弟子,经过口传手授,悉心指导下接受系统书写训练。修习历代名家碑帖,成为他在书坛有作为的高起点。后又经过近四十年余年的刻苦钻研,不懈努力。精通真、草、隶、篆各种书体且擅长行书,可以说陈建新先生在继承传统的基础上逐渐形成自已的独特风格。陈建新先生的书法除了有师授的法度之外,还有自悟的灵性。师傅开汝之悟,自己又书性过人,当然可以博涉多优,成为真草隶篆各种书体的统摄人物。但是,陈建新对书法形体的修炼,又有非常清楚的理性思考,这种思考大约可以与道德经上的理念有相通之处,即是“博而不知,知而不博”。辩证地看待书法博与知的关系,觉悟书道又贵有专致精一的价值取向,所以在后续的书法磨砺中,致力于行书的出类拔粹,成为当代书坛擅行书的能家!凡是修炼行书,二王的体系是不可以绕过的,这关系到书法是否源出正宗的问题。陈建新先生的书法,对兰亭序、伯远帖、快雪时晴帖等法帖,应该有心追手临的成果。所以他的书法里就是牵线映带的滑畅感,放手写心,贵有文气,有文人书法的书卷气息。如果陈先生的行书磨砺就止步于牵丝映带姿态要妙的修炼,也已经是不简单的成绩。但是书无止境的执着,还是让他有自立面目的冲劲和动能!学过了晋韵,还习宋意。可以发现他的书法里有米芾蜀素帖笔墨铺陈痛快的影子,也有研山铭刷字凌利曲折如钢钩的气势,这就是他的书法由晋韵的多姿丰神,又介入宋人书法立骨有气势的证据。当然,陈建新先生的行书在追求刚柔相济的过程中,不仅仅是融合了王羲之笔法的天质自然和米芾书法的痛快淋漓,还有一个特别鲜明的选项,就是有引碑入行书的用意和实践。让碑学的风骨,进入草书的大家是李志敏,并且功成卓越,这个大家都是知道的。碑骨入行书,在这方面探索的能家并不多,检索了一下,除了陈建新先生有作品为证可作判断,其他这种类型的书家还真不太容易寻得到。是不是可以这样说,引碑入草李志敏做了先锋,引碑入行是陈建新作了探索呢?是可以这样说的,至少从目前情况来看,引碑入行的路陈建新先生走的比较先锋,并且成绩也是很突出的,观赏他的书法自然是碑帖相合有气韵有气势的现象。陈建新先生的行书飘逸俊秀不失凝重,刚柔相济。刚柔相济是传统文化的核心基因,无论是道家还是儒家佛家都对刚柔相济有共识,所以书法写刚柔相济就是文化表现。书法的刚柔相济说起来简单,但是做起来并不容易。有的人自称书法刚柔相济,但真去看的时候,并不是刚柔相济的真实,要么偏于柔有媚的感受。要么偏于刚是糙的结果。这说明刚柔相济的趋中结果很难掌握。陈建新先生掌握了,他的书法已经进化成了书道,刚和柔的度拿捏的非常到位,“求中”的结果可以打满分。锋纤往来,牵丝映带是为柔,顿推有效,曲折钢钩是为刚!心有道,落于笔端的翰墨总有师法自然的要妙。刚柔相济,真实不虚,写意文化,书如其人!
孔子美术馆馆长:江继良
陈建新老师书法
Frontal fiber contact and tortuous steel hook, achieving the combination of rigidity and softness-Chen Jianxin
It's not very difficult to watch calligraphy writing fly, because it's natural to fly after being proficient through continuous practice, which is called "smooth writing" in calligraphy terminology. However, it is more difficult to write like the calligrapher Mr. Chen Jianxin's calligraphy, which is flying and dignified, and has the momentum of twists and turns like steel hooks. This requires more shaping power and control wisdom in brushwork, Mo Yun, structure and composition, which can not be achieved only by being skillful. Teaching method by teachers is an important way to inherit traditional calligraphy techniques. This way is clearly stated in Huai Su's biography, saying that Huai Su practiced calligraphy for a long time, and suddenly realized one day: if the law is not taught by a teacher, it will not come out of the house. Jin Wubing Cao Wutong was the teacher. After having a teacher, I learned the style of dead trees in Lingdong from the teacher, which laid a directional foundation for his iron painting and silver hook. This is the importance of teaching the law by teachers. First, I can lay the foundation; second, I can find the direction. Mr. Chen Jianxin's calligraphy study is also a process in which law is taught by teachers. From his artistic experience, Mr. Understanding is also a young man who has inherited family precepts, is gifted and intelligent, and loves painting and calligraphy since childhood. While studying in university, he was appreciated by the famous contemporary calligrapher Ma Shixiao and accepted as a big disciple. After oral instruction and careful guidance, he received systematic writing training. Studying famous inscriptions of past dynasties has become a high starting point for his achievements in the field of calligraphy. After nearly 40 years of painstaking research, unremitting efforts. Proficient in all kinds of calligraphy styles of Zhen, Cao, Li and Seal, and good at running script, it can be said that Mr. Chen Jianxin gradually formed his own unique style on the basis of inheriting tradition. Mr. Chen Jianxin's calligraphy has not only the testimonies given by his teachers, but also the spirituality of since the enlightenment. The master is enlightened by you, and he is excellent in calligraphy. Of course, he can be a master of all kinds of calligraphy styles of the true Cao Li seal script. However, Chen Jianxin's cultivation of calligraphy form has a very clear and rational thinking, which can be roughly in common with the ideas in the Tao Te Ching, that is, "to spread knowledge without knowing it, but to know without spreading knowledge". Dialectically look at the relationship between calligraphy and knowledge, and realize that calligraphy is expensive and has the value orientation of specialization and perfection. Therefore, in the follow-up calligraphy honing, we devote ourselves to the classification and extraction of running script, and become an expert at running script in contemporary calligraphy circles! The system of "Two Kings" can't be bypassed when practicing running script, which is related to the question of whether calligraphy is authentic or not. Mr. Chen Jianxin's calligraphy should have the heart to pursue the achievements of his calligraphy, such as Lanting Preface, Bo Yuan Post, and Quick Snow Clear Post. Therefore, in his calligraphy, it is the smooth feeling of matchmaking, letting go of writing the heart, being expensive, and having the scroll breath of literati calligraphy. If Mr. Chen's running script is honed, it will stop at the cultivation of a wonderful posture, which is no simple achievement. But the endless persistence of the book still gives him the momentum and kinetic energy to stand on his own feet! I learned Jin Yun and studied Song Yi. It can be found that his calligraphy has the shadow of Mi Fei Shu Sutie's pen and ink, and there is also the momentum of Yan Shan Ming's brush calligraphy, which is like a steel hook. This is the evidence that his calligraphy is rich in charm from Jin Yun, and it has the momentum to intervene in the calligraphy of Song Dynasty. Of course, Mr. Chen Jianxin's running script, in the process of pursuing the combination of rigidity and softness, not only combines the natural nature of Wang Xizhi's brushwork with the stirring of Mi Fei's calligraphy, but also has a distinctive option, that is, it has the intention and practice of introducing monuments into running script. It is known to all that Li Zhimin, who let the character of stele study enter cursive script, has made outstanding achievements. There are not many scholars exploring the inscription of stele bones in running script. After searching, it is found that other calligraphers of this type are not easy to find, except Mr. Chen Jianxin's works as evidence for judgment. Can we say that Li Zhimin was a pioneer in introducing monuments into the grass, while Chen Jianxin made explorations in introducing monuments into the industry? It can be said that, at least from the current situation, Mr. Chen Jianxin is a pioneer in the way of introducing tablets into the industry, and his achievements are also very outstanding. It is natural to watch his calligraphy because of the combination of inscriptions, charm and momentum. Mr. Chen Jianxin's running script is elegant, handsome and dignified, with both rigidity and softness. Harmony between rigidity and softness is the core gene of traditional culture. Both Taoism and Confucian Buddhists have a consensus on harmony between rigidity and softness, so it is a cultural expression to write harmony between rigidity and softness in calligraphy. The combination of rigidity and softness in calligraphy is simple to say, but it is not easy to do. Some people claim that calligraphy combines rigidity with softness, but when they really go to see it, it is not the reality of combining rigidity with softness, or they tend to feel soft and charming. Or partial to just is the result of rough. This shows that it is difficult to grasp the result of combining rigidity with softness. Mr. Chen Jianxin has mastered it, and his calligraphy has evolved into a book way. The rigidity and softness are well balanced, and the result of "seeking the middle" can get full marks. Front-fiber exchanges, the ribbon is soft, the push is effective, and the zigzag steel hook is just! The heart has a good way, and the calligraphy that falls on the end of the pen is always better than the natural one. Combination of rigidity and softness, true and not empty, freehand brushwork in culture, and books are like people! Director of Confucius Art Museum: Jiang Jiliang
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