金马开新岁，艺桥通四海

当新岁的晨光穿越时间的隘口，马蹄声碎，踏开一道通往无限可能的艺术长廊；当创意的星火跨越山海阻隔，艺桥飞架，连缀起四海共此的审美共鸣——我们在此呈献的，正是这样一场横跨时空、融汇多元的“新春视听云联展”。

这不仅是一次作品的集结，更是一场精神的远航。每一件作品都是一扇窗，透过它，我们看见创作者如何以独特的视角捕捉时代的脉动，如何以个性化的语言诠释共通的情感。在这里，传统与现代对话，东方与西方交融，具象与抽象并存，构成了一幅多维度的艺术星图。

“闪耀”不仅是视觉的盛宴，更是思想的闪光。这些作品如同新春夜空中的焰火，在数字云端次第绽放，它们或沉思生命本质，或讴歌人间温情，或探索形式边界，或回应时代命题。每一束光芒都承载着创作者的热望，每一次闪烁都在邀请观者进入一场深度对话。

此刻，无论我们身处地球的哪个角落，都能透过这片“云”相遇。艺术在此展现出它最本质的力量：超越地理的隔阂，消融文化的边界，在人类共同的情感土壤上，培育理解与共情的花朵。

愿这场联展成为新春的第一缕艺术清风，拂过心灵，激荡思考。愿我们在这共享的审美时刻，不仅见证作品的璀璨，更感受到连接彼此的那座无形之桥——它由美构建，由理解加固，通向一个更加丰富多彩的精神家园。

现在，请让我们一起步入这片闪耀的星海，聆听每件作品背后的心跳，感受艺术如何让这个新春，变得更加辽阔而深邃。

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。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”作品用眼睛去欣赏就够了，而“术”、“道”兼容的作品，却会让人陶醉与遐想。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，它怎么折腾也只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。有经云："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界人民的喜爱，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, a red wall artist, a specially invited observer of the United Nations, a national model worker on May Day, and enjoys special allowances from the State Council. A native of Pengzhou City, Chengdu, Sichuan Province, an independent scholar in the study of Chinese and Western cultures.

　　Mr. has a dual cultivation of Confucianism, Buddhism, and Taoism. He is a national senior calligrapher, social activist, and has a lifelong love for poetry and literature. He has a good understanding of painting and calligraphy, and also devotes himself to traditional Chinese medicine and longevity and health preservation. He enjoys the great rejuvenation of the Chinese nation. Since the reform, collections of poetry, essays, and calligraphy works have emerged. After studying the three major schools of thought in modern China, he advocated in the academic community that "Peng Xue" should become the fourth major school of thought in China. The teacher focuses on humanities, religion, calligraphy and painting art, and traditional Chinese medicine health preservation, especially enjoying the great rejuvenation of the Chinese nation.

　　For many years, the gentleman has been fond of the saying: 'Up and down for five thousand years, spanning a hundred thousand miles, studying the three major religions of Confucianism, and speaking from hundreds of households.'. Some people choose the present, while others choose poetry and distant places. They choose the future, the future, and the future. Mr. Chen Yiyuan believes that Chinese people should have their own firm cultural confidence: calligraphy is a unique national treasure of our Chinese nation, and Chinese calligraphy is not only art, but also something far higher than art. The so-called art in the West

　　Just a foreign term that has only been heard in China for nearly 100 years, Chinese calligraphy existed for over 2000 years before art. Our calligraphy can encompass Western art, but Western art can never encompass our Chinese calligraphy. Just talking

　　It is enough to appreciate works of art without preaching with the eyes, while works that are compatible with art and Taoism can make people intoxicated and daydream. Perhaps our Chinese calligraphy is a cultural peak that Westerners can never catch up with. A calligrapher with taste should devote their entire life to cultivating cultural heritage and cultivating their own character. With this basic skill, it is possible to achieve exquisite expressions under the pen like a divine tip. Western art, no matter how much it is tossed around, is only a technical activity in three-dimensional space. Throughout the history of world art, I have seen many works that only stay at the level of technique and play with skills, without rising to the level of Dao

　　At the level of Taoism, good calligraphy works in China are all the crystallization of the soul, presented in a high-dimensional way, and the two cannot be compared.

　　Without higher dimensional thinking and cognition, it is impossible to write high-quality calligraphy works in Chinese calligraphy. As the saying goes:

　　Silent and unmoved, the beauty of feeling and then applying it lies in one heart

　　If you don't understand these principles, talking about calligraphy is just scratching the surface. Therefore, actively defending the sacred and holy status of Chinese calligraphy should be a specific measure of whether a Chinese calligrapher has cultural identity and confidence in their own country. Chinese calligraphy not only has laws and forms, but more importantly, it also needs to have spirit and charm. The process of learning calligraphy is not only about practicing techniques, but also about enhancing one's personality and cultivating one's soul. Learning calligraphy is beyond the realm of martial arts. The underlying logic of Chinese calligraphy is not only about techniques, personal talents and talents, but also a solid foundation of Chinese culture and the patterns and emotions of calligraphers.

　　Chinese calligraphy is a brilliant cultural treasure left by our ancestors to humanity. Our Chinese culture will surely lead the world, and this unique and charming cultural form of Chinese calligraphy will be increasingly loved by people around the world. It will also forever shine brightly in the cultural history of humanity.