文运同国运相牵，文脉同国脉相连。70年披荆斩棘，70年风雨兼程，祖国发生了翻天覆地的变化。

在祖国70华诞到来之际，各文艺工作代表一致表示，要坚定文化自信，把握时代脉搏，坚持与时代同步伐，用明德引领风尚，以新时代精品力作向人民献礼。

陈维忠，1939年生，四川简阳人。大学文化。从教三十八年，曾为中学高级教师，四川美术教育学会会员。现为中国书画家联议会新文艺群体书画家工作委员会会员,世界华人艺术家联合会会员，其书画作品多次在全国各类大展大赛中获奖。其艺术追求为“艺以载道”，为时代歌唱。

Culture and sports are closely related to the national movement and the cultural context is connected with the national context. Seventy years have gone by, and seventy years have witnessed tremendous changes in the motherland.

On the occasion of the 70th anniversary of the motherland, representatives of various literary and artistic works unanimously expressed that they should strengthen cultural self-confidence, grasp the pulse of the times, keep pace with the times, use Mingde to lead the fashion, and make gifts to the people with the fine qualities of the new era.

Chen Weizhong was born in 1939 in Jianyang, Sichuan Province. University culture. Thirty-eight years of teaching, he was a senior middle school teacher and a member of Sichuan Academy of Fine Arts Education. Now he is a member of the New Literature and Art Group Calligrapher's Working Committee of the Federation of Chinese Calligraphers and Painters Parliament and the World Federation of Chinese Artists. His paintings and calligraphy have won prizes in various national exhibitions for many times. Its artistic pursuit is "art carries Tao" and sings for the times.

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自叙

天生物，人最灵。人有不同，灵有其异，常也。

余出身乡野，世代农家，然上天赐灵，五岁时堂姐阶前绣花，观其景而弃其玩，饱其丽而忘其饥，整日相随，植花草于心而视其宝。七岁入私馆，母亲一书一鸡蛋，先生天天蛋（阅字在满意的字上划的红圈）满篇，把习字作为每日最开心的事。

九岁上公学，习字不减旧爱，图画更添新趣，曾因同学影响自己习字而与其打墨仗受到老师批评，也曾因办板报获学校一等奖。十四岁上初中，三年苦读，全优毕业，尤以书画最佳，校评一等，县展一等，并生专修之志。然事有乖僻，一是毕业时知道美术方面招生的信息太晚失去报考机会，二是被保送师专只能忍痛割爱。幸道生道，有心则有道。师专一届，自为三秋（初中保送生学制为三年）揽板报，包书标，绘巨幅壁画于礼堂，写硕大校训于教学楼，事而废其休,劳而忘其赘。毕业从教，小学中学，乡村县城，主科副科，“老总” “道人”（时任校共青团总支书记数年同志别称“老总”；能教多学科，领导誉为“多宝道人”）......

autobiographical note

Man is the most intelligent creature in heaven. People are different, spirits are different, and often.

I was born in the countryside for generations, but God gave me spirits. When I was five years old, my cousin embroidered flowers in front of her steps. She watched the scenery and abandoned it for fun. She was full of beauty and forgot her hunger. All day long, she grew flowers and plants in her heart and regarded them as treasures. At the age of seven, she went to a private library, her mother read a book and an egg, and her husband wrote a full page every day (reading the red circle on the satisfactory words). He regarded the learning of words as the happiest thing of the day.

When I was nine years old, I went to public school. I never lost my old love for learning Chinese characters. I added new interest to my pictures. I was criticized by my teachers for fighting with my classmates because of their influence on learning Chinese characters. I also won the first prize for running a newspaper. Fourteen-year-old junior high school, three years of hard study, all excellent graduates, especially the best painting and calligraphy, first-class evaluation, County exhibition first-class, and students dedicated to study. However, there are eccentric things. First, when I graduated, I knew that the information of art enrollment was too late to lose the opportunity to apply for an examination. Second, I was sent to the teachers'college only to endure the pain and love. Fortunately, Tao is born of Tao, but conscious is born of Tao. In the first session of Teachers'College, the newspaper covering the three autumn period (three years' schooling system for students in junior middle school), the bookmark, the painting of huge murals in the auditorium, and the motto of a large school in the teaching building were written, but the work was abandoned and the burden was forgotten. Graduated from teaching, primary and secondary schools, rural counties and cities, major and minor subjects, "Lao Chief" and "Taoist" (then the General Secretary of the Communist Youth League of the school for several years, comrades nicknamed "Lao Chief"; able to teach multi-disciplinary, leaders known as "multi-treasure Taoist")...

作品2

人生无常，只能素其位而行，不愿乎其外，唯书画从未放弃。须知，在应试教育的年代，书画是极不被重视的学科，不仅是副科，还是豆芽课，为了心爱，为了寄情于生，在教好主科的同时我还是义无反顾不遗余力的或争取或接受兼教美术。三尺讲台一生情，半只豆芽四十春，无悔而事其终。退休，一切退而且休，唯书画退而难休。临帖，法古，师今，独行，无日而不视其课。

夫，岁月不居， 转眼已至耄耋之年。回首往事一切渐已远去，唯有书画尚有一二久久不能释怀，故辑八十帧致八十寿，其外别无奢求。

书画乃艺术之道，更是一种裁体，正如“文以载道”一般，“艺以载道”，它载着一个人的心声，载着一个时代的脉动，本着“笔墨当随时代”之精神，我画现实的景，书现行的字（规范汉字），写自己的心，诚也。

Life is changeable, can only be in its place, unwilling to do otherwise, only painting and calligraphy never give up. It should be noted that in the age of exam-oriented education, painting and calligraphy is a very neglected subject, not only a minor subject, but also a bean sprout course. In order to love, and to place oneself in life, while teaching the main subjects well, I still spare no effort or strive for or accept concurrent teaching of art. Three feet platform life love, half bean sprouts forty spring, without regret and the end. Retirement, all retire and rest, only painting and calligraphy retire. Lintie, Fagu, Teachers and Today, walk alone, day by day and ignore their lessons.

Husband, the years do not dwell, in a twinkling of an eye has reached a very old age. Looking back on the past, everything is fading away. Only painting and calligraphy can not be relieved for a long time. Therefore, there is no extravagance in compiling eighty frames to achieve eighty birthday.

Calligraphy and painting is the way of art, but also a genre, just like "literature carries Tao" and "art carries Tao", it carries a person's voice, carries the pulse of an era, in the spirit of "pen and ink should keep pace with the times", I draw realistic scenery, the current characters of books (standardized Chinese characters), write my heart, sincerely.

作品3

书画是一门学问，非学无以成材，非师无以成学，阴差阳错，余无缘面承师诲，然心悦而行僻，道法自然，潜行于乡野，悟道于闲暇，日久终有所获，幸也。

书画是一件乐事。乐则学，学则进，进则达。余一生与书画结缘，修忘其身，传忘其睥，何乎？原在一个“乐”字。乐生勤，勤生墨， 墨生意，不问穷达，乐在其中，足也。

漫漫人生路，悠悠寸草心，痴痴书画梦， 点点路石情，俱往矣，聊以自欣。

陈维忠 2019年2月22日

Calligraphy and painting is a kind of knowledge, which can't be accomplished without learning, and can't be accomplished without teachers. It's a mistake of yin and yang. I don't have a chance to receive teachers'instruction. However, I am happy and secluded. The Tao follows nature, sneaks in the countryside, enlightens the Tao in leisure, and finally gains something after a long time. Fortunately.

Calligraphy and painting are a pleasure. Music leads to learning, learning leads to progress, and progress leads to achievement. What does it matter that I have been associated with painting and calligraphy for the rest of my life, forgetting my body and passing on my eyes? Originally in a "happy" word. Happiness, diligence, ink business, do not ask the poor, enjoy it, enough.

Long life, long grass heart, crazy dream of painting and calligraphy, point the road stone, all the past, chat with self-satisfaction.

Chen Weizhong February 22, 2019

作品4

天真质朴，高韵深情

——陈维忠书画艺术浅析

黄金亮（《中国书画导报》社长、总编辑）

唐代书家蔡希综《法书论》中说：“每字皆须骨气雄强，爽爽然有飞动之势。”清代文学家刘熙载《书概》亦有：“书要兼备阴阳二气，大凡沉着屈郁，阴也；奇拔豪放，阳也。高韵深情，坚质豪气，缺一不可以为书。”自古书法以气韵为上，气是书法作品生命的本源，是书法本体所表现的精神状态。

Innocence and simplicity, high rhyme and affection

—— On Chen Weizhong's Calligraphy and Painting Art

Jin Liang (President and Editor-in-Chief of China Calligraphy and Painting Bulletin)

Cai Xizong, a Tang Dynasty calligrapher, said in his On Calligraphy: "Every word must be strong and bold, refreshing and flying." The Qing Dynasty writer Liu Xizai's Book Summary also contains: "Books should have both Yin and Yang, and most of them are calm and depressed, Yin is also; Qiba bold and unconstrained, Yang is also." High rhyme, deep affection, strong courage, lack of one can not be a book. Since ancient times, calligraphy is based on charm. Qi is the source of life of calligraphy works and the spiritual state of calligraphy itself.

作品5

陈维忠先生的书法朴实中透露着豪气，数十年的人生经历，使他在创作过程中不经意地流露出对人生的感悟。其书点画萧散洒脱，似远离俗尘，如丛菊疏兰，淡雅可人，流露出其性情的天真自然，又时有温润之色。其书法用笔迅疾而不轻滑，正、侧、铺、尖锋切换，有定调但无定格，如果不是十分精通草书堂奥、熟悉各家手段，是难以达到的。陈维忠凭借自身的感觉悟性研习探索，还留心参用海派书画大家的金石气，写出帖面碑味的样式，纵横交错、上下贯彻、左右开张，波澜不惊处“险象环生”，笔法丰富而其智慧更胜一筹。书法艺术的最高境界，不是遵循守旧或是一味复古，而是在此基础上有所突破，有胆识和魄力去逾越“规矩”，做到“写我心”而非“写他人心”。

书画同源，中国画向来讲究书法入画。纵观中外艺术史，凡有所作为的艺术家无不是既谙熟法则、规矩，又敢于破法则、破规矩的不安分守己者。我国花鸟画有深厚的传统，不论是院体还是文人画风，千余年来一座座丰碑林立，值得我们虔诚地膜拜和深入地学习、研究，但它们决不是我们一味模仿的对象。陈维忠之创作与许多人不同，恰恰就在这一点上。他在实践中不懈地奋力进取，追求画自己内心的感受，经过长期艰苦探索，终于取得丰硕成果。

Mr. Chen Weizhong's simple calligraphy reveals his heroism and his life experience for decades, which makes him inadvertently reveal his perception of life in the process of his creation. His calligraphy and paintings are scattered and free, as if they are far away from the mundane dust, such as Congju Shulan, elegant and human, revealing the naivety and nature of his temperament, and sometimes have a warm and moist color. Its handwriting is fast but not slippery. It can't be achieved if it is not very proficient in cursive scriptures and familiar with various means. Chen Weizhong relies on his own perception to study and explore, and also carefully refers to the gold and stone atmosphere of the Shanghai School of Calligraphy and Painting, and writes the style of tablet on the surface, which is crisscrossed, implemented from top to bottom, and opened from left to right. The waves are not alarmed by "dangerous phenomena", and his brushwork is rich and his wisdom is superior. The highest realm of calligraphy art is not to follow the old-fashioned or blindly retro, but to make breakthroughs on this basis, to have courage and courage to go beyond the "rules" and to "write my heart" rather than "write others'hearts".

Calligraphy and painting are of the same origin. Chinese painting always pays attention to the introduction of calligraphy into painting. Throughout the history of art at home and abroad, all artists who have done something are not only familiar with the rules and rules, but also dare to break the rules and rules. China's flower and bird painting has a profound tradition, whether it is the style of academy or literati painting, for more than a thousand years there have been many monuments, which deserve our pious worship and in-depth study and research, but they are not the objects we blindly imitate. Chen Weizhong's creation is different from that of many people, which is precisely the point. In practice, he made unremitting efforts to make progress and pursue his inner feelings. After a long and arduous exploration, he finally achieved fruitful results.

作品6

陈维忠有不同于别人的视角，写物象之形，但不拘泥于形似，而求其神韵。他善于捕捉和夸张客观对象具有特征的动势和神态，用刚健有力而富有感情的笔墨加以描写。在章法和构图上敢于破陈规，立新意。被他描写的主要对象或安排在大片空白中，或置放在有物象的背景中，随意自由，变化多端，似乎凭一时灵感即兴涂抹，实则构思缜密，别出心裁。构图如此，笔墨同样在“放肆”中把握尺度。所谓放肆，长线短线，自由穿插，虚虚实实，重重轻轻，曲折顿挫……墨色不求一般平和、悦目，浓、淡、干、枯、湿……无所不用其极，力求在强烈变化中大致的协调；他敢于用色彩，原色、调和色，在有意无意间使之与墨的块面形成呼应关系，令人折服。

绘画创作的奥秘在有法与无法之间，中外无异。陈维忠坚持凭自己的感受作画，不追求时尚，不一味追求文雅，一贯保持不媚俗的性格，使他的作品自然流露出一种天真、稚拙、质朴的美感，呈现出可贵的异彩。

Chen Weizhong has different perspectives from others. He writes about the shape of things, but he does not stick to the shape, but seeks its charm. He is good at capturing and exaggerating the characteristic momentum and attitude of the objective object, describing it with vigorous, powerful and emotional pen and ink. Dare to break the old rules and create new ideas in the rules and composition. The main objects described by him are either arranged in a large blank space or placed in the background of images. They are free and changeable. They seem to be improvised by temporary inspiration, but in fact they are carefully conceived and ingenious. The composition is like this, and the pen and ink also grasp the scale in "wanton". The so-called unrestrained, long-term and short-term, free intersection, virtual and real, heavy and light, twists and turns and setbacks... Ink color does not seek general peace and pleasure, thick, light, dry, dry, wet... He dared to use colours, primary colours and harmonic colours to form a corresponding relationship with the block surface of ink consciously or unconsciously, which was convincing.

The mystery of painting creation is between law and impossibility, which is the same at home and abroad. Chen Weizhong insists on painting according to his own feelings, not pursuing fashion, not pursuing elegance blindly, and always keeps his unsophisticated personality, so that his works naturally show a naive, naive, simple aesthetic feeling, showing a valuable splendor.

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