陈一源，四川成都人，中西文化研究独立学者，儒释道兼修，国家高级书法师，社会活动家 。 先生爱诗词，略通丹青，长于书法，亦涉足文化评论与长寿养生；其文学作品散见于各大网   络以及报刊杂志 。近年有诗词 、杂文和书法作品集（ 中国文化出版社出版）问世 。在学术研   究方面主张“思人所未思 ，言人所未言”，倡导“智慧人生”，平生喜欢游历 ，博览群书 ，喜欢  广交天下朋友 。

他在研究了中国近代三大显学（ 甲骨文 、敦煌 、红楼梦）的基础上，在学界首倡《彭学》（ 关 于彭祖的一门学问）应该成为中国的第四大显学 。

改革以降，陈一源侧重人文 、宗教 、书画艺术和中医养生版块，尤其对传统文化和国学具有 浓厚的兴趣 。另外，他参加过三次国际性的《易》学论坛 ，曾被新加坡《易经研究》会授予 《当代易学家》称号 ，2000  年事迹入编《当代中国易学文化辞典》。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”。

主要社会职务：

央广国际文化交流艺术委员会  副主席

央媒文化组委会  副秘书长

《中华英才》半月刊社融媒体中心理事会  副主席

全国书画艺术委员会  副主席

央广文旅国际合作发展中心 客座教授

联合国中医专业委员会 秘书长

胡润国际艺术品鉴定中心  副主席

中国乡村振兴西南工委 主任

中国乡村振兴诗书画院  院长

中央国家机关书法家协会 会员

中国警察网警用装备在线顾问委员会 委员

CCTV《星光大道》  艺术顾问

海南投资商会 高级顾问

世界华商联合会 荣誉主席

孙中山博爱基金会 高级顾问

中国 · 巴基斯坦（ 海德拉巴）文化交流中心 高级顾问

亚洲国际青年电影节 评审团主席

中国中医专家委员会副委员长

中国周易专家委员会名誉会长

世界非物质文化遗产研究院 院士

世界非物质文化遗产研究院副院长

中非共和国驻华大使馆 特邀名誉顾问

加纳共和国驻华大使馆 特邀文化顾问

与许多书法界人士所不同的是陈一源先生执着的认为：欧洲工业革命以来，西学东渐，在科 技 、医学 、文化 、艺术方面的话语权都是西方人制定的，在这些方面的很多标准都是他们说 了算 。我们中国书法具有像宗教一样神圣而圣洁的地位，中国书法这个独有的民族文化形式 也被稀里糊涂的拉进了西方的艺术行列“下嫁”于西方的“艺术”。

中国人应该有自己坚定的文化自信：书法就是书法，书法不是艺术 。西方所谓“艺术”只是一 个近 100 多年以来才在中国叫响的一个泊来词汇，在没有“艺术”之前，中国的书法就已经存 在 2000 多年了 。书法可以涵盖艺术 ，而艺术绝不可能涵盖我们中国的书法 。也许 ，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”笔尖下的精彩表 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 。纵观西方的艺术史，我所看到的他们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，是不可能写好书法的 。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 。

学习中国书法先生的个人体会是：它有点类似中国佛教的禅修，一切想偷奸耍滑，走捷径都 是不成的，只有经过多年的盘腿打坐，吃斋念佛，持戒修心 … …功夫到了，自然某一天你就“悟” 了，自己作品的神韵也就出来了 。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 。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永远在人类的文化史上闪烁着耀眼的光芒！

 Born in Chengdu, Sichuan, China, he is an independent scholar in the study of Chinese and Western cultures, a scholar of Confucianism, Buddhism, and Taoism, a national senior calligrapher, and a social activist. The teacher loves poetry, has a slight understanding of painting, is skilled in calligraphy, and is also involved in cultural criticism and longevity and health preservation; His literary works are scattered across major networks and newspapers and magazines. In recent years, a collection of poems, essays, and calligraphy works (published by China Culture Publishing House) has been published. In academic research, we advocate for "thinking beyond what people have thought, speaking beyond what people have said", advocating for a "wise life", enjoying traveling, reading extensively, and making friends with people from all over the world.

On the basis of studying the three major schools of thought in modern China (oracle bone inscriptions, Dunhuang, and Dream of the Red Chamber), he advocated in the academic community that "Peng Xue" (a discipline about Peng Zu) should become the fourth major school of thought in China.

Since the reform, Chen Yiyuan has focused on humanities, religion, calligraphy and painting art, and traditional Chinese medicine health preservation, with a strong interest in traditional culture and traditional Chinese medicine. In addition, he has participated in three international forums on the study of the Book of Changes and was awarded the title of "Contemporary Yi Scholar" by the Singapore Association for the Study of the Book of Changes. In 2000, his achievements were included in the "Dictionary of Contemporary Chinese Yi Studies Culture". For many years, a favorite saying of the teacher has been: "Up and down for five thousand years, spanning hundreds of thousands of miles, learning from the three great teachings, and entering and leaving a hundred schools of thought." Some people have chosen to pursue the present, while others have chosen poetry and distant places. He has chosen "pursuing the new, the new, and the new".

Main social positions:

Vice Chairman of the CCTV International Cultural Exchange and Art Committee

Deputy Secretary General of the Central Media Culture Organizing Committee

Vice Chairman of the Board of Directors of the Integrated Media Center of the Chinese Talent Semimonthly Magazine.

Vice Chairman of the National Calligraphy and Painting Art Committee

Visiting Professor at the Center for International Cooperation and Development of Culture and Tourism in China

Secretary General of the United Nations Professional Committee on Traditional Chinese Medicine

Vice Chairman of Hurun International Art Appraisal Center

Director of Southwest Work Committee for Rural Revitalization in China

Dean of China Rural Revitalization Poetry, Calligraphy and Painting Academy

Member of the Calligraphers Association of Central State Organs

Member of the Online Advisory Committee on Police Equipment of China Police Network

CCTV Star Avenue Art Consultant

Senior Advisor of Hainan Investment Association

Honorary Chairman of the World Federation of Chinese Merchants

Senior Advisor of Sun Yat sen Charity Foundation

Senior Advisor, China Pakistan (Hyderabad) Cultural Exchange Center

Chairman of the jury for the Asia International Youth Film Festival

Vice Chairman of the Chinese Traditional Chinese Medicine Expert Committee

Honorary Chairman of the Expert Committee of the Chinese Book of Changes

Academician of the World Intangible Cultural Heritage Research Institute

Vice President of the World Intangible Cultural Heritage Research Institute

Special Honorary Advisor of the Embassy of the Central African Republic in China

Invited Cultural Advisor of the Embassy of the Republic of Ghana in China.

Different from many calligraphers, Mr. Chen Yiyuan persistently believes that since the European Industrial Revolution, western learning has spread to the east. Westerners have established the right to speak in science, technology, medicine, culture, and art, and many standards in these areas are their own the final say. Our Chinese calligraphy holds a sacred and holy status like religion, and this unique cultural form of Chinese calligraphy has been mistakenly brought into the ranks of Western art and "married down" to Western art.

Chinese people should have their own firm cultural confidence: calligraphy is calligraphy, calligraphy is not art. The so-called "art" in the West is just a term that has only been heard in China for nearly 100 years. Before the existence of "art", Chinese calligraphy had existed for over 2000 years. Calligraphy can encompass art, but art cannot encompass our Chinese calligraphy. Perhaps Chinese calligraphy is a cultural peak that Westerners will never reach. A tasteful calligrapher should spend their entire life cultivating cultural heritage and cultivating their own character. With this basic skill, it is possible to have a brilliant expression at the tip of the pen with a stroke like a god. Western art, no matter how much it struggles, is just a technical activity in three-dimensional space. Throughout the history of Western art, many of their works I have seen only remain at the level of "technique" to play with techniques, rather than rising to the level of "Dao". Good Chinese calligraphy works are the crystallization of the soul, a high-dimensional presentation on the level of "Dao", and the two cannot be compared in the same day.

Learning Chinese calligraphy without higher-order thinking and cognition is impossible to write well. As the scripture goes, "Silence and stillness lead to sensation and communication", "The ingenuity of application lies in one's heart.". I don't understand these principles, and talking about calligraphy is like scratching one's feet. 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 motherland. Chinese calligraphy not only has the method and form, but more importantly, it also needs to have the spirit and rhyme.

My personal experience of learning Chinese calligraphy as a master is that it is somewhat similar to the meditation of Chinese Buddhism. Any attempt to cheat or take shortcuts is impossible. Only after years of cross legged meditation, fasting and reciting Buddhism, and practicing precepts and cultivating the mind... When the time comes, naturally one day you will "realize" and the charm of your own works will come out. The process of learning calligraphy is not only about practicing techniques, but also about improving one's personality and cultivating one's soul. Beyond calligraphy, the underlying logic of Chinese calligraphy lies not only in techniques, personal talent and talent, but also in the solid foundation of Chinese culture and the pattern 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 always shine brightly in the history of human culture!