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谈起陈振濂先生,恐怕书法界人士无所不知。在一般人的心目中,对陈先生的第一个印象,可能就是他是一个书法理论家。的确,从20世纪80年代开始,这股“陈振濂旋风”就刮遍了大江南北,到后来的对书法学、书法教育学、大学书法教学法、中日书法交流、“学院派”书法创作理论体系等方面的研究,以及他在绘画学和诗学、词学方面的专著迭出,无不透露着他敏锐而严密的理论思维和纵观全局、把握全局的学术能力。可以说,书法学学科体系在中国的建立,陈先生功不可没。
Talking about Mr Chen Zhenyu, I am afraid that people in the calligraphy world know everything. In the minds of ordinary people, the first impression of Mr. Chen may be that he is a calligraphy theorist. Indeed, from the 1980s onwards, this “Chen Zhenxi whirlwind” scraped all over the rivers and rivers, and later the theoretical system of calligraphy, calligraphic pedagogy, university calligraphy teaching, Chinese-Japanese calligraphy communication, and “academic school” calligraphy creation. Studies in such fields as well as his monographs in painting, poetry, and poetry have all revealed his keen and rigorous theoretical thinking, his ability to look at the overall situation and grasp the overall academic ability. It can be said that Mr. Chen has contributed to the establishment of the discipline system of calligraphy in China.