陈家泠，浙杭人，生于庚寅。少学国画于浙美，受潘天寿启蒙，崇“屋漏痕、折钗股、锥划沙”之妙，致力古今交融，不懈探索。七十年代，师陆俨少，习山水书法，攻花鸟。八十年代，采古壁画与洋水彩之技，精研再创，立新派。其风格蕴哲理，兼印象、抽象、表现之意，独具今韵。
Chen Jialing, a native of Hangzhou, Zhejiang, was born in the year of the Gengyin. He studied Chinese painting at Zhejiang Academy of Fine Arts, influenced by Pan Tianshou, admiring the aesthetic essence of "roof leaks, hairpins, and punctuating sand" and dedicated himself to blending tradition with modernity, relentlessly exploring new techniques.In the 1970s, he studied under Lu Yanshao, learning landscape painting, calligraphy, and specializing in flowers and birds. In the 1980s, he drew from ancient Chinese mural techniques and Western watercolor, meticulously researching and innovating, establishing a new school of Chinese painting. His style, rich in philosophical insight, blendsImpressionism, Abstract, and Expressionism, uniquely embodying a contemporary flavor.
二十世纪七十年代画坛崛起者，陈家泠尤为异数。初露锋芒，已不轻年(较二十出头即展者)，然其后十数年，创作敏锐，前卫意识显著，由技入道，大跃进，个性风貌自成。九十年代初，跻身沪上“现代水墨”画派。
Among the rising artists of the 1970s, Chen Jialing stands out as an exceptional figure. When he first emerged, he was no longer young (compared to those who held solo exhibitions in their early twenties). However, in the following decade, his creations exhibited the sensitivity and avant-garde consciousness typical of the young. He made significant leaps from technique to concept, establishing a distinctive personal style. By the early 1990s, he had joined the ranks of the Shanghai "Modern Ink Painting" school.
观陈公画作，其“另类”处昭然若揭。八十年代后之作，虽承元、明、清题材，然描汀花水鸟、荷叶蔬果，其意自别。人多感其画中清静之气，此与古来花鸟画意境无异，然三两荷花，或一花二鸟，或一鸟二花之画面，含自觉构成意识，独属陈公之妙。近代融“构成”与传统国画者，首推潘天寿先生。倡以“构成”剖析国画内在规律，发现之，复以“构成”之言述之。本为教学便，然“构成”遂与国画创作血肉相连，难分难割，潘公自画风亦趋“构成”。陈家泠承而发之，进一筹于中国画创作。
Viewing Chen Jialing’s works, his "unconventional" nature is evident. His post-1980s paintings, though derived from Yuan, Ming, and Qing subjects, differ significantly in their conception of waterside flowers, birds, lotus leaves, and vegetables. Many sense a serene tranquility in his paintings, akin to the traditional flower and bird painting aesthetic. Yet, the deliberate compositional awareness in his works—be it a few lotus flowers, one flower with two birds, or one bird with two flowers—is uniquely Chen's.The first to merge "composition" with traditional Chinese painting in modern times was Pan Tianshou. He proposed analyzing the internal principles of Chinese painting using "composition" theory and, upon discovering these principles, expressed them using the language of "composition." Originally intended for teaching convenience, this approach eventually bonded "composition" with Chinese painting creation, making them inseparable. Even Pan Tianshou's own style began to align with "composition." Chen Jialing developed and advanced this style further in Chinese painting creation.
陈公在浙美受训，除构成外，尤重线条之练。美院训线，始工笔，渐写意。陈公曰：“吾于‘线’之解，尚可。”又言，由工笔转写意，乃首跃;由写意进自然，乃次跃。
Chen Jialing's training at the Zhejiang Academy of Fine Arts emphasized line practice alongside composition. The Academy's training in lines begins with meticulous work and gradually progresses to expressive styles. Chen remarked, "My understanding of 'lines' was adequate." He further stated that transitioning from meticulous to expressive lines marked his first leap, while moving from expressive to natural lines signified his second leap.
陈家泠之用笔，颇为圈内所重。初见其作，或生奇想，斑驳线条，透明墨块，令人叹为观止。陈公自言，其画皆用笔，技法多样，所谓“走、守、漏、透”。走者，水色自流;守者，流而守之;漏者，上色透纸;透者，两纸相透。陈公谓其技不深奥，任其自然，人皆能为，然“适可而止”以组织漫漶之色，乃其成功所在。
Chen Jialing's brushwork is highly regarded within art circles. Upon first encountering his works, one might be intrigued by the mottled, fantastic lines and the transparent ink blocks. Chen himself stated that all his paintings are done with the brush, but the techniques vary, described as "walking, guarding, leaking, and penetrating." Walking allows water and color to flow naturally; guarding stops the flow at a certain point; leaking lets the color seep through the paper to the layer below; penetrating involves two sheets of paper or two layers of backing paper interacting. Chen believes his techniques are not profound, and while anyone can let things take their natural course, his success lies in skillfully organizing the diffused colors with "just the right touch."
数十载，陈家泠以敏锐感知与深厚功力，探宣纸、色彩、笔墨、造型间，寻古画之时代，弘民族之性，求国际之美。其创作成“清、静、和、美，真、气、灵、变”之美学品格。其艺简、新、灵、虚、飘、巧，富现代感，系传统脐带。
For decades, Chen Jialing, with his keen perception and profound skill, has explored the realms of Xuan paper, colors, brushwork, and forms, seeking the contemporary essence of ancient Chinese painting, promoting its national character, and pursuing international beauty. His creations embody the aesthetic qualities of "clarity, tranquility, harmony, beauty, truth, vitality, spirit, and transformation." His art is simple, innovative, agile,ethereal, elegant, and skillful, rich in modernity and connected to tradition.
陈公水墨花鸟，巨细皆具抽象，不失具象。细节编织于淡墨交错之韵律，呈美不尽之变化。观如江南花窗透荷塘，浴超时空灵光;又如超凡清气，润娇美生机。其画荷、蕉、竹、兰、枫、杨、葵，无论何物，淡墨窑变，皆简清。其荷花，简静和美，生机流动，独特之美，摄人心目，润人心田，实为当代海派中坚。
Chen's ink and wash paintings of flowers and birds, whether large or small, incorporate abstract elements without losing figurative details. These details are woven into the rhythm of intersecting light ink lines, presenting an endless variety of beauty. Viewing them is like looking through Jiangnan flower windows at lotus ponds bathed in the cosmic light beyond time and space; it is like experiencing a transcendent purity that nourishes delicate life. Whether he paints lotuses, plantains, bamboo, orchids, maples, poplars, or hollyhocks, his work—whether in light ink or kiln-transformed colors—is always simple and fresh. His lotus flowers, with their simplicity, tranquility, harmony, and dynamic vitality, offer a unique beauty that captivates the viewer's eye and nourishes the soul, making him a true pillar of contemporary Haipai art.
责任编辑：苗君
