跨越海峡的书画情港澳台书画作品大展，对于推动港澳台地区书画艺术的发展具有重要意义。它不仅能够为书画家们提供一个展示和交流的平台，促进彼此之间的学习与借鉴，还能够增进三地之间的文化认同和友谊。同时，通过线上展览的举办，也能够让更多的人了解和欣赏到港澳台地区的书画艺术，推动中华文化的传承与发扬。

　　陈一源，四川成都彭州市人，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，偏好书法，亦涉足文化评论与长寿养生，近年有诗词、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。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。”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。

　　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，出入百家纶二人教，由人日家言。"有人选择了当下的苟且，有人选择了诗和远方，他选择了“有日新，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

　　联合国中医专业委员会秘书长

　　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

　　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副院长

　　先生常于砚边沉思: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两千多年了。中国书法可以涵盖艺术，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七积淀相自C心性修炼。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。

　　学习书法的过程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。

　　Chen Yiyuan, born in Pengzhou City, Chengdu, Sichuan Province, is an independent scholar in the study of Chinese and Western cultures. He is also a scholar of Confucianism, Buddhism, and Taoism, a national senior calligrapher, and a social activist. The gentleman loves poetry and has a slight understanding of painting. He prefers calligraphy and is also involved in cultural criticism and longevity and health preservation. In recent years, collections of poetry, essays, and calligraphy works have been published. 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. For many years, a favorite saying of the teacher is: "Up and down for five thousand years, spanning ten thousand miles, learning from the three major religions, and entering and leaving a hundred schools of thought." Since the reform, Chen Yiyuan has focused on humanities, religion, calligraphy and painting art, and traditional Chinese medicine health preservation, especially with a strong interest in traditional culture and traditional Chinese studies.

　　For many years, a saying that my husband has liked is: "Up and down for five thousand years, spanning a hundred thousand miles, experiencing the three major religions, and entering and leaving the two teachings of the Hundred Schools, it is decided by the day and the family." Some people choose the present, while others choose poetry and distant places. He chooses "there is new day by day, new day by day, and new day by day.". Main social positions:

　　Vice Chairman of the CCTV International Cultural Exchange and Art Committee

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

　　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

　　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

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

　　Vice President of the World Intangible Cultural Heritage Research Institute

　　He often pondered at the inkstone: since the European Industrial Revolution, western learning has spread to the east. Westerners have made the right to speak in science and technology, medicine, culture, and art, and many of the 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 more than 2000 years. Chinese calligraphy can encompass art, but art can never encompass our Chinese calligraphy. Perhaps Chinese calligraphy is a cultural peak that Westerners will never reach. A tasteful calligrapher should use their entire life to cultivate their cultural heritage and cultivate their own character through the cultivation of 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 saying goes, "Silence and stillness make one feel connected," and "the ingenuity of application lies in one heart." If one does not understand these principles, talking about calligraphy is like scratching one's feet. Therefore, taking the initiative to defend 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 the law and form, but more importantly, it must also have the spirit and rhyme.

　　The process of learning calligraphy is also a process of personality enhancement and soul cultivation. 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 inevitably lead the world, and this unique and charming cultural form of Chinese calligraphy will always shine brightly in the history of human culture.