陈葆棣，生于丁亥年。自幼即慕丹青之妙，年十九，得缘入室，拜花鸟画巨擘王雪涛先生为师，披荆斩棘，探求艺道。继承其师之灵动洒脱、清新感人之风格，溯源至明清诸贤陈白阳、徐清藤、八大山人等，悉心研习，汲取营养，潜心钻研，融汇贯通。
Chen Baodi was born in the year of Dinghai. From a young age, he admired the wonders of painting. At the age of nineteen, he had the fortune to become a disciple of the flower-and-bird painting master Wang Xuetao. He persevered through hardships, seeking the path of art. Inheriting his master's lively, free, and touching style, he traced back to the works of Ming and Qing masters such as Chen Baiyang, Xu Qingteng, and Bada Shanren, studying diligently, drawing nourishment, delving deeply, and integrating comprehensively.
其于写意花鸟画之继承与弘扬，历数十载，恒守创新不违古法之理念。躬耕艺圃，砥砺前行，尤重笔墨功力，讲求传统修养，勇于开拓进取。陈氏之作，既具深厚文化底蕴，亦富独特个性风采，兼容并蓄，别开生面。
In his decades of dedication to the inheritance and promotion of freehand flower-and-bird painting, he has always adhered to the principle of innovation without deviating from tradition. Diligently working in the art field, forging ahead, he emphasizes the power of brush and ink, values traditional cultivation, and dares to explore. Chen's works possess profound cultural connotations and unique personal style, merging various elements and presenting a fresh outlook.
陈葆棣自幼习画，访贤问道，尊师重礼，写生临古，读书习字。扪心自问，谓虽无前贤之才，然勤于斯业，不让古人。坚信刻苦为成材之道，世有努力不成者，未闻不努力而成者。学画如开山淘金，劳作虽苦，乐在其中;又如达摩面壁，修行虽艰，终得悟道。今集近作三十余幅成册，多为小品。陈葆棣以为，画不在大小，一花一草，一世界，皆其对大千世界之感悟也。谨望画苑诸方家名宿，不吝赐教，以匡不逮。
Chen Baodi, from an early age, studied painting, sought advice from virtuous friends, respected teachers, engaged in live sketching, and practiced calligraphy. Reflecting upon himself, though lacking the talent of former sages, he remained diligent in his pursuits, not falling behind the ancients. He firmly believes that hard work is the way to success. There are those who fail despite their efforts, but none succeed without effort. Learning to paint is like mining for gold in the mountains—though the labor is hard, the joy is within; it is also like Bodhidharma facing the wall—though the practice is arduous, enlightenment is ultimately achieved. Now, he has compiled over thirty recent works into a volume, mostly small pieces. Chen believes that the size of the painting does not matter; a flower or a grass, each contains a world, reflecting his insights into the vast universe. He respectfully seeks the guidance of many masters and distinguished figures in the art community to correct his shortcomings.
陈葆棣谓，花鸟画独立成科，肇自盛唐，写意花鸟，极盛于明清。千载演进，名家辈出，高手云集，才人代兴，不可胜数。近代花鸟画坛，论卓绝者，首推齐白石。白石翁笔墨纵横，雄健自成，开一代新风。其后，潘天寿、李苦禅、王雪涛、郭味渠继起，各擅胜场，独造一格，成就卓然，难以企及，诚当代花鸟画之大师矣。
Chen Baodi asserts that flower-and-bird painting became an independent discipline in the flourishing Tang dynasty, and freehand flower-and-bird painting reached its peak in the Ming and Qing dynasties. Over a thousand years of evolution, many famous artists and masters have emerged, their talents flourishing endlessly. In the modern era of flower-and-bird painting, the most outstanding figure is Qi Baishi. Qi's brushwork is bold and vigorous, creating a new style of freehand flower-and-bird painting. Following him, Pan Tianshou, Li Kuchan, Wang Xuetao, and Guo Weiqu have each excelled, developing unique styles and achieving remarkable accomplishments, thus becoming the masters of contemporary flower-and-bird painting.
陈葆棣幸拜恩师王雪涛门下，执弟子礼十五载，亲聆教诲，获益良多。雪涛先生博学多识，才思敏捷，虚怀若谷。每观其作画，万物在腕，笔笔生发，幻化灵变，生机勃发，确有“下笔风雨快，笔未到气先吞”之势。以其成就，步入当代花鸟画之巅。二十年弹指而过，恩师已作古。先生告诫“学画非易，聪者须笨功”言犹在耳，陈葆棣朝乾夕惕，不敢懈怠。大师门下，高峰已见，惟有奋力攀登。
Chen Baodi was fortunate to be a disciple of Wang Xuetao, observing the rites of a disciple for fifteen years, and gaining much from his teachings. Wang Xuetao was knowledgeable, quick-witted, and humble. Observing his painting, it seemed as if everything was under his control, with each stroke generating life, transforming dynamically, and brimming with vitality, truly embodying the feeling of “when his brush moves, it is as swift as wind and rain, and the energy precedes the brush.” With these achievements, he ascended to the peak of contemporary flower-and-bird painting. Twenty years have passed swiftly, and his mentor has become a figure of the past. Wang's admonition, “Learning painting is not easy; the intelligent must exert diligent effort” still echoes in his ears. Chen Baodi diligently works day and night, never daring to slack off. Under the master's tutelage, the peak has been reached, and Chen Baodi can only strive to climb further.
陈葆棣执“国画乃写”之理念，用笔挺拔婉转，秀逸顿挫相生。元赵孟頫题《枯木竹石图》云：“石如飞白木如籀，写竹还应八法通，若也有人能会此，须知书画本同。”以书法之重于画。陈氏谓：“画作三要，文修、书法、绘功。”故学画尤重书法，偏嗜汉隶，款识多隶意，兼习《北魏郑文公碑》，故其画清秀而沉厚。曰：“国画书写性为本，唯书写状态作画，方有国画之味，失此则失其本，非国画矣。”
Chen Baodi adheres to the concept that “Chinese painting is written,” resulting in his brushwork being both upright and graceful, with elegance and forcefulness coexisting. Yuan dynasty painter Zhao Mengfu, in his poem inscribed on the “Withered Tree and Rock” painting, stated: “Rocks like cursive script, trees like seal script, painting bamboo must be understood through clerical script, if one can grasp this, it must be known that calligraphy and painting are inherently the same,” emphasizing the importance of calligraphy in painting. Chen believes, “The three essentials of painting are literary cultivation, calligraphy, and painting skills.” Thus, while learning painting, he places great importance on improving his calligraphy, particularly favoring Han dynasty clerical script, with his inscriptions often reflecting clerical script style. He has also devoted significant effort to the “Stele of Zheng Wen Gong of Northern Wei,” giving his paintings a blend of elegance and substance. He says, “The essence of Chinese painting lies in its calligraphic nature; only by painting in a calligraphic state can one achieve the true flavor of Chinese painting. Losing this characteristic means losing the fundamental elements of Chinese painting, and it can no longer be called Chinese painting.”
画道于陈氏，不仅艺事抒怀，亦为修行之途，追美好生活，悟天地真谛。斯道如斯，百炼成钢，艺成心定，笔端流转，形神俱妙，丹青至境。
For Chen, the way of painting is not only an expression of art but also a path of cultivation, a pursuit of a beautiful life, and an understanding of the true essence of nature and the universe.Such is this path: tempered through countless trials, achieving mastery with a serene heart. His brush flows effortlessly, with both form and spirit in harmony, truly reaching the pinnacle of painting.
责任编辑：苗君