陈志贤子容—新时代书画领军人物，笔名子容，国家一级美术师，荣宝斋特邀画家、新中国国礼艺术家，驻华使（领）馆特聘画家。中国国学书画家交流协会副会长，北京子容慧贤书画院院长，中华文化遗产保护传承大师，世界非物质文化遗产中国书画形象大使，“中共十九大题贺艺术名家”等荣誉称号，国画大师徐悲鸿再传弟子。
作品分别多次荣获国内外金奖、一等奖、法国卢浮宫银奖和最佳创作奖等奖项。并多次荣获“德艺双馨艺术家”、“人民优秀艺术家”、“年度书画艺术领军人物”、“共·和·国·杰出艺术家”、和被授予“国家艺术家金奖”等荣誉称号。作品《国色天香》、《富贵天香》、《前程似锦》、《盛世花茂》、《花浓情深》等多幅作为国礼。作品被国内外企业单位、各地博物馆、纪念馆等地收藏。
Chenzhixian-The leader of the new era painting and calligraphy, pen name Zi Rong, the National first-class artist, Rong Baozhai invited painter, the new Chinese national ceremony artist, and the special painter of the ambassador(leader) hall in China. Vice President of the Chinese Sinology Painting and Calligraphy Exchange Association, Dean of the Beijing Zi Rong Huixian School of Calligraphy and Painting, Master of the Protection and Heritage of Chinese Cultural Heritage, Ambassador of the World Intangible Cultural Heritage Chinese Painting and Calligraphy Image, and other honorary titles such as "The Nineteen Great Questions of the Chinese Communist Party of China", Chinese painting master Xu Beihong passed on disciples.
His works have won gold medals, first prizes, silver awards and best creation awards in the Louvre in France. He has won many honorary titles such as "Deyi Shuangxin Artist", "People's Outstanding Artist", " Annual Calligraphy and Painting Art Leader", "Communist, He, Guo, Outstanding Artist", and "National Artist Gold Award". His works such as "National Tianxiang", "Rich Tianxiang", "Future", "Sheng Shi Hua Mao", "Flower Deep Love" and many other national ceremonies. Works are collected by domestic and foreign enterprise units, local museums, memorials and other places
人生格言：自强、自立、自信、自律：学无止境，认真探求、乐观向上、不懈努力！
她绘的牡丹，千姿百态、雍容华贵、外露国色之芬芳；她绘的荷花，极富灵性、摇曳多姿、呈现着不浊之气势；她绘鹰，恢弘气势、栩栩如生、深情落实到位；她绘的葡萄，颇有股令人赏之垂涎欲滴的感觉……她是当代画坛之领军人物，她的画恰似她的为人：雍容但脱俗，华贵且高雅，多年来，先生以深厚的传统功力与现代审美视角去切入中国书画领域，流下了诸多脍炙人口的经典作品。先生的作品往往立意高古、设色淡雅，落笔冷隽，笔墨精湛，疏朗中充盈着静气，极具强烈的书卷气息。多年来，先生潜身于墨海，经过对中国传统文化的深刻领悟与体味，作品呈现出萧疏淡泊、虚静空灵、意境 幽远、天人合一的审美追求和艺术风格。她绘景物、绘动物，皆有胸有成竹之势力，落笔成画、成经典。
The motto of life: self-improvement, self-reliance, self-confidence, self-discipline: endless learning, serious exploration, optimism, unremitting efforts!
The Peony she painted was full of beauty, elegance, and fragrance; The lotus she painted is very spiritual, flickering, and unturbid; She painted eagles, magnificent, lifelike, affectionate implementation; The grapes she painted had a mouth-watering feeling .... she was the leading figure in contemporary painting. Her paintings were just like her: elegant but refined, expensive and elegant, for many years, With his profound traditional skills and modern aesthetic perspective, he cut into the field of Chinese painting and calligraphy and shed many popular classic works. Mister's works are often highly ancient, set up elegant, write cold, exquisite ink, Shulang filled with quiet, very strong book atmosphere. Over the years, Mr. Wang has been immersed in the Mohai Sea. After a profound understanding and taste of Chinese traditional culture, his works show the aesthetic pursuit and artistic style of Xiao Shu, virtual and quiet spirit, artistic conception, and the unity of heaven and man. She painted scenery and painted animals. All of them had the power to make a picture and become a classic.
数十年如一日，陈志贤挥笔不辍，尤以牡丹著称，造诣颇深。师法自然，研习古今名家经典之作，广闻博采，终形成其牡丹画作之独特风格。单讲那幅《国色天香》，被全国工商联合会原副主席王治国先生为《国色天香》提词：牡丹神韵画中王，国色天香无双，此幅作品以牡丹之绽放形状为特色，花大型美，色润而鲜，既凸显牡丹雍容华贵之至尊，又彰显其婀娜多姿之神韵。构图沉稳，布局严谨，颜色浓淡与开放层次分明，且用笔潇洒飘逸，粗犷处笔走龙蛇，细微处毫发毕现。
我们可以讲：陈志贤先生的作品无论是巨幅构图，还是尺盈小幅，均为笔法简练，避免了拖泥带水，古韵颇丰，值得称赞。从笔墨技巧上探其细微，她一向刻苦勤奋，对传统的皴、擦、渲、染、点均得心应手，笔下开生面，在创作时有所突破，颇具新意。那幅表现孔雀与牡丹争艳的幅作尤为夺目，群花交错如锦，或远或近，交相辉映，令人如痴如醉；孔雀之美妙身姿更是观之令人鼓舞，读之使人陶醉。多年来，先生将”把牡丹画到心里”观点，深喑自然之本，以墨求气，以线求骨，以色求韵，将牡丹表现得生机勃勃，给人以富贵平安之崇美享受。
For several years, as a day, Chenzhixian kept writing, especially Peony, and he was quite accomplished. The teacher's law is natural, studying the classics of ancient and modern masters, widely heard and widely used, and finally formed the unique style of its Peony paintings. The single "National Tianxiang" was proposed by Mr. Wangzhiguo, former vice chairman of the All-China Federation of Industry and Commerce, for the "National Tianxiang": The king of the Peony charm painting, the National color Tianxiang unparalleled, this work is characterized by the bloom of the Peony shape, the large flowers are beautiful, smooth and fresh, It not only highlights the Supreme beauty of Peony, but also highlights its graceful charm. The composition is calm, the layout is rigorous, the color is dark and the open level is clear, and the pen is elegant and elegant.
We can say: Mr. Chenzhixian's works, whether it is a huge composition or a small size, are simple and concise, avoiding dragging mud and water. The ancient rhyme is quite rich and worthy of praise. From the technique of ink and ink, she has always been diligent and diligent, and she is comfortable with the traditional chapping, wiping, dyeing, dyeing, and spots. Her pen is fresh, and she has made breakthroughs in her creation. The exhibition of peacock and Peony is particularly eye-catching. The group of flowers are intertwined, or far or near, and each other is intoxicating. The peacock's wonderful posture is more encouraging to see, reading it makes people intoxicated. Over the years, the gentleman will "paint the Peony to the heart" view, deep in the nature of the original, with ink to seek Qi, line to seek bones, with color to seek rhyme, the performance of Peony vitality, to give people rich and peaceful worship of the United States to enjoy.
那幅《鹏程万里》，整幅作品观之有种雄伟之势，线与面的变化之间呈现出现代赏析中该有的立体感，无形中也避免了单调的感觉。画面中，中锋用笔恰到好处，大鹏展翅的雄伟气势表现得淋漓尽致，粗旷中被勾勒出的鹏之的结构与轮廓，使得整幅作品丰满起来。陈志贤先生的创作中坚持拒绝闭门造车，凭空臆造，她将对大自然的感受融于笔端，融于内心，继而以卓越的创作技法将其跃然纸上，成就经典之作。(邵大箴）靳尚谊院长对陈志贤子容书画作品点评：虽素未谋面却被被其作品所折服，先生为当代画坛不可多得之艺术大家。观先生之作品，每每给人以积极向上，欣欣向荣之感。她画的鹏，犹如一飞冲天之势，鹏程万里之姿，也彰显了先生的巾帼不让须眉。先生的牡丹婀娜多姿、富丽堂皇、高贵典雅、展现了先生作为女性艺术家的阴柔之美，及对生活的积极向上。先生构图新颖，技法纯熟，作品皆有惊人之举。先生最新创作的“一带一路”那幅佳作，可谓奇思妙想、巧夺天工，把数种美好寓意完美融合，并以最直观的形式表现得淋漓尽致，绝对是开创了画坛之先河。也完美体现了先生的高尚品质和对祖国的热爱。
The "Peng Cheng Wan Li", the entire view of the work has a kind of majestic trend, the changes between the line and the surface show a sense of three-dimensional appreciation in modern appreciation, virtually avoiding the monotone feeling. In the picture, the center is just right with the pen, and the majestic momentum of Dapeng's wings is vividly displayed. The structure and outline of Peng Zhi, which was outlined in the rough, made the entire work plump. In Mr. Chenzhixian's creation, he insisted on refusing to close the door and create a car. She made a fantasy. She integrated the feelings of nature into the pen and into the heart, and then used excellent creative techniques to make it a classic. (Shaodazhen) Jinshangyi commented on Chenzhixianzirong's calligraphy and painting works: Although he had never met, he was impressed by his works. He is a rare artist in contemporary painting. The works of Mr. Guan often give people a sense of positive and prosperous. She painted Peng, like a soaring trend, Peng Cheng Wan Wan's posture, but also shows that the gentleman's woman does not let the eyebrows. The gentleman's Peony is graceful, magnificent, noble and elegant, showing the feminine beauty of the gentleman as a female artist, and positive to life. The composition of the gentleman is novel, the technique is sophisticated, and the works are all amazing. His latest "Belt and Road" masterpiece is a wonderful idea and brilliant work. It integrates several kinds of beautiful meanings perfectly and displays them in the most intuitive form. It is definitely a precedent for painting. It also perfectly embodies the noble qualities of the gentleman and his love for the motherland.
数十年来，先生对艺术的追求从未间断，努力创新，积极探索并履创佳作。艺术来源与生活，先生的作品无时不在向世人所展示一个当地女性，一个当代女艺术家的高尚情操，宽广的胸襟及对美好明天的积极向往和不懈努力。祝陈志贤先生在以后的艺术道路上永攀高峰，越走越远！(尚谊 辛酉年九月)中国美协会主席范迪安（对陈志贤作品的评论）陈志贤出了不少作品，这些年她的画有了很大变化，除了重气势以外，还很重视语言的丰富。中国画远看气势，近看其质，就是看绘画语言的丰富表现，一幅画要有势有质，那么中国画的艺术效果就出来了。陈志贤的画在这一点上有势有质，有大的气势、大的格局，在具体的艺术语言处理又非常细致微妙。艺术语言在中国画艺术中很重要的是笔墨，但笔墨不把握整体格局的话，笔墨与整体效果也不会好。所以我觉得陈志贤的画既注重大的方面，又注重小的方面，这是她的一个很重要的特点，按照这个方向发展，她还会有很广阔的前途，我觉得陈志贤在当前在画坛还是很有表现力和感染力的。中国画现在有人光讲究笔墨，但光讲究笔墨符号不一定有好的艺术效果和精神内涵，所以这种气势和微妙的处理相结合，有一种文化内涵在里面，光讲究气势或光讲究笔墨效果都没有文化内涵，这是当前中国画的一个很大的问题。有的人的画远看很有气势，但细看不行，中国画既要经得起远看，又要经得起近看，所以它不仅是画面效果的问题，它还是一种精神内涵的问题，精神内涵在艺术语言里微妙地表达一种文化精神，而陈志贤的画就具备了这种文化精神。
For decades, the pursuit of art has never stopped, trying to innovate, actively explore and perform good works. From the sources of art and life, Mr.'s works are constantly showing the world a local woman, a noble sentiment of a contemporary female artist, a broad mind and a positive longing for a better tomorrow and unremitting efforts. Zhuchenzhixian in the future art road forever climb the peak, go further and further! (Shang Yixin, September) Fandian(comments on Chenzhixian's works) Chenzhixian, chairman of the China Art Association, has produced many works. In these years, her paintings have changed greatly. In addition to her emphasis on momentum, she also attaches great importance to language. Rich. Looking at the momentum of Chinese painting from a distance and looking at its quality, it is to see the rich expression of the language of painting. A painting must have quality, and then the artistic effect of Chinese painting comes out. Chenzhixian's paintings are potentially qualitative at this point, with a large momentum and a large pattern, and they are very delicate and delicate in the specific artistic language. The art language is very important in Chinese painting art is ink, but ink and ink do not grasp the overall pattern, ink and the overall effect will not be good. Therefore, I think that Chenzhixian's paintings focus on both the major aspects and the small aspects, which is a very important feature of her, and she will have a very wide future in this direction. I think that Chenzhixian is still very expressive and infectious in the painting field. Some Chinese paintings now pay attention only to ink and writing, but the emphasis on ink and ink symbols does not necessarily have good artistic effects and spiritual connotations. Therefore, this kind of momentum and subtle handling are combined to have a cultural connotation. There is no cultural connotation in the light of the imposing style or the effect of light on writing and ink. This is a great problem in current Chinese painting. Some people's paintings are very imposing in the distance, but it is not possible to look at them in detail. Chinese paintings must stand up to both the distance and the proximity, so it is not only a matter of picture effect, it is also a question of spiritual connotation. The spiritual connotation subtly expresses a cultural spirit in the artistic language, and Chenzhixian's paintings have this cultural spirit.
