陈子庄自幼习画，早年在成都等地卖画，受齐白石、黄宾虹启发。中年生活坎坷，仍作画不辍。在绘画理论方面，亦有建树，著有《石壶论画语要》。以下摘录部分陈子庄画论，供广大读者学习。
从事绘画艺术要先有理论——所谓理性认识，然后再充分实践，不断总结经验，不断否定旧我，这样才能逐渐达到艺术的高层次。
绘画，起初是描摹大自然，然后“生化”（即提高与创造）。生化的本领得自作者内心的修养，一个画家在艺术上成就的大小，就看其人修养之高低。
绘画须通“心灵”，须得“机趣”，此四字，论及者寡，能做到者更少。
我的绘画最大的特点是描写大自然的性格。在理论上，一幅创作是作者全人格、全生命力的表现，我努力想做到这一点。
绘画一道有两个要素，一是性灵，二是学问。无性灵不能驾驭笔墨，有学问才能表现思想。
必须于性灵中发挥笔墨，于学问中培养意境，两者是一内一外的修养功夫，笔墨技法是次要的东西，绘画光讲技法就空了。有人光讲意境，无学问来培养，则是句空话。然而如沈石田、文征明，学问虽好，但缺乏性灵，笔墨也会落空。八大、石涛有学问有性灵，可称双绝。性灵是根蒂。治学当治本，不应治末。
画画有两种境界，一是“画”，一是“写”，“画”是描画，“写”是表现，写胸中逸气。绘画艺术离不开“写”，但观古今画人之作，大多是“画”而不是“写”。
绘画，第一步是由不似到似。第二步再由似到不似。先须画得像，再到画得不像。如第一步尚未过关，画得似是而非，却学语曰：我是似与不似之间。直是欺人自欺。
用色不宜多样，一幅之中青黄杂沓，失去韵致和朴实，华则易俗。色以辅笔墨，不可依靠色彩而惑人自惑。要色与墨两无碍，色有深浅明晦，以求色之变化，使山水增辉。
凡最高境界，不但在笔墨之内，而且要在笔墨之外。而意趣深厚，原不是依色量和墨量之多寡而定，然笔墨之内是有穷尽的，而笔墨之外是无穷尽的。
中国画为什么不叫风景画而叫山水画，是“智者乐水，仁者乐山”故山为静，水为动，因之山水讲动静阴阳，而不叫风景画者在此。
画之雄强、超逸，能手而已；至于平淡、天真、无迹可寻，故曰淡然无极象而美从之。
学画要深究哲学。初成“画家”，后来要脱离画家，否则，最终只是画匠，最多“巨匠”而已。不学哲学则不能振拔，将永陷魔窟之中。画到穷时，要能闭关两三年，从思想上省悟，画还会变。这样常常自省，就能不断提高境界，最后达到无人相，无我相，无众生相，无寿者相。
陈子庄（农历1913.10.15～1976.07.03），男，出生于四川省荣昌县（今重庆市荣昌县）双河镇峦堡村紫金观岩湾“陈家老房子”，现代画家。陈子庄早期作画，时号兰园，中期号南原、下里巴人、陈风子（陈疯子）、十二树梅花主人、石壶山民等，晚年号石壶。
陈子庄早年在成都等地卖画，受齐白石、黄宾虹启发。中年生活坎坷，仍作画不辍。1988年在中国美术馆举办遗作展轰动画界。曾任四川省文史馆研究员、四川省政协委员。代表作有《山深林密》《秋山如醉》《溪岸图》等。著有《石壶论画语要》。
陈子庄的绘画艺术，是继承传统基础上的创新，在他的作品中时常可见到一些前辈先贤的元素。陈子庄是一个善学的人，他在学习、消化吸收前人优点的同时，又融入自己的风格特点，最终自成一家。他学吴昌硕的笔墨浑沦苍劲，齐白石的真率简劲，更学到了黄宾虹的笔墨真谛。
综观陈子庄的绘画艺术进程，可以将1968年视为界线而分为前后两个时期。前期作品以花鸟为多，山水较少，人物极少。这一时期的花鸟画用笔率性，往往大笔挥写，以雄强潇洒取胜，构图奇倔霸悍，设色明丽。传世作品年款以辛丑(1961)、壬寅(1962)、癸卯(1963)、甲辰(1964)为多。这一段时间有极精彩的大幅花鸟作品，也偶有巨幅作品，如作于1962年的《红荷》，以六尺纸八张拼合；1963年的《古柏》，以八尺纸六张拼合。
前期山水画构图较简单，层次亦少，也多奇倔霸悍之趣，用笔与花鸟画，如出一辙，探索试验的痕迹明显。陈子庄少时书风以秀丽清俊取胜，1955年到成都后，书法深受当时省文史馆长、书法家刘孟伉影响，变为雄强豪健一路风格，下笔沉重痛快，转折处锋棱毕现，与这一时期的画风相吻合。
后期作品的题材以山水最多，花鸟略少，人物最少。这一时期山水画用笔变为外柔内刚，点线交织，神气内涵。构图奇而不怪，层次丰富，山石树木画法外貌多变局内气如一。笔法能做到似乱而实整，色彩方面尤其重视色调、色阶的丰富变化。传世作品年款以辛亥(1971)、壬子(1972)、癸丑(1973)、甲寅(1974)、乙卯(1975)为多，这一时期山水作品以小品最多，通常为四尺纸八开。
他后期的花鸟画用笔变化幽微，多曲笔复笔，鸟的造型尤其精妙。这一时期花鸟作品多为四尺对开条幅、四尺三开、四尺八开小品，也有四尺整纸作品传世。他后期书法有较大的变化，1971年尚沿用前期雄健厚重的书风，1972年开始变得外柔内刚，明显受到丰子恺、郑孝胥书风的影响，这种书风与后期绘画的用笔也极为吻合。这时期作品名款多数署“石壶”。
“文革”初期，陈子庄的家数度被抄，所有财产、资料、画具损失殆尽，1966年底迁居江汉路时，连饭桌都没有，只好在一只装货物的木箱上铺纸作画。但当他很快振作起来时，首先置备的也还是当时所可能得到的最好的笔、墨、纸、颜料等等。在当时的四川画家中，陈子庄算是相当讲究绘画材料质量的画家。除了在最困难的短时期使用过一种特殊色包装纸外，通常都用宣纸和夹江纸。60年代中期以后，他在家作画从来不用墨汁，在一方偶然得到的古砚上用上好的古墨磨墨。
陈子庄的传世作品，凡是真迹，画面构成均十分讲究，题款的位置、内容、书法都考虑得十分周密，用印的大小、朱白、位置也往往无懈可击。笔墨外似粗放内实精密严整，笔笔生动，物象造型准确，鲜活有趣，与用笔用墨的结合恰到好处。伪作则一味胡涂乱抹，作潇洒荒率状，笔墨之间没有内在韵律，散乱无趣，题款书法尤其败乱。其实，陈子庄的作品很难仿作，那种乱中有整、蕴藉潇洒的用笔极难摹仿，尤其是淳正厚重的气息、雍容大度的境界，平常人更难以望其项背。
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黎很元5041有关于“龙的传人”主题的绘画么 -
顾昂彪19142802367 ______ 用纸杯、塑料瓶或者纸盒制作一条龙,小学三年级和初中一年级都有这样的内容,我想你应该会做吧?为什么用这些废旧材料呢?简单地说就是:环保.至于名字么就联系龙年和环保这两个主题自己起一个吧.如果必须在8开纸上完成的话,建议制作成浮雕的样式(把纸杯从中间裁开,制作成一半杯子,然后用双面胶粘贴在纸上,形成浮雕).最好选择红色纸杯,没有的话可以用颜料染一下.很有创意的,保证你不会受批评,呵呵.
黎很元5041A3和8开是一样大的么? -
顾昂彪19142802367 ______ A3纸指的是国际通用标准A3规格的纸张,其大小为297mmχ420mm,是A4纸的一倍 8开的纸其大小为375*395mm跟一张试卷撑开那么大差不多 A3的比较大
黎很元5041图画纸8开有多大? -
顾昂彪19142802367 ______ 8开的尺寸是: 大度:285mm*420 mm 正度:260mm*370 mm
黎很元5041以校园为主题的画,八开纸,应该画些什么啊 -
顾昂彪19142802367 ______ 可以画些同学们交谈或是玩闹的画面,或者以些树木花草为背景【主要是校园环境】可以自由发挥嘛
黎很元50418开是多大,A4纸张又是多大?画小报的纸一般是8开还是A4? -
顾昂彪19142802367 ______[答案] 八开的又叫做A3;A4叫也做16开,A4尺寸就是8开的二分之一.A4的大小也就和时尚杂志那些书的大小差不多
黎很元5041请问谁知道:八开纸的一幅画 -
顾昂彪19142802367 ______ 用八开素描纸画一幅画,里面有人物,背景看老师的要求,用上点,线,面
黎很元5041春节小报的图怎么画?我是8开纸 -
顾昂彪19142802367 ______ 用一半写一些春节的来历,和风俗.在另一半画俩个人在家门口放鞭炮
黎很元5041初中美术作业创意画,求如何画,8开纸 -
顾昂彪19142802367 ______ 那你就画个简单的图形创意的画吧,例如以香蕉,苹果,杯子为辅助元素作画
黎很元5041我想当一名老师可是我不知道用八开纸画一张中国梦怎么画画三年级的 -
顾昂彪19142802367 ______ 画个很多人围着一个桌子吃饭,吃的很丰盛,大家都在笑,再加点点缀什么的嘛,如果还有空白,就写“中国梦我的梦”之类的吧? 加油!
黎很元50418开纸的纸适合画什么画 -
顾昂彪19142802367 ______ 科幻画