陳丙光之藝術精神源遠悠長的中國文化中，藝術是反映其固有特色的重要載體之一。而在中國傳統藝術中，書畫所呈現出的底蘊，無疑是博大精深的中華文化的精華所在處之一。由此，中華書畫在世界藝術中獨樹一幟，影響深遠
對中國書畫表現語彙的探索與創新，一直是二十世紀中國藝術家的努力方向。此間，陳丙光是一位重要的人物。
陳丙光字守仁，號友篪，別署退之，戌寅虎年出生於香港，原籍廣東東莞，幼從五伯父石如公習書法、讀古文。中學畢業後曾於香港追隨趙少昂習畫。弱冠之年舉行個人畫展，嶄露頭角，嗣後師事鄧芬。五十年代時，陳丙光經常隨鄧芬、羅叔重等人足履港澳各地，與當地文化界交流，眼界開闊。到六十年代開始，陳丙光開始遊歷英、法、意大利、瑞士、德國、比利時和荷蘭研究繪畫，後與司徒奇、丘丙良等創辦「鄉村畫會」於上水，七十年代移居澳洲。嘗與劉秉衡、錦坤公同遊南韓，講學於韓國慶熙女子大學、美國紐約聖約翰大學。作品曾展於美國、澳洲、南韓、星加坡、台灣、荷蘭、瑞典、香港、難精、廣州等地。
陳氏早期的作品於鄧氏畫風，無論行筆、用意亦步亦趨，最能得鄧芬筆下的風韻。然而，陳丙光卻能突破師門藩籬，自成一格。自豪一砵水一砵墨便能交盡天下英雄美人名士。其書法作品，凝重舒展，氣態從容，形成了自己的風格。
陳丙光的畫很注重繪畫創作的質感與線條的整合和整體格調，他的作品中同時注重了國畫中骨法用筆的宗旨，不因循古人；在傳統技法中，致力引入新境界。在形象的取捨方面，透過大量對實物的寫生與觀察，陳丙光著意於對物象神采的把握，形神融聚，闡釋其最典型的一面。作品不但潑辣且節奏明快見稱。其章法在舒展聚散中見規矩，注意位置經營，時有特殊佳構。最難得的是用色和用水上，可謂豔而不俗，醇而不滯。他所繪的畫多乾淨俐落，從不留稿；隨手創作，故此酣暢淋漓，揮灑自如，庶幾已臻古人「超乎物象外」之境。匠心獨運，趣味盎然。
陳繼春
千禧年冬於南京師範大學美術學院
Chan Ping Kwong’s Spirit of arts
Among the four historical countries, China is famous for her wide varieties of nature resources, cultures, architecture and the talent of great artists and scholars. The affluence of Chinese culture can be reflected by the elegance and beauty of Chinese arts. In deed, the excellence of Chinese painting and calligraphy in the world of arts makes it a leading role of arts performance and aesthetic.
Apart from traditional and classical arts performance, most of the Chinese artists in the 20th and 21st century are trying to explore new dimensions of Chinese painting and calligraphy to illustrate their recognition of beauty and meaning of life. Mr. Chan Ping Kwong is one of the important figures among them.
Mr. Chan Ping Kwong was born in Hong Kong in 1940. He learnt classical Chinese literature from the mentors of his village when he was young in GuangDong province, China. After secondary education, he was lucky to learn from the Cantonese great painter, Master Chao Shao-Au. At the age of mid-twenties, Mr. Chan had his first personal art exhibition. His arts work was well recognized and appreciated. Later, he became a student of Master Deng Fen to further his learning in Chinese painting. During the 1950’s, he accompanied Master Deng and Master Luo Shu Zhong visiting artists and scholars within Hong Kong and Macau to enlarge his understanding of Chinese arts and cultures. In the 1960’s, Mr. Chan started touring around European countries such as England, France, Italy, Switzerland, Germany, Belgium and the Netherlands to study painting. Then he established the Village Painting Association of Hong Kong with Situ Qi, Paul Hugh. In the 1970’s, he immigrated to Australia. Since then, he was invited to lecture in the Korean Women’s University as well as in New York St. John University.
The early stage of Mr. Chan’s painting is heavily influenced by the style of his teacher, Master Deng. However, he did not addicted to one school of arts, he developed his own style later. For the performance of calligraphy, Mr. Chan had learnt the best from ancient schools and contemporary artists to evolve his own expression of Chinese arts.
Mr. Chan puts a lot of attention in how to use lines and texture to create or integrate in order to show his feeling of arts. He is very success in and structure. Through lots of experience of drawing of real things and observations, he manages to use different methods to express the meaning of abstract and the real world. Unlike ordinary Chinese painters, Mr. Chan masters the use of colour and the special effect of watering in his paintings. To conclude, Mr. Chan’s masterpieces are lively and abundant in feeling. His painting shows his great talent in Chinese arts and skills. His work is distinct and full of interest.
Chan Kai Chon in the Faculty of Fine-Arts, Nanjing Normal University, P.R.C.