陈承卫作为一位与佛有缘的青年具象绘画“修行者”，一方面进行着“自我修行”，另一方面在不断思索自己艺术创作的命题。通过《大民国》这一时代主题，不断结合自己的修行和环境去加以诠释，在生活中去探索，在探索中去感悟契合，并跟随这一主题创造出属于自己的艺术语言。
《大民国》是陈承卫对民国时代的一份特殊文化情结，他的作品具有托马斯˙哈代的悲观主义色彩与徐志摩式的忧郁情绪气质。因为在那个短暂而又激荡的历史时期是一个宏大的思潮时代，是一段曲折的艰辛岁月，也是一曲忧伤的人文情怀，在中西方、新旧体制间的不同文化思想影响下，《大民国》具有一种内在的淡淡幽情和外在的精神风骨。
他的“民国范儿”表现出大时代环境下的一种“自我”解读，通过对历史的穿越，折射出新旧思想的碰撞，从而在内容上产生“戏剧化”冲突，表达了艺术家对现实生活的某种主观批判。在这些创作中包含了他的个人情感、生活以及环境事物的多种因素，作为艺术创作过程的主体，他注重观察和体验现实生活，关注人的思想状态和内心世界，通过对精神和艺术创作的活动，以及自我加工和再创造，使作品具有了强烈的自我意识和丰富情感。
同时，他把抽象的思想修炼与概念的创作过程有机结合，在意识中将自己的构思、人物与空间相组合形成审美意象，运用人物不同形态来塑造不同的审美情愫，展现一种经过理想化“改造”的民国时代。《大民国》是一段复杂而又漫长的创作过程，期间经历了艺术家不同的阶段和实践，在对事物环境本质与普遍性有了更新认识之后，其具有了更为深刻的思想内涵。
佛学的修行方法是思维修炼，是通过思维思考来进行修行。为此，他远离大城市的喧嚣和浮躁，奔赴世界各地学习和领略西方大师优秀作品，让自己尽可能在独立思考中静下心来。伴随着对艺术理解的不断加深，他努力使自己进入一种“禅定”的思想境界，去思索艺术创作，在这种艺术思维修炼中，领悟“无我”的思想共相性。“诸行无常，一切皆苦，诸法无我，寂灭为乐”代表了修行者的修炼方向，对于年轻的艺术“修行者”来说，他需要在漫长的生活中不断探索艺术创作的思想真谛，去思考其中的“自我”主题。 收藏家友人：黄予杨勇PsychologyCreationandCultivationfrom"Ego"to"NoEgo"
Asayouthfigurativepainting"practitioner"sharinganaffinitywithBuddha,ChenChengweitakesupthe"self-training",andmeanwhilecontinuouslypondershisownpropositionsofartisticcreation.BythethemeoftimesofTheGreatRepublicofChina,ChenChengweicontinuouslycombineshisself-trainingwithenvironmenttomakeaninterpretation,makesanexplorationinlife,feelsinspirationandfindscorrespondenceinexploration,andcreateshisownartisticlanguagebyfollowingthistheme.
TheGreatRepublicofChinareflectsChenChengwei’sspecialculturecomplextowardstheRepublicofChina,andhasthepessimismofThomasHardyandthegloomytemperamentofXuZhimo.Becausetheshortandturbulenthistoricalperiodisagreateraofideologicaltrend,aperiodofmeanderinghardyears,aswellasahumanisticfeelingweigheddownwithsorrows,TheGreatRepublicofChinahasakindofinherentlylightexquisitefeelingsandexternalspiritcharacterundertheinfluenceofdifferentculturalthoughtsamongtheChineseandwestern,oldandnewsystems.
His"styleofRepublicofChina"showsakindofinterpretationof"ego"intheenvironmentofgreattimes,reflectsthecollisionbetweennewandoldideasbyhistoricalcrossing,andconsequentlyproduces"dramatic"conflictsincontents,expressingtheartist'ssomesubjectivecriticismonreallife.Thecreationconsistsofavarietyoffactorssuchashispersonalfeelings,life,andenvironment.Asthesubjectofartisticcreation,hefocusesonobservingandexperiencingreallife,paysattentiontothemindstateandinnerworldofpeople,andenduestheworkswithastrongsenseofself-awarenessandrichemotionthroughtheactivitiesofspiritualandartisticcreation,aswellastheself-processingandre-creation.
Atthesametime,heintegratestheabstractthoughtcultivationwithconceptualcreationprocessorganically,combineshisownconceptionwithcharactersandspaceinconsciousnesstogethertoformaestheticimages,andutilizesthedifferentcharacterposturestomolddifferentestheticfeelings,soastorevealtheperiodofRepublicofChinathroughidealized"transformation".TheGreatRepublicofChinaundergoesacomplexandlongcreationprocess,witnessestheartist'sdifferentstagesandpractices,andhasamoreprofoundthoughtconnotationfollowingtheartist'supdateunderstandingofessenceanduniversalityofenvironment.
ThecultivationmethodoftheBuddhismisakindofthinkingcultivation,andthetrainingoftheBuddhismisrealizedbythinking.Forthisreason,hekeepshimselfawayfromthenoisyandvanityofmetropolis,andgoesaroundtheworldtostudyandappreciatetheoutstandingworksofthewesternmasters,soastokeephimselfcalmdowninindependentthinkingasmuchaspossible.Alongwiththedeepeningunderstandingofart,hetriestoputhimselfinakindofideologicallevelof"absorptioninmeditation"soastopondertheartisticcreationandcomprehendthethoughtcommonnessof"noego"inthecultivationofartisticthinking."Everyphenomenonisimpermanent;nothingisunrelatedtosuffering;noselfcanbefoundinanything;nirvanaistheultimatehappiness."showsthecultivationdirectionofpractitioner.Asforayoungart"practitioner",heneedstocontinuouslyexplorethetrueessenceofthoughtinartisticcreationandthinkthe"ego"themetherein.Byfriend:HuangYuYangYong(Collector)