Chen Bing, born in January 1940, graduated from university, senior engineer, national first-class artist, visiting professor of the Royal Academy of Arts, special senior academician of the Chinese Academy of Calligraphy and Painting in Tokyo, is now a member of the Chinese Calligraphers Association, a member of the Beijing Collectors Association, a researcher of the Chinese Sinology Research Association, a member of the Chinese National Painters Association, a member of the Fujian Calligraphers Association, the Achievement Award of the Seventh Cultural Award for Literature and Art issued by the Ministry of Culture, a national 100 meritorious artists of virtue and art, and the most beautiful heroes in the national cultural circles against the epidemic. His works have entered the cultural market at home and abroad, and he has held solo exhibitions of calligraphy and painting in the Oriental Calligraphy and Painting Society in Sanfang and Seven Alleys in Fuzhou and Los Angeles and San Francisco in the United States.
Chen Bing has participated in more than 20 large-scale calligraphy exhibitions at home and abroad and won awards, mainly including: Gold Medal of Hong Kong World Chinese Calligraphy and Painting Exhibition, Golden Cherry Blossom Award of China-Japan Calligraphy and Painting Masterpiece Exhibition in Tokyo, Japan, Silver Medal of the National Art Museum of Art in Moscow, Russia, Silver Medal of the Beijing Olympic Exhibition, Achievement Award of the 7th Wenhua Award of the Ministry of Culture of the Chinese People's Republic of China, Golden Purple Gold Award of the Hong Kong SAR Culture and Art Federation, Lifetime Achievement Artist, and was hired as the Honorary Chairman of the Association, Gold Medal of the Sino-Korean Calligraphy and Painting Artists Joint Exhibition, China's First Confucius Gold Award and Lifetime Achievement Award, China's First Lanting Gold Award. The Gold Medal for Commemorating the Centenary of the Xinhai Revolution, the Gold Medal for Commemorating the Centenary of the Birth of Zhou Enlai, and the Gold Medal for The Anniversary of Tang Yin's Birth. In addition, he has also been awarded the titles of Shanghai World Expo Famous Artist and Contemporary Calligraphy and Painting Master, National 100 Meritorious Artists of Virtue and Art, and the First World Artist awarded by UNESCO.
Pen and ink language is the medium for expressing the artist's aesthetic thoughts, and the artist's cognition of beauty, the interpretation of life, and the unique aesthetic concept and feelings will be vividly displayed in his works. How to use the pen and ink language to transform and perfectly interpret the artist's thought and aesthetics are based on the painter's learning of traditional brush and ink techniques and the inheritance of traditional aesthetic ideas. Therefore, the real Chinese painting brush should have a writing charm, highlight the strength and rhythm, and be full of dialectical laws, and the ups and downs, presses, speeds and slowness of its brushwork, and the dry, wet, thick and light elements of its ink color must be contained in it, reflecting a kind of analysis of the perception of objects and the law of pen and ink operation and the accumulation of cultural literacy.
Looking at Mr. Chen Bing's paintings, there are three aspects that are impressive. The first is the elegant style of the work. Chinese painting has always paid attention to artistic conception and style, and the necessary condition for composing an artistic conception is vivid charm. The term "qi rhyme" comes from Sheikh's Paintings, which holds that the first element of painting is "qi rhyme vivid is also." "The painting must be full of charm and spirit, do not be rigid, should have life and soul." The "qi" plus "rhyme" of Chinese painting is essentially the state of life of a painting. Paintings that are vibrant, rhythmic, and rhythmic have a sense of air. Under this premise, it is necessary to see whether the hidden behind the painting is far-reaching, and there is a far-reaching meaning. "Containing inexhaustible meaning is outside words", just like poetry, there must be incomplete meaning outside the painting. I think that Mr. Chen Bing has a deep understanding of this, and the characters, landscapes, and miscellaneous trees he composes are all works with great artistic conception and style.
The big clouds cover the universe with ancient spring
——Chen Bing calligraphy art slightly said
Lord Li Hou said in a treatise: The book of zhuang is also strong, and Yao Yao eighteen joined the army, initially embraced a thousand horses, and relied on the ling desert, but his eyes were not complete; and he was like Xia Yun Qifeng, who was afraid of the scorching scenery of the sun, and could not be turned against him, and his position was the same. Gai said that Li Chongguang's theory can be very in line with the magic of the book, if it is a book of prime, it cannot be swept away, the fish and dragon can not be jumped, and the true meaning of the word change can not be obtained in the end. The bookmaker, starting from the square, walking in the warmth, stopping at the cool, should be in line with the principle of change. Seeing people writing books in the near future, eating more ancient people, and less people who have transformed them, do not know that if the word calligraphy cannot be transformed from the ancient world, it will not be their own face in the end, and they will also be a copyist to death. Or: How is the Book of Prime? Right: The book of prime-age, when seeking thickness, seeking clumsiness, seeking strength, seeking ethereality. For example, the Yangtze River, such as the clouds for thousands of miles, such as the sea and the sky and the moon, such as the clouds steaming Xiawei.
Try to say it in Mr. Chen Bing's calligraphy, cultivate ink with spirit, live pen with god, live with reality, spit out chaos, big clouds cover the universe, and contain ancient spring. It is also to cultivate the spirit of the void with the method of accumulation, and to cultivate the body to see the state of handsomeness. The bottom of his pen is magnificent and unbridled, thick, and inexhaustible. Yu therefore said that Mr. Chen Bing's book is the book of prime-age, which is called thick and clumsy. Why is a book so clumsy? It must be accumulated. Chen Bing's calligraphy, from the seal into the grass, from the grass into the line, but also from the line of belonging, the three are integrated with each other, so that the seal has the meaning of the grass is flexible, not rigid and sluggish; the grass has the atmosphere of belonging to the ancients, not frivolous and slippery; the grass has the taste of walking in a clean and elegant way, not rigid and solid, the three are mutually flexible, mutually confirmed, and only then can we see the wonderful features of its calligraphy. All over the family, cut into one elephant, by the thick and clumsy, the party is this big stroke also.
Yu said that Mr. Chen Bing's book is the book of prime-age, which is called its virtual collection ethereal. Why is the book called the void set ethereal? Zhuang Ziyue: Those who are also qi, those who are vain and treat things are also. The only way is to set the void. The void, the heart also. All writers who write books cannot look at the big picture and start from a small place, and they are not big masters in the end. Only those who take the void as the Tao, the book has ethereal beauty and spiritual beauty. Chen Bing's calligraphy is an ethereal realm constructed with a majestic brush. Where his pen opens and closes, it is a magnificent wave, the pen is wind and thunder, the center of the line, the flying white confide, the thickness and lightness are appropriate, and the scene of the moon and the silent shadow is even more amazing. Cai Yong's treatise on the nine potentials said: The momentum is unstoppable, the momentum is unstoppable, but the pen is soft and strange. Mr. Chen Bing's calligraphy is in line with the trick of "coming and going cannot be stopped", but the ethereal and subtle realm he constructs is exactly "strange and raw".
"Mr. Chen Bing's Self-Description"
He said that the art of calligraphy in China should be a unique art in the world today. Imagine that the Latin, Slavic, and ancient Roman pinyin alphabets are ever-changing, and they cannot smear the ever-changing artistic conception of Chinese hieroglyphs. He said that the art of calligraphy in China has never been shelved and widowed like the lofty talk of western philosophical sages. It is close to the public, elegant and popular appreciation, literary and wild degrees, good writing, officials, and ordinary people are also common.
He said that the art of Chinese calligraphy is contained in the cultivation and cultivation of culture, poetry and song are closely linked to calligraphy, and sentiment and morality are presented between the lines. When a cultural person, without good calligraphy, there are shortcomings.
He said that learning calligraphy is learning culture, which makes your obsession based on the pursuit of knowledge and the continuous understanding of life, not to go into the fire, but to forge ahead in spite of difficulties, broaden horizons, and move forward to a peak that is always above. The so-called "outer mountain building outside the mountain", if you are not satisfied, you will have motivation.
He also said that calligraphy must "have a provenance from the pen and brush", producing models, facsimiles and rules at the peak of calligraphy art, benefiting from the cultural atmosphere and living environment of the ancients, which cannot be achieved by the current conditions. It cannot be measured by the scales of "advanced" and "backward", "technology" and "civilization", so the ancients climbed the peaks of calligraphy. Today's calligraphers must not and cannot use "transcendence" to talk about it.
Mr. Chen Bing's calligraphy in the practical, pay attention to the chapter, brushwork, ink method, orthography, the overall layout of the blank space between the vertical lines, the natural and smooth movement of the pen, the dot painting skimming, retracting and retracting the risk of oblique changes are natural and appropriate, pay attention to the balance of the center of gravity, hidden like Taishan, and pay great attention to the strength of the stroke and the thickness of the stroke, appreciate Mr. Chen's works, although not the characters, but also let me enjoy a good meal of calligraphy art. It is also an example for us to learn! It is also the crystallization of Teacher Chen's decades of diligent study, persistent exploration and pursuit, and forge ahead, and only those artists who still maintain a poetic and divine sense of life, and have the artistic ideal of piety and sincerity can reach such a realm.
From a calligraphy theorist to a calligraphy educator to a calligrapher, Mr. Chen Bing, who has multiple identities, has been obscured or misread for a long time. Especially in the early stages, it is often regarded as scholarly calligraphy, or classified as a literati style, or as a by-product of theory and education, and neglected to be studied as an independent artistic exploration and artistic creation. In addition, Mr. Chen's calligraphy is rooted in tradition, taking the law and the strengths of the people and keeping the norms for change, opening up the ancient and modern, the unity of people and books, the quality is more than enough without decoration, the non-momentum follows the trend, the showmanship confuses the crowd, and it cannot become a hot topic for a while, so it can only be "slow and hot", which is also the inevitable of this impetuous era.
Mr. Chen Bing's works show a unique personal temperament, facing the present, in the context of the current era background and artistic transformation, his persistence and breakthrough, inheritance and creativity, diligence and hard work, as well as step by step, hard work of the artistic attitude, are very valuable, his footsteps and works have proved this. Mr. Chen Bing's calligraphy works have participated in international and domestic competitions many times, and have won dozens of awards, the mystery of which lies in its own use of pen and ink, charm and interest, so that he can always adhere to the spiritual control of pen and ink, in the agility, elegance, willfulness, freedom of embodiment of a very elegant wisdom. My overall evaluation of his character and character is: "There is both the character of the sea and the temperament of the sea..." Characters are characters.
In Chinese history, the cultural nostalgia of the pre-Qin sons and the attitude of the Wei and Jin scholars have jointly laid the foundation for the glory of Tang poetry, Song Ci and Yuan Qu, and in the same way, it is the cultural nostalgia of the pre-Qin sons, the attitude of the Wei Jin people, and the glory of the Song Ci and Yuan Qu that have jointly created the immortal achievements of Ming and Qing calligraphy, and the path of Mr. Chen Bing's calligraphy is precisely the continuous practice of walking on the right vein of Chinese culture, so based on his character, education, skills, and, Based on the height he has now reached in art, we believe that he will certainly achieve more and greater achievements in the future, so as to live up to the current era of great rejuvenation of Chinese culture.
Achievements in the book realm, the foundation of the contemporary. As a calligrapher, the depth of his attainments is not based on his own pen and ink skills, but on his soul absorption and accumulation of traditional culture and the afterglow of the ancients! Today's Mr. Chen Bing is just such a famous Hanmo artist full of traditional cultural heritage, in his own calligraphy creation process, Mr. Chen has always maintained a scholarly mentality, aiming to be firmly rooted in tradition and deeply absorbed in ancient sages, and because of this, his many calligraphy works will have that distinctive book spirit! By not seeking to hear, but seeking self-purity, only the wise work, self-transcendence!