Pen and ink itself has a strong sense of the times, and each era has pen and ink that can reflect the beauty and sense of form of the characteristics of the times. Looking back at history, each dynasty has its own admired art forms and connotations, and the development and changes of the times require calligraphers to pay attention to the contemporary social environment in the creative process. The ancients depicted images and expressed emotions through pen and ink, which is the fusion of the background of the times, aesthetic thoughts and personal emotions. For modern calligraphers, their main duty is to use modern pen and ink language to reflect, express and describe the spiritual outlook and living conditions of modern people. Bin Yongjin is one of the calligraphers who conduct pen and ink exploration.
Carefully read Bin Yongjin's inkblots to write the most, his writing pen and ink are abundant, the rules are appropriate and legal, and the pen is subtle and elegant and fresh. His calligraphy skills are all derived from the thesis, and he has done very in-depth research on the calligraphy of Wang Xizhi, Yan Zhenqing, Su Dongpo and other calligraphy, and has used the strengths of all the families for his own use in copying. In addition to Linchi, he also sometimes put forward his own point of view: "The seven points of calligraphy are used with the pen, but the other kung fu is outside the book." It can be seen that he is not only proficient in artistic practice of calligraphy, but also has his own unique ideas on creative theory.
Bin Yongjin has a good study of the ink of calligraphy works, and the first words at the beginning are mostly dipped in ink. If you don't dip the ink enough, you can't let go of the pen and swing it boldly. Its dipping ink is more than less, rather full than indebted. In this way, it can not only write one to one number, but also leave a large room for change in the speed and strength of the pen, and also provide the conditions for the thickness of the ink color, dryness and wetness. The change of ink color on the chapter, from thick to light, from heavy to light, from wet to dry, in this way changes, forming a rhythm. Bin Yongjin tends to use ink thick, thick and thick, ink to seize people. Its words are moist, moist and clear, moist and refreshing, which is a high-level method of ink for writing.
Bin Yongjin's calligraphy works show the characteristics of eloquence, simplicity and breadth. His pen and ink swing at the beginning of the mood is gentle, the handwriting is more neat, gradually the mood begins to rise and fall, the font suddenly increases, it seems too abrupt, but in the emotional tone of the whole text is reasonable, in the subsequent poem to express emotions, rapid writing, dot painting rough, with obvious, wide open and closed, and the previous pointillism fine, with rationality, glyph convergence, invisibly formed a contrast. Through the analysis of the content of creation, Bin Yongjin brings emotion into the creation, so that the size of the characters is interspersed with the transformation of the transition natural, the "poetic" and "book meaning" are integrated, and the continuous interruption of the writing rhythm is enhanced, and the combination of dynamic and static is enhanced, so as to enrich the chapter and make the overall writing style frank and natural.
Bin Yongjin pays attention to grasping the side of the font structure and seeks a balance of gravity to increase the echo between lines and lines, so that the overall chapter layout is harmonious and vivid. A work can be integrated, the focus is on handling the relationship between lines and lines, even the simplest two or three lines of work should pay attention to the echo between the lines.
With his own calligraphy practice, Bin Yongjin verified the aesthetic concept of calligraphy that blends and harmonizes between the stele and the post. At the same time, his calligraphy practice has injected new vitality into today's book world. Bin Yongjin's calligraphy is so grand that its value and significance are immeasurable in the process of calligraphy creation and the generation of calligraphy aesthetic thought today.
Bin Yongjin, male, born in July 1957, a native of Yulin, Guangxi, is a member of the Communist Party of China, a calligrapher and a collector. Graduated from the first Beijing China Calligraphy university - Tianjin Shenzhou Institute of Calligraphy and Painting, he is now a member of the Central Media Wenhua Art, the vice president of the China Century Great Caifeng Calligraphy and Painting Institute, a lifelong visiting professor of art education in the China Education Alliance, a member of the Chinese Association of Scientists, and a senior researcher and visiting professor of the Brand Promotion Committee of the Chinese Academy of Management Sciences. Bin Yongjin is a full-time "Yongjin Gallery", engaged in poetry, calligraphy and painting printing for decades, and has successively entered the Tianjin Shenzhou Institute of Calligraphy and Painting, the first China Calligraphy University in Beijing, the Calligraphy Magazine of the Chinese Calligraphers Association, and the Higher Calligraphy Journal. Shen Peng, Liu Bingsen, Liu Zhengcheng, Xie Bingyan, Lu Shi and Cui Zhiqiang were taught by famous artists and were named one of the 30 outstanding students in the first general class. Bin Yongjin's works have participated in large-scale exhibitions and competitions at home and abroad for many times, and have won more than 100 awards in the National Calligraphy and Painting Competition. His biographies and works have been included in more than 100 books and treatises, and have been widely praised. On October 1, 2020, Bin Yongjin's personal photo of his works was included in the global distribution of Chinese magazines, and he was known as The Most Valuable Art Artist in China. In the same year, he was awarded the "Model Figure in the Artisan Spirit Art Circle" by CCTV. He was awarded the honorary titles of "Commemorating the 75th Anniversary of the Founding of the United Nations - United Nations Peace Art Award" and "United Nations Master of Peace Art". At the end of 2020, he was nominated as a public welfare figure in the art world. In 2021, his works were selected for the Beijing Metro "Cultural China" theme tour exhibition, and the exhibition was broadcast on the 7 major lines of the Beijing Subway.