He has been fond of calligraphy since he was a teenager. During his decades of military career, he insisted on writing and his calligraphy level was constantly improved. He adhered to the road of "extensive dabbling", eclectic, eclectic, and used it for me. His works are lyrical with a pen, and the momentum is like a rainbow; There are not only the free and easy of the two kings, but also the rhythm of the Song and Yuan Dynasties and the wantonness of the Ming and Qing Dynasties. Bold and unrestrained, between the lines is filled with the unique open-mindedness and heroism of soldiers.

He is good at writing, writing, writing. He has published a collection of calligraphy works, such as Regular Script Gong Wei, Modern Translation of Sun Tzu's Art of War, and Ode to a Hundred Trees. Inspired by "Genyi Chinese Characters", he created his own "Golden Root brushwork".

The works written by Mr. Yin Chengfu with vigorous brushwork are magnificent and dignified, with unique openness and heroism between the lines. The audience was surprised by this. The beauty of Yin's calligraphy lies in his rich cultural connotation and aesthetic taste, and his ambition can be seen at a glance. With his vigorous brushwork and the rhythm and strength of "penetrating the back of the paper", he played a symphony of calligraphy rhythm and painted works of art with aesthetic feeling and dynamic image; It has novel and unique charm, gives people a "striking" visual impact and has great attraction to the audience.

The "Heart" of Jin Gen's Painting

"Heart power" is the origin of calligraphy artistic expression, the cultural connotation, inner thoughts and feelings of calligraphers, and especially the passion generated when writing. The ancients said, "Books are the heart" and "words are like people". Writing is the externalization of a writer's emotions, tastes and feelings, and also the confession of a writer's ambition and state of mind. Don Zhang Huai said in the Art of Calligraphy: "Fu Hanmo and the most wonderful articles have profound implications, so you can see their aspirations and understand them after reading them." Throughout the history of China calligraphers, they all expressed their inner feelings and created the best works of art. Yin's Jin Gen brushwork is no exception. It is the psychological description of the calligrapher's love for trees and root carving, and the inspiration and feeling caused by the author's expression and expression of natural images with calligraphy lines similar to Jin Gen.

Jin Gen's brushwork is a writer's artistic passion in his life experience. Yin's vigorous brushwork comes from life and is higher than life. The artistry of his calligraphy works not only shows the external aesthetic feeling, but also expresses the author's inner lofty aspirations and noble feelings.

Mr. Yin Chengfu is a professional soldier. His favorite book is The Art of War. He participated in and organized many military parades and exercises. He realized from the theory of art of war and military practice that "books are still soldiers." Therefore, he published a book, Modern Translation of Sun Tzu's Art of War, which is widely regarded by experts as an artistic masterpiece written by a strategist. As Wu Zaishu, vice-president and chief expert of the Art of War Research Association of China, wrote in the preface: "On the whole, his book has an awe-inspiring military momentum, which shows the beauty of the image of Sun Tzu's Art of War, which combines rigidity with flexibility, because it is dynamic in form and potential, and harmonious in use." The book was distributed nationwide and collected by more than 50 libraries in the National Library, Military Museum, Tsinghua, Peking University and other provinces and cities, and awarded honorary certificates. CCTV made a special report on "Momo's Art of War".

Mr. Yin was the first political commissar of the Armed Police Forest Force, and he had deep feelings for greenguard, a big tree that defended the ecological environment. In order to express the thoughts and feelings of loving trees, the book Ode to Hundred Trees was published, and ancient and modern poems, photos and calligraphy works were used to praise 10 1 ancient trees, so as to arouse people's attention to the ecological environment. Some works of Ode to a Hundred Trees tried to use vigorous brushwork, which aroused good response in the society, was reported by more than 100 news media, and was recognized and appreciated by many experts and calligraphy lovers.

Jin Gen's brushwork is the creative inspiration that writers get from natural images. Ancient calligraphers used natural images to inspire calligraphy art. Wei Shuo, a female calligrapher in the Eastern Jin Dynasty, listed seven stippling images in calligraphy theory's monograph Bi Tu, which are natural images and have great influence on later generations. Mr. Yin has been practicing calligraphy since he was a child. For more than 60 years, he has never stopped writing and studying calligraphy theory. His calligraphy not only has heavy traditional skill, based on Yan Kai, but also has his own unique calligraphy style, creating an artistic style of "pen strength and splash ink".

Mr. Yin likes trees, bonsai and root carving. He is good at observation and discovery, and can gain artistic perception from natural images. He found the charm from the natural form of the tree, injected his own inspiration, and realized that the book path and the tree path are the same: every tree is an upright Chinese character, and every Chinese character is a vibrant tree. He found the strangeness of roots and vines in bonsai and root carving works, and used the colorful, steep, wonderful and vigorous natural state of roots to form the artistic conception in his mind, and rubbed it into the skill of calligraphy strokes to write an artistic work of "carving Chinese characters, roots and vines on paper". Calligraphy itself originates from the hieroglyphics of nature, which reflects the infinity of nature. Yin's vigorous brushwork "draws lessons from the shape of nature, expresses the feelings of nature, and expresses the god of nature", which can actually express an image in a vast world in Chinese character writing. That's great!

The "Pen Power" of Jin Gen's Painting

Ancient and modern calligraphers discussed the "brushwork" of calligraphy from different angles. From a physical point of view, "pen power" is the mechanical relationship between brush, ink and paper. The reaction force corresponding to the resistance when the pen runs. In calligraphy skills, it is the writer's kung fu and ability to control and control pen and ink, as well as the rhythm, strength and effect shown. To put it more simply, "calligraphy is a brush of movement, a personality displayed in' brushwork' and a creative style". Cai Yong, a calligrapher in the Eastern Han Dynasty, said in On Pen: "The style of a book must conform to its shape. If you sit and walk, if you fly, if you come, if you lie down, if you are sad and happy, if an insect eats wood leaves, if the sword is long, if the bow is strong and the arrow is hard, if it is fire and water, if it is fog, if it is the sun and the moon, it can be called a book. " That is to say, as a bookshelf structure of a book, it must be endowed with various forms, such as sitting up and walking, flying and dancing, turning back and forth, jumping on the abdomen, laughing and mourning, some eating wood leaves like insects, carving naturally, some imposing like swords and spears, some shooting like strong bows and hard arrows, some burning like fire and water, and some like clouds. In short, in the vertical and horizontal distribution of font structure, only by absorbing the wonderful charm of natural phenomena can it be called excellent calligraphy works. Mr. Yin's vigorous brushwork is inspired by the classical theory of the ancients, which introduces the beautiful fantasy of trees, bonsai and root carving into calligraphy, and integrates it into the form of calligraphy and brushwork. He thought of the "spirit" of the book from the old and vigorous natural trees, whose branches danced in the wind. He carefully pondered the exquisite shapes of bonsai and root carving, and some of them danced like Yunlong, holding their heads high; Some are like golden monkey dance sticks, some are true and some are false; Some are like eagles spreading their wings and putting them back and forth freely; Some are like armored warriors, high-spirited and awe-inspiring; Some are like scattered flowers and scattered flowers; Some are like warriors kicking, squatting and gaining momentum, and so on. In his opinion, if the natural artistic dynamic beauty of these roots and vines is treated in writing, and the control skills of "brushwork" such as reality, positive and lateral, thickness and light, dry and wet, sparse and dense, release and combination, slow and urgent will produce unexpected artistic interest. Turn inspiration into practice. Like many calligraphers, Mr. Yin has experienced decades of accumulation and precipitation, used thousands of Xuan paper, gained the joy of success, and created amazing works of art.

The visual image created by Jin Gen's "pen power". Xia Tingxian, a famous calligraphy critic, believes that the visual image of Yin stippling lines and pen and ink, regardless of length, thickness, straightness, strength, reality and meaning, presents three main characteristics: First, astringency. Astringent, astringent, astringent-astringent and rough, like the epidermis of a vine. Close to the visual image of "leakage mark" advocated by Yan Zhenqing (709-785) (rainwater seeps into the wall and condenses into drops and flows down vertically slowly and slightly, leaving traces on the wall) and "cone-painted sand" (weapons (or tools) such as spears) advocated by Chu Suiliang (596-658 or 659) are drawn into a flat battlefield, with both sides of the sand shape protruding, and the second is strength. Vigorous, vigorous, vigorous, very tenacious and powerful. There is a very obvious sense of "bones and muscles" and "spirit". The third is iron. Solid, dignified, prominent, vigorous, solid, three-dimensional and quality. Vertical as an iron column, horizontal as an iron beam, and points as iron flowers-just like "iron painting art". The twists and turns of lines have the effect of "breaking the hairpin's shares" described by the Southern Song Dynasty calligrapher Jiang Kui (about 1 105- 1209) in "Continued Books". Mr. Yin realized that the "pen power" must be vigorous, and the strength and ink color of the pen should be real and not empty, so as to achieve the effect of "penetrating the back of the paper" and "penetrating the wood". The ink written is like an old tree, vigorous and powerful, like a vine with roots.

The "brushwork" characteristics of Yin's paintings. Calligraphy circles call brushwork using a pen or lifting a pen, that is, the way the pen runs on paper. The movement of the pen can combine different styles of works, such as beauty, strength, simplicity and childishness. The commander-in-chief of the pen is in the brain, and the imagination of the writer's brain is completed by the reasonable cooperation of fingers, wrists and arms. Yin's brushwork and brushwork follow the laws of ancient and modern calligraphy in principle, and the innovation lies in the mastery of brushwork strength and brushwork skills. Calligraphers consciously have the image of a vine in their minds. In the process of writing, they flexibly adjust the strokes, command the brush to swing left and right, lift it up and down, turn it forward and stretch it. For example, in the works of Jin Gen's brushwork, the edge of the horizontal painting is like the uneven hair of the roots and vines, just like the layered clouds, which requires the pen tip not to drag horizontally, but to "pull" the pen slowly to collect astringency; The image of vertical painting is like the rough phloem of rattan bones, like the hard and withered bones of ancient trees. It is required that the pen should not be stiff and straight, but in order to be straight and curved, the pen body should be slowly adjusted downward. From the strength of the "music" pen and the skill of cutting peaks, the ink shaped like a tree root was produced.

Yin's golden root brushwork. Characters written with different brushstrokes have ever-changing forms. With regard to brushwork, calligraphers of past dynasties have made detailed research and formed established norms. Every successful calligrapher tries to add his own subjective feelings to his own study and exploration and form a unique style. Just like this, Mr. Yin embarked on a road of calligraphy with personal style.

In his view, the writing methods based on the pen mainly include: first, using the pen in the center. When writing, "the pen is round and the paper is round, and the pen heart is always pointed." The writer should hold the pen firmly and concentrate on using it, so that the lines written are round and thick. In the process of writing, the pen holder often rotates slightly to make it change from the side to the center, which not only keeps the center from writing, but also tilts at a certain angle according to different stroke trends. When the pen holder walks, it will make the lines more varied and show the ink shape of the roots and vines. The second is to raise the degree. The method of lifting pressure can show the writer's ability to control the writing brush and master the skills of lifting pressure. It can be said that he has a certain grasp of the method of using the pen. The stiff brushwork should be pressed again, and the pen should be pressed again, which is a little slower. Take the pen lightly and quickly. However, the weight of the lifting should be controlled moderately, and the lifting process should be reasonable and natural. If you press it blindly, you will suddenly neglect the weight and the lines will be stiff, forming an ink pig. If you don't have enough pens, you will be stiff if you don't have the strength to write. The third is freedom to "escape". Zhou Xinglian said in "My humble opinion on Linchi": "When you write a word, you must start with a pen, and everyone who knows a little about books knows it. However, if you often want to raise it, people who come back will not escape. The word "two" is the secret of calligraphers. With escapism, you have restraint, and you are killed. Wake up with a pen, and when you wake up, you are psychic. You won't get tired of lying on paper. " This passage is of great significance for calligraphers to use, adjust and grasp the brush stroke flexibly. The same is true of vigorous and powerful brushwork. There will be various changes in the writing process, which requires free "escape" and flexible adjustment to show the different feelings of slow, stagnant and dry writing lines. The fourth is to follow the trend. Yin's vigorous brushwork can be applied to seal script, official script, regular script, running script and cursive script to varying degrees, but it is more suitable for running script and cursive script. Because these two styles have a common feature, that is, they can adjust the font and stroke style at any time according to the needs of composition and the characteristics of a word, that is, they are flexible and vivid. The ink effect has both the power of Fang Bi and the fluency and agility of a round pen.

All kinds of calligraphy styles have traditional strict norms. But if all the lines of calligraphy are within the rules of strokes, there will be no personality and development. If all the lines of calligraphy deviate from the rules, they will be varied and completely deviate from tradition. At this time, the "brushwork" of Yin's brushwork not only follows the traditional rules, but also develops and innovates in personality style.

"Tension" of Jin Gen's Painting

The tension of calligraphy art is the attraction of calligraphy works to the audience and the reflection of the audience's aesthetic values. Simply put, the tension of calligraphy art is the visual impact that calligraphy works can continue to "catch people's eyes". The book works of Jin Gen's brushwork, with its rich and colorful connotations and innovative forms, can produce continuous "eye-catching" stimulation and impact, and better reflect the aesthetic value and collection value of the appreciator.

The visual impact brought by Jin Gen's striking brushwork comes from the personalization of the writer's cultural level, that is, the personalization of "heart". He drew nutrition from his life experience, found a breakthrough in calligraphy innovation from trees and root carvings, and created a vigorous and powerful brushwork, which was vividly displayed. Its novelty is really commendable. Yin Chengfu Calligraphy Art Exhibition has been held in Beijing, Shandong, Hubei, Anhui and Inner Mongolia. His calligraphy works, especially Yin's vigorous brushwork, have aroused widespread repercussions in the society, and many media highly praised Yin's calligraphy art as "novel, vigorous, bold and unique". The People's Liberation Army Daily wrote in a special report: "Walking into the calligraphy art exhibition hall of Ode to a Hundred Trees, I saw a series of calligraphy works dripping with ink, which made people linger, as if they were in a lush and leafy forest." Chongyang Mu, Dingguomu, Davidia involucrata, Ode to Toona sinensis and Ode to Nanmu ... are either vivid with a pen, magnificent and bold, and the lines between them are filled with the author's unique open-mindedness and heroism. The audience who saw Mr. Yin's calligraphy exhibition praised his calligraphy in the guest book: "The general's calligraphy is natural and successful, and it has its own history. "

The artistic charm of Yin Jingen's brushwork "grasping eyes" comes from the individualization of calligraphers' artistic techniques, that is, the individualization of "brushwork". Yin's unique pen-lifting technique creates an artistic style of splashing ink and hanging vines, which gives people a strong visual impact. His cursive script, intermittent brushwork, strange and scattered image, and great momentum, all people were surprised and surprised to see Yin's brushwork. During Mr. Yin's book fairs in various places, there was an endless stream of visitors. Many calligraphers think that Yin's calligraphy brush is novel and unique. Many calligraphy lovers think that Yin's calligraphy is "rooted, heroic and dynamic." Others entered the museum for a few days, observing, taking pictures and recording one by one.

Yin's "striking" Jin Gen brushwork art comes from his recognition of his distinctive personality. Art is about creativity and individuality. The famous sayings, epigrams and poems written by the author with vigorous brushwork can be changed according to the content and create the beauty of images interpreted in form. The brushwork is as vigorous and powerful as a vine, with the characteristics of majestic, free and easy, elegant and smart. The audience can tell who wrote it at a glance, which is very attractive.

In a word, Yin's vigorous brushwork has a lasting artistic charm of "catching people's eyes", which is the artistic tension produced by the combination of the writer's "heart" and "pen". To this end, the vigorous brushwork fully embodies the open-minded and heroic feelings of the book, fully demonstrates the superb skills of the book, and fully demonstrates the artistic appeal and influence of the book.