譯/張佳藝

羿耿庵從少年習(xí)書到成為書法家，他在書法藝術(shù)之路上已跋涉五十年，其間世事變幻，人生兜兜轉(zhuǎn)轉(zhuǎn)，但書法始終是他最牽系、付出心力最多的事業(yè)。他認(rèn)為，書法要始終恪守篆、隸寫秦漢，行、楷學(xué)晉唐的學(xué)書原理，力求每筆都師出有源，且不為法規(guī)所囿。他的隸書直接取法漢碑，得《華山碑》的細(xì)膩、《曹全碑》的圓潤、《禮器碑》的勁挺、《石門頌》的率意。他的篆書從秦篆入，并上探兩周金文、殷商甲骨文。結(jié)體往直中求、減少盤曲，“不向曲中尋”，由此筆勢更加遒勁，用筆用墨極富神韻。

From practicing calligraphy as a teenager to becoming a calligrapher, Yi Geng'an has been on the road of calligraphy for fifty years. Time has brought significant changes to the world, and life has gone round and round, but calligraphy has always been his most involved and dedicated career. He believes it is crucial to adhere to the principle of learning calligraphy from the Qin and Han dynasties in seal and clerical scripts.Also, Yi Geng'an uses the Jin and Tang dynasties inline and regular scripts. He holds that every brush stroke should have its source and not be caught by regulations. The official script he writes is directly based on Han monuments, integrating the delicacy of the, the roundness of the, the strength of the, and the frankness of the Ode to the Stone Gate. He writes seal script by imitating Qin seal script while progressing to Jin script during the Zhou dynasty and Oracle Bone Inscriptions during the Shang dynasty. His calligraphic form pursues straightness rather than a curve,resulting in more vigorous brushwork featuring an exquisite use of ink.