「五十九岁才开始真正的写书法。」这是李义弘先生最谦虚的讲法。

　　打从学生时期开始，我即是欣赏先生的书法与绘画成长而来;一向以细腻、优雅、挺健与骨感瘦劲的书画称善，在川先生过去虽不以书法名世，但被「灵沤馆」列为重要临习的法帖——如楷书〔欧阳询九成宫醴泉铭〕、隶书〔张迁碑〕、篆书〔石鼓文〕与草书〔孙过庭书谱〕，自然与先生的书风有着深厚的联结关系。在川先生早年书法已经过严格的临摹学习，对于古典法帖的精髓神采莫不熟知于心，并且能加以灵活运用，在作品的落款处，即可见得先生独特的书法语汇，其灵动活泼的用笔，使转向背随性而自由，于书之技巧早就了然于胸，无所滞碍。

　　五十九岁以后，李义弘先生给自己开出的书法临习帖已是〔郙阁颂〕、〔石门颂〕、〔西峡颂〕与〔十七帖〕，惊人的是每一碑帖都临过百通以上，「狠狠的临他三百通!」这是先生常挂在嘴边的口头语。然而要如何相互融合以「三颂」的雄浑壮阔与〔十七帖〕的典丽?这就特别需要智慧与不断的锻炼。

　　在「二○○四年南瀛艺术家接力展」首展时，李义弘先生即以数件书法分飨观者，先生将对于绘事的敏感融入空间意识的挪让互用，并以奇特的行款位置，让作品呈现出前所未见的特殊性与平衡感，在平匀的调性中展现奇姿的新视觉经验，也使作品开拓出未来感。由于对「三颂」的不断努力，先生的书风由纤细幽雅化入了水墨浑然的开阔性，这也是后来其大字榜书的前奏曲。

　　以画家的修养从事于书法创作时，作品构成自有着与传统书家不同的风貌。我们观察明、清以来的书法，会惊讶于画家书法的表现并不亚于书家;因为画家对于空间、造型更敏感也更深刻，且字法的结构常为空间构成所决定，因此可以随机变化而成，也造就了无数的个性书风，诸如青藤、白阳、八大、金冬心、齐白石等，虽然皆以绘画名于世，但又写出极具创造力的书法。在未来，画家书法的创变依然会主宰书法的主流，这也是以线条所构筑而成的性灵经验与空间美学的延拓。

　　当今书画圈中有太多人不再临帖，大家都在讲创新、讲形式变化，生怕自己没有风格，而硬去压榨出牵强的新意，或是弃古典精髓于不顾的同时，硬挤出所谓新的形式感，这是极端空虚且危险的。书法乃平常书写中自然流露产生内在默化的影响和陶冶，往往不会是刻意创造的产物，在传承中持续变革，并注入个人生命语汇，犹如我们从在川先生作品背后看到的，兼具气度、精神、灵魂与书画之间的联结关系，看到一种心胸与境界，一种超迈的人格特质、刚正不阿的情性以及对于古典质素的理解与创变。我们深知「灵沤馆」对于在川先生的影响，而其影响也渐次化为助力，使奇致挺拔的笔墨因子，主动进入黑白世界的混沌中，提炼出新质感、新生命，作品亦体现大开大合、沈雄朴拙，却又奇趣横生的新视界。

　　在二○○六年国立历史博物馆所举办吕淑珍(在川先生夫人)「陶犬相」陶塑作品展览会场中，群犬正望着大厅中一件四乘八尺的书法大作〔临十七帖〕(图)，那正是在川先生的力作——书风浑厚、完整而力透纸背，这让人惊讶于先生书法线条已不断转趋强韧与浑厚;而该年底于新光美术馆「安禅」展的作品〔庄严〕(图)，与今年于北美馆「台北国际现代书法展」的〔舞鹤〕(图)大字榜书，都可见先生书作以横扫千军之势，得重若崩云之态，此种前所未见的书法风貌，早就奠定了他在书法圈中深被肯定的地位。

　　此次李义弘先生于国立台湾美术馆「台湾行」所展出的大字榜书，找出很多有意思的台湾地名来书写，其中有横幅〔向阳〕(图)隶书二字，字面上蕴含着正向能量，光明且灿烂，作品疏密有致、灵动有态、线条浑厚而有变化，向阳位于南横道中，虽少为人知，却处于六条通往山中深处的枢纽。直幅〔六龟〕(图)行楷书所构成的奇姿幻影，繁简二字自然而成的特殊体态，炫人耳目直令拍案叫绝。〔龙井〕(图)二字运〔石门颂〕之造型，而“井”字右竖穿越“龙”字底部，形成了字中之眼，颇具奇谲之态。〔龙潭〕(图)二字以直式书写，功深绝俗且气力盈满全篇。凡此数件各有体态，运巧于思，展现出台湾地名在文字中的特殊性美感，书法方势中见挺劲圆厚的线条质感，结构中有书画合璧的特殊韵味，内质中有绕梁三日的深度意涵，融空灵、钝拙、深邃而张力无限，倾注于在川先生的混沌大笔，我们可以用书法美学的角度来欣赏，也可以用空间构成之思维分析，更可以用内在文字之意涵体会，这犹如在川先生的的绘画手卷〔玉山行〕一样，他用水墨画出台湾山水的特殊语汇，画出属于这一块土地的内在灵魂，其内涵、技法与整体构成，透发为创作本体的源源不绝，他尊重古典世界的所有表达，也展现出区隔于古典之外的绘画方式，这除了生命的特质之外，更多的是坚持、努力与一份源自于艺术生命的热情，以及对于台湾这块土地的深切关怀与自我肯定。

卜兹(书法家)

二○○七年六月

　　“Fifty-nine is the age that I truly started writing Chinese calligraphy”, Master Lee Yih-Hong modestly remarks.

　　Ever since a student, I have admired Master Lee’s calligraphy and paintings.  His calligraphy pieces demonstrate precision, elegance, strength, and essence.  Though not well known for his calligraphy, nonetheless Master Lee’s writings are recorded as model exercise scripts of “Ling Ou Hall” such as his Kai Style (Regular Script), Li Style (Clerical Script), Zhuan Style (Seal Script), and Cao Style (Cursive Script).  Master Lee received strict training in his early years, therefore possessing an expert grasp of Chinese calligraphy that he practices with great ease and flexibility.  The annotations on his Chinese ink paintings offer a glimpse of his spirited strokes and unique writing style.

　　After reaching the age of fifty-nine, Lee Yih-Hong’s exercise scripts included “Puko Song”, “Shimen Song”, “Shishia Song” and “Seventeen Scripts”.  Amazingly, he has written every script hundreds of times.  How else can one integrate the magnificence of “Three Songs” and the grace of “Seventeen Scripts”?  The answer lies with the artist’s wisdom and of course endless practicing.

　　In “2004 Exhibition of Nan-Ying Folklore Artists Series”, Lee Yih-Hong exhibited several breathtaking works in which he applies painting techniques onto calligraphy.  The clever placement and alignment of words strike a unique balance never seen before, resulting in masterpieces that are refreshing and futuristic.  His continuous strive for excellence with “Three Songs” becomes a prelude to future great works.

　　A painter’s discipline applied onto calligraphy uncovers works differing from those of conventional calligraphers.  Examining Ming and Ching Dynasty calligraphy, one surprisingly finds the performance of painters to be comparable to that of professional calligraphers.  This is due to the fact that painters are generally more sensitive to space, displaying flexibility and creativity.  Consequently, several individualistic approaches evolved such as Ching Teng, Pai Yang, Pa Tah, Chin Tong-Shin, and Chi Pai-Shi amongst others.  These styles come from artists who are renowned for their Chinese paintings and at the same time write superb calligraphy.  Such transformation and interweaving between painting and calligraphy will continue to decide the future development of calligraphy.

　　In the present day, too many calligraphers no longer exercise scripts.  They are more concerned with origination and modification, in fear of losing their personal flair, thus forcing a style that may be new but meaningless in essence.  Calligraphy comes naturally – it is a realization that comes from tradition and discipline whilst simultaneously introducing one’s experiences in life to practice.  For example when studying Master Lee’s work, one can sense the interaction between tolerance, vitality, and spirit, all of which are reflective of his character and encounters in life.  “Ling Ou Hall” greatly affected Master Lee and he successfully transformed this influence to a new presence in his works.

　　During the 2006 “Canine Creations” ceramic exhibition by Lu Shu-Chen (wife of Lee Yih-Hong) at the National Museum of History, displayed in the center of the exhibit hall was a group of ceramic dogs gazing at an imposing calligraphy “Seventeen Script”.  This piece is in fact a creation by Master Lee.  Strong in style and stroked with power, this masterpiece amazed the audience.  In his piece “Dignity” which was exhibited at “Peaceful Meditation” held in the same year at the ShinKongArt Museum and another work “Dancing Crane” which was presented at this year’s “Taipei International Modern Calligraphy Exhibition” held the TaipeiFineArtsMuseum, Master Lee further demonstrates his majestic style.  These works are evidence of Lee Yih-Hong’s affirmed standing in the world of calligraphy.

　　In the present exhibit “Travel Taiwan” on display at the National Taiwan Museum of Fine Arts, Lee Yih-Hong found many interesting Taiwan geographical names to write.  For instance “Shiangyang” written in Li Style, has a homonym “Facing the Sun”.  Thus, the character scripts portray brightness and brilliance.  Another example is “Liouguei”, written in Cai Style and presented in an illusionary posture.  “Lungjin” follows the style used in “Shimen Song”.  The character “Jin” cuts across the word “Lung” formulating an “eye” which adds a mystic aura to the piece.  The piece “Longtan” reveals depth and strength.  These works show creativity in their depiction whether in name or geography and at the same time reveal discipline, power, and exceptionality in presentation.  Just like his hand scroll painting “Journey to Yushan”, Master Lee portrays the uniqueness of Taiwanese landscape while capturing the soul and quintessence of the land.  Lee Yih-Hong respects all that the world of tradition has to express, but demonstrates a painting style that is free from its constraints.  Indeed, his accomplishments are influenced by experiences in life.  But more importantly, his achievements are outcomes of his perseverance, strive for perfection, passion for art, and profound love for this land.

作者：卜兹