很多年前，一位叫韓小梅的杭州畫家為避戰(zhàn)亂，領(lǐng)著他的家小去上海灘定居。韓小梅有10個(gè)孩子，其中5個(gè)是兒子，分別叫韓澄、韓敏、韓山、韓伍、韓碩。因?yàn)榧揖巢粚捲?，韓小梅親自執(zhí)教，在自家的幾間屋里擇出一房間作為“學(xué)館”，讓兄弟姐妹們?cè)凇皩W(xué)館”里寫詩(shī)、作畫、賦文，間或飛揚(yáng)起皮黃絲竹的旋律。

數(shù)年之后，他們的父親離世，而韓氏五兄弟竟個(gè)個(gè)脫穎而出，成為中國(guó)畫壇各有千秋的人物。

去年冬，他們的大哥韓澄在杭州展出了他的75幅人物畫，因而五兄弟在杭州相聚，齊賀老大舉辦畫展。

大哥韓澄鐘情人物畫

韓家是個(gè)大家庭，在眾多的兄弟姐妹中韓澄排行老大。父親早逝，長(zhǎng)兄為父，兄弟姐妹們對(duì)韓澄一直尊敬有加。

韓澄的畫技全然來(lái)自于父親韓小梅的教導(dǎo)。一個(gè)是嚴(yán)厲的老師，一個(gè)是好學(xué)的門生，寒來(lái)暑往，韓澄在父親的教誨下打下了較好的繪畫基礎(chǔ)。后來(lái)，韓澄參加工作，從事工商美術(shù)設(shè)計(jì)，未間斷過(guò)繪畫創(chuàng)作。

退休之后，韓澄有大量時(shí)間實(shí)現(xiàn)自己的繪畫夢(mèng)。韓澄的人物畫注重寫實(shí)，一筆一畫，中規(guī)中矩。畫如其人，用在韓澄身上也非常貼切，性格耿直的他在畫中充分流露出平和樸實(shí)、不事浮華、不假巧飾的特點(diǎn)，對(duì)于畫中人物的眼神、表情、身姿、手勢(shì)的刻畫更是一絲不茍，細(xì)心塑造。通過(guò)對(duì)形象的準(zhǔn)確描繪來(lái)反映其生動(dòng)豐富的精神世界，正符合了中國(guó)人物畫“以形寫神”的優(yōu)秀傳統(tǒng)。

除了繪畫，韓澄還愛戲。他平時(shí)話不多，但一旦遇到戲迷知己，則繪聲繪色，又唱又白，津津樂道，神采飛揚(yáng)，好似美食家品嘗美食一般。正因?yàn)槿绱耍n澄的人物畫中相當(dāng)一部分是畫戲的，在戲劇人物畫上取得了相當(dāng)大的成就。

韓敏，花鳥蟲魚現(xiàn)筆端

在韓氏五兄弟中，韓敏排行老二。

孩提時(shí)代的生活環(huán)境對(duì)韓敏而言是相當(dāng)重要的。他們的家在上海泰安路上，那時(shí)這里還是城鄉(xiāng)結(jié)合處，周圍有青青的田野、潺潺的小河及爬滿牽?；ǖ霓r(nóng)家小院。他從父學(xué)畫之余，這片田園是他童年時(shí)的樂園，抓蟈蟈、掏雀窩、捕蟋蟀、粘知了，生活就像夢(mèng)幻般美麗。而今年過(guò)花甲，他朝花夕拾，童心不泯，將兒時(shí)記憶中的花鳥草蟲再現(xiàn)于腕底筆端，為當(dāng)代藝苑奉獻(xiàn)了一本洋溢著濃郁生活氣息和獨(dú)特生命感悟的《韓敏花鳥草蟲集》(上海書畫出版社)。

韓敏的花鳥草蟲畫構(gòu)圖飽滿和諧而疏密自如，具有一種勃發(fā)清新的田園氛圍，其紅花綠葉或奇木秀石，大都以闊筆揮灑，水墨暈染，重彩敷色，因而顯得氣勢(shì)豪放而氣韻雄渾，氣息暢達(dá)而氣格爽健，如國(guó)色天香的牡丹、嬌艷嫵媚的芍藥、清香飄逸的蘭花、綠葉紛披的修篁、格高韻清的荷花、疏影橫斜的老梅等，均充分展示了國(guó)畫大寫意的藝術(shù)表現(xiàn)力，突出了其筆墨形態(tài)意趣和色彩變幻效果，并從中可窺見他對(duì)青藤、八大、板橋、苦鐵、伯年等人畫風(fēng)的繼傳與開拓。

韓敏所畫的鳥蟲，大都采用了一絲不茍的工筆勾勒，達(dá)到了惟妙惟肖、栩栩如生的境界，深得白石老人神韻。如他畫的螳螂、蜻蜓、蟋蟀等纖毫畢現(xiàn)，形態(tài)生動(dòng)逼真，特別是知了羽翼上細(xì)細(xì)的紋線、頭部上的黑色折光等都一一畫出，可見功力造詣之深厚。他畫的鳥類姿態(tài)靈動(dòng)、形神相暢，注重于頭部的精心勾畫，因而極富情性。如翠鳥、竹雀、鵪鶉、飛燕、鸚鵡等，造型生動(dòng)、動(dòng)感強(qiáng)烈，散發(fā)出郁勃的生命氣韻。

目前，這位畫壇宿將雖已在上海人民美術(shù)出版社的崗位退休，但他現(xiàn)仍擔(dān)任上海書畫研究院院長(zhǎng)并擔(dān)任上海市政協(xié)委員。

韓山和韓伍，也非等閑之輩

這次韓氏五兄弟在杭州亮相，也將韓山、韓伍兩位默默在畫壇耕耘多年的畫家，重新帶到人們的視野之中。

韓山，1956年畢業(yè)于行知藝術(shù)師范學(xué)校，現(xiàn)為中國(guó)福利會(huì)兒童時(shí)代社《哈哈畫報(bào)》編輯室主任，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員。韓山擅長(zhǎng)水墨人物畫，作品有《李時(shí)珍江南行醫(yī)圖》《清平樂圖》等，連環(huán)畫《燈花》獲第二屆全國(guó)連環(huán)畫創(chuàng)作評(píng)獎(jiǎng)繪畫二等獎(jiǎng)。

韓伍則是連環(huán)畫家，且為畫兒童題材、塑造兒童形象的高手。他創(chuàng)作的《小游擊隊(duì)員柳小猛》，精心刻畫出柳小猛這個(gè)少年英雄的思想性格，既不拔高，又不概念化，是一個(gè)成功的范例。

韓伍畫兒童借鑒、運(yùn)用漫畫的某些手法，略帶夸張，使孩子們表情更豐富，動(dòng)作更活潑，在熟練、簡(jiǎn)約的筆墨中，勾畫出兒童的不同情態(tài)，表現(xiàn)出他們的喜怒哀樂，揭示了他們的內(nèi)心世界，這從《智戰(zhàn)猴群》《黑龍湖的秘密》以及《湯尼和他的狗》等作品中可以充分體現(xiàn)。

韓碩，頗具大家風(fēng)范

韓碩在韓氏大家族中排名第十，然而這個(gè)老幺卻頗具大家風(fēng)范，曾任上海畫院副院長(zhǎng)。

韓碩總給人們以一種不緊不慢、溫文爾雅的感覺，這種謙謙君子風(fēng)度使他平易近人，絕無(wú)名家架子，就連他的作品也是那樣恬淡清雅，令人賞心悅目。其實(shí)，他內(nèi)心堅(jiān)韌，在不張揚(yáng)的表象下，不懈地追求和激蕩的熱情。他就像一座活火山，雖然看來(lái)寧?kù)o安謐，然而，沸騰的巖漿一直在努力積聚著力量。

《熱血》是他獲得第九屆全國(guó)美展金獎(jiǎng)的作品。這幅以七君子為描繪對(duì)象的主旋律人物畫作品，以獨(dú)特的表現(xiàn)手法成為了韓碩中國(guó)畫創(chuàng)作的里程碑，它展現(xiàn)了韓碩人物畫的主要特征：略帶變形的人物形象、疏落有致的構(gòu)圖特點(diǎn)、簡(jiǎn)約婉轉(zhuǎn)的筆墨處理以及清雅蘊(yùn)藉的深邃意境。

韓碩的人物畫得益于他早期的連環(huán)畫創(chuàng)作，但中國(guó)傳統(tǒng)繪畫的寫意性筆墨又決定了人物畫不能拘泥于真實(shí)的寫照，于是，韓碩一開始就十分注重在傳統(tǒng)筆墨統(tǒng)率下的人物造型處理，他用自己的實(shí)踐創(chuàng)造出了既具有傳統(tǒng)筆墨韻味，又具有現(xiàn)代繪畫圖式的新穎語(yǔ)匯。

韓碩的人物形象并不刻意摹真。

他對(duì)筆墨的把握，雖然說(shuō)不上是古典式的，卻也繼承了傳統(tǒng)筆墨的精髓，應(yīng)該說(shuō)是“金蟬脫殼”式的復(fù)用，提按騰挪間線條裊裊，綿綿生韻，顯示了畫家靈活的手法和簡(jiǎn)約的風(fēng)格，和線條簡(jiǎn)練的呼應(yīng)，便是惜墨如金的處理。韓碩總是能充分地把握毛筆的含水墨和生宣的暈化度，在水與墨之間周旋。他很少用濃墨，盡量把水墨的表現(xiàn)能力發(fā)揮到最大限度。

All Brothers are Artists

By Pan Ning

Han Cheng， Han Min， Han Shan， Han Wu， and Han Shuo are brothers and in that order. They are all established artists today in China. Their art careers all started in a small room at home in Shanghai decades ago， when their father， a Hangzhou-based artist， fled to Shanghai to shun the chaos caused by war. To ease the burden of education costs， Han Xiaomei set up a one-room school at home for his children， teaching them the basics of traditional Chinese culture: reading， writing， painting， and singing.

In the winter of 2005， Han Cheng， the eldest brother， held his solo show of 75 figure paintings in Hangzhou. The five brothers gathered in Hangzhou to celebrate it.

Han Cheng was like a father to all his younger brothers and sisters， for their father passed away quite young. The eldest brother was a master learner of his father's painting skill. He used to be an art designer for all his working years. Since his retirement， he has spent his leisure time painting figures. His realist style features simplicity， but the accurate description well conveys the soul of the figures under his brush. An ardent theatergoer， Han devotes a lot of energy to recreating characters in Peking Opera in his paintings. His passion for the opera art has helped him become a successful artist.

Unlike his elder brother， Han Min is a painter of flowers， birds， insects， and fish. In his childhood years， the Shanghai house where the family lived was not yet invaded by the urban sprawl. The picturesque scenery， birds and insects there are his lifelong vivid memories of his early years. And these scenes of his childhood years have appeared in his album published by Shanghai Painting and Calligraphy Publishing House. When painting flowers， he resorts to a style of ebullient impressionism and applies vivid colors. While painting birds and insects， he is most elaborate to every detail. The images are most vivid. Now retired from the Shanghai People's Arts Publishing House， he still works as president of Shanghai Institute of Calligraphy and Painting and a member of CPPCC.

Compared with the two elder brothers， Han Shan and Han Wu are better known as experienced picture-story books artists. They have published many picture-story books under their names. A member of China Artists?Association， Han Shan is director of the editing office of a pictorial， a subsidiary of the national Children Times under the China Charity Association.

Though the youngest of all the siblings， Han Shuo is the best known artist， for one of his paintings named Hot Blood won the Gold Prize at the 9th National Arts Exhibition. Gracious and gentle and modest， he never gives himself airs of a master. He pursues to express passion in his works. His prize-winning painting is regarded by many as a landmark in the evolution of Chinese figure painting. He resorts to traditional painting skills in creating the images of the seven historical figures in a creative way that the result looks both traditional and new at the same time.

(Translated by David)