韓天衡：尋覓藝術(shù)高峰的新突破

黃港洲

近日老友韓天衡在寧波舉辦了《海上風(fēng)·甬江濤——“不逾矩不”韓天衡學(xué)藝七十周年書畫印展》，展出作品300多件、出版物一百多種，同時(shí)還進(jìn)行一周的學(xué)術(shù)研討，好不熱鬧，贏得了許多觀者和本地媒體的點(diǎn)贊！韓天衡這70年來的藝術(shù)追求，盡在尋覓攀援藝術(shù)高峰的新突破。

我與韓天衡相識(shí)于上世紀(jì)80年代，那時(shí)我作為一名新聞?dòng)浾咴稍L過他，得知他從四歲就開始學(xué)習(xí)篆刻，高中畢業(yè)后，19歲的他成了海軍東海艦隊(duì)一名水兵。韓天衡擅長寫字、畫畫、寫文章，很快在部隊(duì)脫穎而出，并從此走上藝術(shù)之路。當(dāng)時(shí)部隊(duì)駐扎在溫州，他得知篆刻大師方介堪先生曾為國畫大師張大千刻過許多圖章，于是一有空就去方先生那兒討教。那段時(shí)間，他眼錄手摸的印譜達(dá)1700多部，摹寫臨刻的古印有3000多枚。買到好印譜，他就挑燈夜讀，看累了就放在枕邊，枕著書香入眠，夢里時(shí)常拿著刻刀雕刻圖章。

韓天衡20歲前主攻篆刻，從方介堪、方去疾先生那里學(xué)習(xí)治金石及印章;以后從馬公愚、陸維釗處學(xué)習(xí)書法。35歲以后學(xué)習(xí)繪畫，師從謝稚柳先生學(xué)習(xí)國畫及美術(shù)理論。他從上海畫院領(lǐng)導(dǎo)崗位退下后，對(duì)傳統(tǒng)藝術(shù)已爛熟于心，聲望早已飲譽(yù)海內(nèi)外。然而他認(rèn)為，任何藝術(shù)都要有獨(dú)特性，要不斷追新求變，突破創(chuàng)新。韓天衡說：“作品首先要有別于老師，其次要有別于古人，最后要有別于時(shí)人?！弊躺纤幸u了鄧石如“書從印出，印從書出”的理論，但又從師輩的鳥蟲篆中跳脫出來，形成了靈動(dòng)、大膽的多變風(fēng)格。韓天衡有了自己的篆刻流派，人稱“韓派”，這次他展出的篆刻，拙中藏巧，平中見奇，動(dòng)中寓靜，含蓄自然，充分體現(xiàn)了雄、變、韻的情致。

這次展出的書法部分，比起以往，更為剛健雄渾，有了兵戈之氣，如一進(jìn)門的“濤聲”，字體碩大，氣勢磅礴，如海浪咆哮，濤聲如雷。當(dāng)然也有逸秀之姿。他對(duì)書法有八字真言：圓、健;平、奇;虛、實(shí);風(fēng)、神。就是說，線條要有質(zhì)感、厚度，給人以浮雕般的視覺效果;要有張力，展現(xiàn)出力度，而不是纖弱萎靡，藤蔓般無章蜿蜒。他說，藝術(shù)既要平穩(wěn)端莊，又不流于平淡，索然無味，要平中見奇，給人出其不意的驚喜，不呆板，亦不怪誕。我想也許這是韓天衡這么多年來追求藝術(shù)峰巒的真諦。

人要有精氣神，藝術(shù)作品亦如此。好的作品，自有它的風(fēng)采和神氣，給人以力和美的愉悅。在這次展覽中，韓天衡獨(dú)創(chuàng)的那只縱橫天地間的三角形的鳥，早就被大家所認(rèn)可！是白鶴？是鸛？是白鷺？是白天鵝？好像是，但又好像都不是。它就是一只特立獨(dú)行的“韓鳥”。但在我看來，這次畫展中韓天衡虛構(gòu)的鳥，更具靈性，仿佛有蕓蕓眾生之態(tài)，三角形的眼和腦袋，倒三角形的鳥背，橢圓形的鳥尾，但細(xì)節(jié)處又無限逼真，賦予它鳥的靈魂和生命，無羈無絆，翱翔天地間。

韓天衡70年來好學(xué)求變，與學(xué)為伴，不斷吸收，日日尋覓，用了多年耳濡目染前輩的墨韻和實(shí)踐，悟出了“詩心文膽”四字，使得這次展出更有新的境界，人們從中可領(lǐng)悟到韓天衡在尋覓藝術(shù)高峰中的新突破。

（本文圖片除署名外由作者提供）

Han Tianheng， a calligrapher， painter and seal engraver， held a solo exhibition in Ningbo in December 2017. The exhibition celebrated the artists 70-year art career. On display were over 300 artworks and 100 publications. A one-week-long seminar explored the artists achievement and career and artistic characteristics.

Han Tianheng began carving seals at the age of four. Upon graduation from senior high school at the age of 19， he joined the navy and served at East Sea Fleet. He was stationed in Wenzhou， home to Fang Jiekan， a master of seal art. While studying under the tutelage of the master， the young artist studied over 1，700 books of seal prints in collections of private collectors and seal artists and libraries. And he examined over 3，000 ancient seals and copied and carved seals in imitation.

In 1964， General Tao Yong， commander of the East Sea Fleet， came to inspect the navy units in Wenzhou and learned about the young soldier who was eager to study and practice the seal art. The 24-year-old Han was transferred to the headquarters in Zhoushan. While checking in the luggage of the young navy soldier， the luggage employees became suspicious and wondered how come a young soldier had two large cartons that weighed about 85 kilograms altogether. It turned out that the two cases had nothing inside but seal stones， books and seal prints.

In his younger years， Han Tianheng studied a wide range of arts and was lucky to have masters to teach him. Before 20， he dedicated himself to seal carving under the tutelage of Fang Jiekan and Fang Quji. After twenty， he began to study and practice calligraphy from Ma Gongyu and Lu Weizhao. After 35， he turned to painting and studied under the tutelage of Xie Zhiliu. By the time he retired from an administrative position of Shanghai Academy of Traditional Painting， he had firmly established his reputation at home and abroad as a master of traditional arts. Thanks to all these special teachings from the masters， Han has been seeking changes， innovation and breakthroughs in his artwork. His theory sounds simple enough： “Your artworks must be different from those of your own masters， then different from those of ancient masters， and then different from those of your contemporaries.”

Those who know him and his theory see how the artist has brought something unique into his artistic creations， as testified by the exhibits at the exhibition held in Ningbo. In a career of 70 years， Han Tianheng has focused upon learning from the masters and creating something unique and new. Boldly， he has introduced elements of poetry and prose into his artworks. The exhibition well presented the new realms Han has been exploring.