韩天衡，1940年生于上海，祖籍江苏苏州。号豆庐、近墨者、味闲，堂号百乐斋。自幼好金石书画。师从方介堪、方去疾、马公愚、陆维钊、谢稚柳、陆俨少诸家。擅行草、篆书及篆刻，国画以花鸟为主。曾为上海中国画院副院长、中国书法家协会理事。现为中国艺术研究院篆刻创作院院长、中国书协篆刻艺术委员会副主任、中国美术家协会会员、上海市文联委员、上海美术家协会理事、上海市书法家协会副主席、西泠印社副社长、上海吴仓硕研究会会长、上海中国画院顾问、国家一级美术师。为国务院颁发"有突出贡献专家"。

 水墨画《静月竹鸟》获日本第十八届全国精选现代水墨画美术展优秀奖。出版有《中国篆刻艺术》（有日译本）、《中国印学年表》、《历代印学论文选》、《印学三题》、《篆法辨诀》、《朝天衡印选》、《韩天衡书画篆刻》、《秦汉鸟虫篆印选》、《天衡印谭》、《天衡艺谭》等，着有《书法艺术》、《篆刻艺术》、《画苑掇英》（合作）电影剧本三部。

工书法

他首创的“草篆”在典式篆书中大量使用了草书的表现手法，从而赋予篆书以崭新的生命力，使篆书更富于运动感和节律美。

工国画

所作国画讲究笔墨意趣，由明清上溯宋，元，复又渗入当今特有的时代精神，表现出新古典主义风格。国画以花鸟见长。

工篆刻

金石篆刻拙中藏巧，动中寓静，自然含蓄，充分题现了雄，变，韵的情致，风格自成一家，被称作“韩派”，在当代印坛占有重要地位。

国画大师刘海粟，李可染，谢稚柳，程十发，黄胄，陆严少，等用印多出自韩天衡手笔。曾受中国政府的委托，为上海APEC会议的各21国首脑刻印名章。作品曾获日本国文部大臣奖、上海文学艺术奖等；所着《中国印学印表》一书获中华人民共和国首届辞书评比奖。现为上海中国画院副院长、一级美术师、中国书法家协会理事、篆刻艺术委员会副主任、中国美术家协会会员、上海市文联委员、上海美术家协会理事。上海市书法家协会副主席、西泠印社副社长.自幼酷爱金石书画，从方介堪、方去疾先生治金石及印学；从马公愚、陆维钊先生习书法；从谢稚柳先生攻国画及美术理论。文轩画廊。

 书法

一位书学教育家，曾牵动千万只习字之手，升华千万人的书法审美情趣，千万只习字之手和千万人的审美情趣依然不离笔墨纸砚，并和韩天衡的书道墨论汇聚成壮丽的水墨轨迹、文化风景，这并不容易，可是韩天衡做到了。每次目睹书艺大展和上百学子舒心挥毫的书坛盛事，都有这样的感悟。一位文化人，以饱满的文化热情打动了一座城市、一个书坛、寻常百姓、千家万户，寻常百姓家以各种文化方式把这种文化行为化为城市的文化记忆、生活的文化积淀和书坛的延续历史，这并不容易，然而韩天衡做到了。每次在城市的文化律动、生活的文化风采和百姓的文化追求中发现了韩天衡的书论墨香及其文化滋润，都有这样的领悟。

韩天衡先生生于1940年，出生于文人辈出的江苏苏州，耳濡目染于大家墨韵，潜移默化于书道帖学。韩天衡作为书法主体，他的书艺实践及其书道探索，已进行了成功的文化积累，给我们一系列深沉跌宕的文化启迪。

书品与人品并重，为其一。胡问遂重书品，更重人品。他一生勤勉，从小在方砖上挥毫练字，把颜真卿的《麻姑仙坛记》放成径尺大字而日临百字；以“书不惊人死不休”而暗中自励；用四年时间临了颜真卿<自书告身>一千余遍；“为了谙熟技法，天天挥毫达十个小时，一天需用毛边纸一刀”。

他真诚相待，在书房中常年挂上“严以律己，诚以待人”的自勉联；学生有求必有助，辅导之中见真诚；他把“率真”两字印上了《胡问遂书法集》的封面，以示书艺以“率真”为文化定向，他引领了“率真入书化质实”的艺术实践；当申城大型文化设施落成，他总是奉献墨宝以示祝贺。他以情动人，说得十分精辟：“书法艺术的高尚之处，正是在于一个‘情’字。这才是法外之大法，乃是艺术的真谛所在。这里寄语后学，切切不能忘记这一点。”他以情入书，虽厚凝雄浑却情真意切。他平和简静，孜孜以求而从容不迫，开拓“自家风貌”而水到渠成，险而不怪，平而不颇，聚墨不狂，结体不野。

篆刻

韩天衡的篆刻是一种强烈装饰的美。他自认为在秦汉工匠之后，从最自然处下功夫是很难奏效的，人工的气息未必一定与艺术相悖，倒是一定的刻意中包孕的自然之趣，使美显得更醇，更耐人寻味，而且更凝练。如果说丁敬身们与邓石如们的装饰是一种技法的装饰；而吴昌硕、齐白石则是从不经意处着眼，因而在某一意义上是有意无意地抛弃了形式美的表面效果的话，那么韩天衡则是想努力回归，再回到装饰中去。

但这已经非复清人的装饰涵义了。兼通书画的条件，使他的装饰更倾向于形式——空间切割的精密与计白当黑的严谨；当然还包括出红流白的精心推度、一丝不苟。韩天衡的印章具有一种平面构成的意蕴，他的眼光不是古典的书法形式的，他好像在用一种西方式的形式观审着这小小的印面，但所采取的表现方法又是地道的中国味：线条圆润厚实；强调重心稳定；还有，则是一种信手的趣味。

Han Tianheng, born in 1940 in Shanghai, Jiangsu province Suzhou. No. Lujiang, ink, beans taste free, vegetarian potluck hall. At an early age of painting and calligraphy. Under the tutelage of Fang Jiekan, Ma Gongyu, Lu Weizhao, to the disease, Xie Zhiliu, Lu home. Good at cursive, seal carving and painting, mainly to birds. Shanghai has Chinese academy, Chinese Calligraphers Association vice president. Now China Academy of art carving creation Dean, deputy director of the Committee of China Shuxie carving art, China Artists Association, Shanghai Federation members, Shanghai Artists Association, Shanghai Calligraphers Association vice president, vice president, Shanghai Xiling Seal-Engravers'Society Wu Cangshuo Research Association, Shanghai China art consultant, national artist. For the State Council issued a prominent contribution to the experts".

Ink and wash painting "quiet month bamboo bird" won the eighteenth National Fine Arts Exhibition of modern Chinese ink painting. The publication of "art carving" (the Japanese version of China), "Chinese India", "the timeline of the election", "India India to study three questions", "Jue", "Bian Zhuan law", "air balance seals", "Qin Han Tianheng calligraphy and seal selection", birds and insects "the day", "India Tan Tan" timeking art, a "calligraphy art", "art of carving", "Huayuan" (cooperation) drop English movie three.

Work calligraphy

He pioneered the "grass seal" in the code type seal uses a lot of cursive expression, thus giving the seal to new life, make more sense of movement and rhythm of Zhuanshu beauty.

Traditional Chinese painting

The traditional Chinese painting charm about ink, dating from the Ming and Qing Dynasties of song, yuan, and into today's unique spirit of the times, the performance of a new classical style. The flower and bird painting with good.

Hydraulic seal

Stone carving hides chocolate, static, dynamic in nature which is implicit, full title, male, rhyme beauty, style style, known as "Han Pai", plays an important role in contemporary Indian altar.

Chinese painting master Liu Haisu, Li Keran, Xie Zhiliu, Cheng Shifa, Huang Zhou, Lu Yan, such as using more from Han Tianheng wrote. The government has entrusted China, for each of the 21 summit meeting of the Shanghai Chapter engraved APEC. Chinese Minister of works won the Japan Prize, Shanghai literature and Art Award; the "China sphragistics printer" a book in the first People's Republic of China dictionary appraisal award. Now the Shanghai China academy vice president and first class artist, Chinese Calligraphers Association, deputy director of the committee, China carving art artists association, Shanghai Artists Association, Shanghai Federation of literary and art circles. Vice president, vice chairman of Shanghai Calligraphers Association Xiling Seal-Engravers'Society. His childhood love of painting and calligraphy, to treat disease and learn from Mr. stone India Fang Jiekan, from Malaysia, Gongyu; Mr. Lu Weizhao learning calligraphy; from Mr. Xie Zhiliu of Chinese painting and art theory. Wen Xuan gallery.

Calligraphy

A Book of science educators, has affected thousands of hand writing, calligraphy aesthetic sublimation of millions of people, thousands of copies of the hands and millions of people's aesthetic taste is still not out of ink, ink and calligraphy and Han Tianheng's theory of converging ink trajectory, magnificent cultural scenery, this is not easy, but Han Tianheng do. Every time see hundreds of students and calligraphy exhibition of calligraphy brush and enjoyable event, have this feeling. A culture, with full enthusiasm touched the culture of a city, an altar, ordinary people, thousands of households, the homes of ordinary people in various ways to culture this cultural behavior is the continuation of the historical city cultural memory, life culture and calligraphy, it is not easy, but Han Tianheng did. Every time in the city's cultural life rhythm, cultural style and cultural pursuit of people found in the book of Han Tianheng's cultural and physical nourishment, have such understanding.

Mr Han Tianheng was born in 1940, was born in the Jiangsu Suzhou scholars, influenced by the US ink rhyme, subtle in calligraphy calligraphy. Han Tianheng as the subject of calligraphy, calligraphy and his calligraphy practice exploration, has made a successful cultural accumulation, we give a series of ups and downs of the deep cultural enlightenment.

And shuppim and character, as one. Hu asked then heavy shuppim, heavier character. His diligence, grew up in the brick brush calligraphy, Yan Zhenqing's "energy-saving" put into the characters and the diameter feet 100 words; the book does not startle and secretly self; in four years on Yan Zhenqing from the book < > Gaoshen more than one thousand times; in order to be familiar with techniques every day, brush up to ten hours a day with a paper knife".

He is sincere, perennial hung in the study Yanyilvji, sincere to others "of the battle; students needed help and guidance to see sincere; he put the" Frank "word printed on the" ask "the Hu Sui calligraphy calligraphy to cover as" outspoken "of the cultural orientation, he led the practice of art into the book of Frank substance"; when the Shanghai large cultural facilities, he always give calligraphy to show congratulations. He said with emotion, very penetrating: "the noble character of the art of calligraphy, it is the word" love ". This is the law of law, is the essence of art. I can't forget the message here, as this point." He entered the book with affection, although powerful but genuine and sincere thick gel. He and Jane Jing, and open up the "take it leisurely and unoppressively diligently strive after, their own style and natural, insurance and not blame, but not quite flat, poly ink is not mad, not wild.

Seal cutting

Han Tianheng's seal is a strong decorative beauty. He believed in the Qin and Han Dynasties from the craftsmen, the natural work is difficult to work, artificial atmosphere and art are not necessarily inconsistent, it is included in a deliberately natural beauty, the beauty is more mellow, more interesting, and more concise. If Ding Jingshen and Deng Shiru are the decoration is a decoration technique; and Wu Changshuo, Qi Baishi is the focus from inadvertently, so in a sense is to abandon the surface effect naturally or half unconsciously form beauty of words, so the day is trying to return to Korea, and then back to the decoration to.

But this is not decoration meaning of the complex in the Qing Dynasty. And the conditions of his painting, decorative tend to form space cutting precision and black white when rigorous; of course also includes a stream of white, careful reasoning strict in demands. The seal of Han Tianheng has a planar implication, his vision is not the classical form of calligraphy, he seemed to be in a trial with this little seal surface with a western style form view, but the performance of the method is China taste authentic: thick rounded lines; emphasizing the center and is stable; a random interest