漢隸為本、碑帖兼融 — 韓雲山的書法藝術

書法藝術是我國文化的瑰寶，尤其在傳統社會中的文人階層和精英文化中廣受推崇。藉着筆墨中獨特的視覺語言和中國文字內容的融合，創作者可抒發個人情感，表達意念。近百年來，香港儘管不斷受到一浪接一浪的西方文化衝擊，但不少書法家仍堅持承傳這項國粹。

自從二十世紀初，因中國大陸政局的幾番變動，不少文人和書畫家移居香港，為日後香港書法的發展奠定了植根於傳統的深厚基礎。 曾有論者强調二十世紀初香港書壇於「承繼和維護傳統」這方面作出的貢獻，以及在中國書法史中的深遠意義。 本文的研究對象韓雲山（1923-2010），是一位不折不扣强調傳統和學養的文人書法家，1950年代初從中國大陸遷港，延續了二十世紀初香港書法維護傳統的發展脈絡。

一直以來，有關活躍於香港文化圈和書畫社羣的主要書法家及其作品和相關活動的研究，都受到一定的重視，而且漸漸累積了一定的研究成果。3 然而，對於一些默默耕耘而不求聞達於書壇的優秀書法家如韓雲山，並未有作出深入的研究。本文擬探討韓雲山的書法藝術歷程，就他以漢隸為本，會通碑學和帖學的藝術途徑作重點論述。

As one of the cultural treasures in China, calligraphy has been held in high esteem, particularly by the intelligentsia and elite culture in traditional society. Calligraphers express their emotions and convey their ideas through the combination of the visual language from under the brush and the meaning of the characters. For nearly a hundred years, despite the impact of western culture on Hong Kong, a number of calligraphers have insisted on embodying the national essence of calligraphy in the city.

At the beginning of the 20th century, a series of political changes in China drew the intelligentsia, calligraphers and painters to Hong Kong, laying a sound and traditionally-rooted foundation for the development of calligraphy in Hong Kong. A few authors have highlighted the Hong Kong calligraphy community’s “contribution to the perpetuation and preservation of the tradition” and their significance in the Chinese calligraphy history at the turn of the century. Migrated from China to Hong Kong in the early 1950s, Han Yunshan (1923-2010) was a typical scholar-calligrapher who stressed the importance of traditions and cultivation, keeping alive the development of the traditional art form in Hong Kong in the early 20th century.

Research on major calligraphers from the cultural circles and art communities in Hong Kong, their calligraphic works and activities has always been valued, and there have been a decent amount of research done on the topics. However, for fine calligraphers like Han Yunshan, who worked quietly and had no desire to be famous, the extent of study is minimal. This essay will look into Han Yunshan’s artistic journey of calligraphy with the focus on his unique approach to clerical script of the Han Dynasty (206BC - AD220) as the foundation of a convergence of the stele and model-book studies.