喜看“子愷漫畫”傳承人

風格獨特的子愷漫畫，自上世紀20年代問世至今已80多年，但始終深受讀者喜愛。很多作品第一眼即能引起讀者共鳴，從此留下深長的記憶。子愷漫畫因其大眾化和通俗性，贏得了民眾最普遍的喜愛和贊賞，也引來了不少學習、摹仿和繼承者。其中成就出眾者前有次愷（本名李毓鏞）、鮑慧和，后有畢克官、胡治均等。豐子愷的家鄉——浙江桐鄉，則成立了“豐子愷研究會”、“桐鄉市漫畫家協會”和浙江省科普漫畫創作基地，有一大批學習和研究子愷漫畫的后輩，故被國家文化部命名為“漫畫之鄉”。令人欣喜的是在豐子愷先生的后裔中也出現了兩位“豐畫”傳人，這就是豐一吟和宋菲君。

豐一吟得乃父神韻，所摹漫畫廣為傳播，深受歡迎

豐一吟是豐子愷先生的幼女，也是豐先生子女中唯一一個傳承父親畫風的人。

豐先生是一位非凡的藝術大師，涉獵各門藝術，且都達到了頂級水平。但這卻難倒了他的子女，7個子女不可能像他一樣都培養成藝術通才。為前途、生計考慮，子女們只能根據各人喜好，選擇一門進行學習和深造，以便長大了既易就業，又能服務社會。于是大多數選擇的方向是外語和教師。

豐先生原本也希望有個子女繼承他的美術事業，所以讓一吟進了國立西湖藝專（中國美術學院前身）學應用美術。但一吟于1948年畢業后沒有走美術之路，而是轉學俄語，從事了30年的翻譯工作。

豐先生去世和“文革”結束以后，國內外很多醉迷“子愷漫畫”者，以未能收藏豐畫為憾。當時豐子愷的摯友、新加坡廣洽法師知道一吟學過美術，就叫她臨摹父畫，以彌補渴求者愿望。遵洽師之命，一吟只得拿起畫筆，試著學臨漫畫。不想這“畫戒”一開，便一發而不可收。憑著她早年學過的美術基礎，和對父親畫風的熟諳，不用多時，畫筆便由生轉熟，所摹漫畫，能得乃父神韻。大家觀她的畫，如見久違的老朋友，輾轉饋贈，迅速傳播，廣受歡迎。

一吟女士雖然臨摹父畫已達神形畢肖程度，但從不惑于某些鑒賞家的過譽。而且，為了不使后人對自己的摹品與父畫難以分辨，防攫利者割去下款偽充父畫真跡，她除了題明“豐一吟畫”外，還蓋上“仿先父遺墨”一印，并常與親友、后輩談論識別摹作與豐畫的方法。

如今，一吟女士以豐派畫風名滿畫壇。畫展開到東南亞各國，作品廣受歡迎，供不應求。除摹父親畫稿外，她也有自己的創意畫作。但她深知人生苦短，精力有限，自己還有比畫畫更重要的事要做。她常常壓縮繪畫的時間，力求在有生之年做好整理父親史料，編輯父親全集，培養“豐研”人才，為海內外“豐研”者提供資料等工作。她信奉佛教，心懷慈悲，還常常用自己畫作義賣所得去助學及捐助研究經費。因此，凡與她接觸過的人，還能從她身上感受到豐子愷先生那種可敬可親的仁慈遺風。

光學專家宋菲君盡承外祖父遺風，成為豐子愷第三代傳人

宋菲君是豐先生外孫，即豐先生二女兒豐林先（亦名宛音）的長子。

在豐先生的7個子女中，林先是第一個結婚成家的，時在艱難的1941年抗戰期間。林先與浙江大學生物系畢業的宋慕法在遵義結婚，這給自逃難以來一直過著離亂生活的豐家帶來一陣喜氣。次年的芳菲時節——清明，林先生下一個男嬰，豐先生給他取名“菲君”，意為“芳菲之君。”菲君是豐先生第三代中來到人間的第一人。

豐先生是個童心不泯、喜愛孩子的藝術家，曾創作過大批贊美童性、童趣的兒童漫畫。菲君的出生，自然成了豐先生的新寵，成為這一時期豐先生兒童漫畫創作新的對象。抗戰后期，豐先生辭去教職，靠在四川各地開畫展賣畫維持一家生計。1945年7月在成都時，他給林先寫信寄詩都沒有忘記這個可愛的小外孫。其中《寄阿先并示慕法、菲君》一詩寫道：

夢里猶聞祖母香，兒時歡笑憶錢塘。

幸逃虎口離鄉國，淡掃蛾眉嫁宋郎。

卻憶弄璋逢戰亂，欣看畫荻效賢良。

玉兒才貌真如玉，儒雅風流世有雙。

其實，當時的菲君只是一個虛齡才4歲的兒童，未必懂得外公在詩中對他的贊賞。

菲君自幼與外公在一起，直到18歲時離開外公去北京上大學，所以受外公熏陶很多。他從小聰穎靈慧，興趣廣泛，悟性特強。外公作畫，他幫著鋪紙研墨，耳濡目染，自然對繪畫產生濃厚興趣。外公還教他素描、古詩詞。他同時受父親和小姨影響，還是個京劇迷。讀中學時，不僅文科名列前茅，理科也非常突出。宋菲君還是一名天文愛好者，曾自己動手制作出一架天文望遠鏡，居然能看到木星、土星和月球表面的環形山。外公喜而揮毫作成一幅兒童漫畫，并題詩一首：

自制望遠鏡，天空望火星。

仔細看清楚，他年去旅行。

到文理科分班時，菲君十分躊躇，他既喜歡文科，又熱愛數理，究竟該上什么班呢？外公對他說：“我們家學藝術、學外語的多，你的數理成績這樣好，又喜歡天文，還是選理科班吧，將來可以報考北大物理系。”

在外公的鼓勵下，菲君選擇了理科，并如愿考上了北京大學，讀的是六年制物理系光學專業。雖然畢業時趕上了“文革”，未能從事物理學研究，但憑著在大學學習期間打下的扎實基礎，卻能一直在所從事的光學工程和光學儀器研制開發中，發揮著極其重要的作用。

改革開放后，宋菲君就任中科院屬下大恒科技公司副總裁兼總工程師，中國物理學會理事，美國國際光學工程學會院士。著有《近代光學信息處理》《信息光學物理》等學術專著，是一位著名光學專家。

菲君學畫，始于上世紀90年代初，他因整天忙于講學和光學研究，漸感身心疲累，很想有一點文藝生活來調節自己的工作和生活。于是想到了外公對他習字、繪畫的培養，開始臨摹外公的字畫以自娛。1993年，菲君趁到上海出差之際，專門向小姨一吟請教學畫之道。一吟深喜豐氏后人中又增加了一個繼承父親畫風的生力軍，當然盡力指教。從父親作畫的特點，到顏色調制的秘法，無不一一認真指授。菲君在學畫過程中碰到的不少具體問題，常常是小姨通過電話指教而得到解決。小姨并專門叮囑：畫作若送人，一定署上“菲君”和鈐上“仿外祖遺墨”印章。

菲君憑著自己的藝術天賦，和自幼在外公身邊所受熏陶，加上小姨的悉心指導，畫藝進步神速。不多幾時，菲君的字畫盡得外祖遺韻。1996年3月，新加坡佛教居士林舉辦“弘豐傳人書畫展”，菲君送展的10件作品深受好評，很快就被參觀者預訂一空。

作為光學專家的菲君，因又能繼承外祖“子愷漫畫”的畫風，令海內外的很多同行及歐美的一些大學校長、學者專家對他更加刮目相看。菲君也以繪畫來調節身心，使生活更加多彩，富有趣味。

（作者附言：本文寫作中曾參考曹彭齡《“子愷漫畫”代有傳人》和宋菲君在浙江大學所作報告，特此致謝。）□

Cartoon Master’s Descendents Carry the Style Forward

By Ye Yusun

Feng Zikai (1898-1975) is considered the founding father of modern Chinese cartoon art. His unique cartoon-style paintings were most popular in the 1920s and the 1930s. Unlike later cartoons specialized in satire and social criticism， Feng’s best and most famous cartoons vividly portray the pure beauty and joy of everyday life and innocence of children. The artist endows his paintings with a sense of classical poetry. Feng’s paintings hold an everlasting appeal that touches the heart of people. Feng and his paintings are a unique chapter of the modern history of Chinese art.

Over the past long decades， Feng Zikai’s popularity has bred a group of artists that imitate his style and subjects. The best known of the imitators are Li Yuyong， Bao Huihe， Bi Keguan and Hu Junzhi. In his hometown Tongxiang， a rural city in northern Zhejiang， scholars and artists studying Feng Zikai have organized themselves into Feng Zikai Research Institute and Tongxiang Cartoonists Association.

More delightfully， the Feng family now has two artists who are carrying on the famed ancestor’ tradition.

The youngest daughter of Feng Zikai， Feng Yiying is the only one of the master’s seven children who now paints in her father’s style. An all-round artist， essayist and music teacher， Feng Zikai had difficulty giving his children career tips as what to do when they were growing up. The most favorite careers the children chose were foreign language and teaching.

The master hoped Feng Yiying would be an artist. She studied applied arts at the National West Lake Art Academy， the predecessor of present-day China Academy of Art. After her graduation in 1948， however， she did not take art as her career. Instead， she turned to the Russian language studies. She worked as a Russian translator for three decades before she retired.

After Feng Zikai passed away and the Cultural Revolution (1966-1976) had run its course， fans of Feng Zikai at home and abroad became highly active. Feng Zikai became a big academic subject and his paintings became collector’s items. Many regretted having none of Feng’s masterworks in their collections. A high Buddhist monk in Singapore asked tentatively whether Feng Yiying could paint in her father’s style. The daughter tried her hand in imitating her father. With her art training in the 1940s and her intimate knowledge of her father’s artworks， she gradually mastered the art and began to imitate her father seriously. Those who admired the father began to admire the daughter. Her paintings spread and became popular.

Though Feng Yiying is able to imitate her father’s paintings perfectly， she never allows herself to be swayed by praises. Moreover， she does not want her paintings to be sold under her father’s name in the future in the ways beyond her control. So she always inscribes her name on her paintings explicitly and stamps them with a seal that says “This imitates my father’s style.”

Her paintings are now especially popular with fans in Southeast Asia. In addition to the imitations of her father’s original artworks， she also creates her own paintings. But her everyday workload is heavy. She spends a lot of time editing her father’s manuscripts， hoping to publish a complete collection of her father’s works.

Another descendent of the Feng family has taken up the master’s banner now. It is Song Fengjun， a grandson of Feng Zikai. His mother is Feng Linxian， the second daughter of the master. Though she was the second daughter， she was the first of the seven siblings who got married. Her son was therefore the first third-generation baby in the family. Feng Zikai liked the grandson very much. The baby boy became the focus of the master’s new paintings in the 1940s. He spent 18 years with his grandfather before he went to college in Beijing. With the influence of his grandfather， Song was a well-developed youth with a wide range of interests. When it was time to choose a future direction for his college studies， the boy hesitated. As the family had had many artists and foreign language specialists， Feng Zikai suggested the grandson choose science for future. He matriculated as a major of optics at the Physics Department of Beijing University. The 6-year college course did not have a perfect end because the Cultural Revolution broke loose. After graduation， he did not have a research job in physics as he dreamed. Instead， he worked as a scientist in the field of optics. He is now a well known scientist in this field.

Song Feijun began to turn his attention to art in the 1990s when he felt the increasing stress of a heavy workload of lectures and academic studies. He wanted to relax with some art in his spare time. So he began to imitate his maternal grandfather’s calligraphy and painting. In 1993， he made a special visit to his aunt Feng Yiying and asked her about his gradfather’s style. Feng Yiying gave her nephew private lectures on the special features of the master’s painting and color-ways. And he often phoned his aunt for solutions whenever he ran into difficulties. The aunt’s most important instruction was: if he would give away his imitation paintings as gifts to others， he must sign his name and stamp the seal that says “This imitates my maternal grandfather’s original style.”

With his childhood years in close connection with his maternal grandfather and with his aunt’s guidance， Song made his reputation in a few years. In 1996， ten of his paintings appeared at an exhibition in a Buddhist venue in Singapore. The ten paintings were immediately grabbed by collectors.□