很多年前，一位叫韩小梅的杭州画家为避战乱，领着他的家小去上海滩定居。韩小梅有10个孩子，其中5个是儿子，分别叫韩澄、韩敏、韩山、韩伍、韩硕。因为家境不宽裕，韩小梅亲自执教，在自家的几间屋里择出一房间作为“学馆”，让兄弟姐妹们在“学馆”里写诗、作画、赋文，间或飞扬起皮黄丝竹的旋律。
　　数年之后，他们的父亲离世，而韩氏五兄弟竟个个脱颖而出，成为中国画坛各有千秋的人物。
　　去年冬，他们的大哥韩澄在杭州展出了他的75幅人物画，因而五兄弟在杭州相聚，齐贺老大举办画展。
　　
　　大哥韩澄钟情人物画
　　韩家是个大家庭，在众多的兄弟姐妹中韩澄排行老大。父亲早逝，长兄为父，兄弟姐妹们对韩澄一直尊敬有加。
　　韩澄的画技全然来自于父亲韩小梅的教导。一个是严厉的老师，一个是好学的门生，寒来暑往，韩澄在父亲的教诲下打下了较好的绘画基础。后来，韩澄参加工作，从事工商美术设计，未间断过绘画创作。
　　退休之后，韩澄有大量时间实现自己的绘画梦。韩澄的人物画注重写实，一笔一画，中规中矩。画如其人，用在韩澄身上也非常贴切，性格耿直的他在画中充分流露出平和朴实、不事浮华、不假巧饰的特点，对于画中人物的眼神、表情、身姿、手势的刻画更是一丝不苟，细心塑造。通过对形象的准确描绘来反映其生动丰富的精神世界，正符合了中国人物画“以形写神”的优秀传统。
　　除了绘画，韩澄还爱戏。他平时话不多，但一旦遇到戏迷知己，则绘声绘色，又唱又白，津津乐道，神采飞扬，好似美食家品尝美食一般。正因为如此，韩澄的人物画中相当一部分是画戏的，在戏剧人物画上取得了相当大的成就。
　　
　　韩敏，花鸟虫鱼现笔端
　　在韩氏五兄弟中，韩敏排行老二。
　　孩提时代的生活环境对韩敏而言是相当重要的。他们的家在上海泰安路上，那时这里还是城乡结合处，周围有青青的田野、潺潺的小河及爬满牵牛花的农家小院。他从父学画之余，这片田园是他童年时的乐园，抓蝈蝈、掏雀窝、捕蟋蟀、粘知了，生活就像梦幻般美丽。而今年过花甲，他朝花夕拾，童心不泯，将儿时记忆中的花鸟草虫再现于腕底笔端，为当代艺苑奉献了一本洋溢着浓郁生活气息和独特生命感悟的《韩敏花鸟草虫集》(上海书画出版社)。
　　韩敏的花鸟草虫画构图饱满和谐而疏密自如，具有一种勃发清新的田园氛围，其红花绿叶或奇木秀石，大都以阔笔挥洒，水墨晕染，重彩敷色，因而显得气势豪放而气韵雄浑，气息畅达而气格爽健，如国色天香的牡丹、娇艳妩媚的芍药、清香飘逸的兰花、绿叶纷披的修篁、格高韵清的荷花、疏影横斜的老梅等，均充分展示了国画大写意的艺术表现力，突出了其笔墨形态意趣和色彩变幻效果，并从中可窥见他对青藤、八大、板桥、苦铁、伯年等人画风的继传与开拓。
　　韩敏所画的鸟虫，大都采用了一丝不苟的工笔勾勒，达到了惟妙惟肖、栩栩如生的境界，深得白石老人神韵。如他画的螳螂、蜻蜓、蟋蟀等纤毫毕现，形态生动逼真，特别是知了羽翼上细细的纹线、头部上的黑色折光等都一一画出，可见功力造诣之深厚。他画的鸟类姿态灵动、形神相畅，注重于头部的精心勾画，因而极富情性。如翠鸟、竹雀、鹌鹑、飞燕、鹦鹉等，造型生动、动感强烈，散发出郁勃的生命气韵。
　　目前，这位画坛宿将虽已在上海人民美术出版社的岗位退休，但他现仍担任上海书画研究院院长并担任上海市政协委员。
　　
　　韩山和韩伍，也非等闲之辈
　　这次韩氏五兄弟在杭州亮相，也将韩山、韩伍两位默默在画坛耕耘多年的画家，重新带到人们的视野之中。
　　韩山，1956年毕业于行知艺术师范学校，现为中国福利会儿童时代社《哈哈画报》编辑室主任，中国美术家协会会员。韩山擅长水墨人物画，作品有《李时珍江南行医图》《清平乐图》等，连环画《灯花》获第二届全国连环画创作评奖绘画二等奖。
　　韩伍则是连环画家，且为画儿童题材、塑造儿童形象的高手。他创作的《小游击队员柳小猛》，精心刻画出柳小猛这个少年英雄的思想性格，既不拔高，又不概念化，是一个成功的范例。
　　韩伍画儿童借鉴、运用漫画的某些手法，略带夸张，使孩子们表情更丰富，动作更活泼，在熟练、简约的笔墨中，勾画出儿童的不同情态，表现出他们的喜怒哀乐，揭示了他们的内心世界，这从《智战猴群》《黑龙湖的秘密》以及《汤尼和他的狗》等作品中可以充分体现。
　　
　　韩硕，颇具大家风范
　　韩硕在韩氏大家族中排名第十，然而这个老幺却颇具大家风范，曾任上海画院副院长。
　　韩硕总给人们以一种不紧不慢、温文尔雅的感觉，这种谦谦君子风度使他平易近人，绝无名家架子，就连他的作品也是那样恬淡清雅，令人赏心悦目。其实，他内心坚韧，在不张扬的表象下，不懈地追求和激荡的热情。他就像一座活火山，虽然看来宁静安谧，然而，沸腾的岩浆一直在努力积聚着力量。
　　《热血》是他获得第九届全国美展金奖的作品。这幅以七君子为描绘对象的主旋律人物画作品，以独特的表现手法成为了韩硕中国画创作的里程碑，它展现了韩硕人物画的主要特征：略带变形的人物形象、疏落有致的构图特点、简约婉转的笔墨处理以及清雅蕴藉的深邃意境。
　　韩硕的人物画得益于他早期的连环画创作，但中国传统绘画的写意性笔墨又决定了人物画不能拘泥于真实的写照，于是，韩硕一开始就十分注重在传统笔墨统率下的人物造型处理，他用自己的实践创造出了既具有传统笔墨韵味，又具有现代绘画图式的新颖语汇。
　　韩硕的人物形象并不刻意摹真。
　　他对笔墨的把握，虽然说不上是古典式的，却也继承了传统笔墨的精髓，应该说是“金蝉脱壳”式的复用，提按腾挪间线条袅袅，绵绵生韵，显示了画家灵活的手法和简约的风格，和线条简练的呼应，便是惜墨如金的处理。韩硕总是能充分地把握毛笔的含水墨和生宣的晕化度，在水与墨之间周旋。他很少用浓墨，尽量把水墨的表现能力发挥到最大限度。
　　
　　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)