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风格独特的子恺漫画，自上世纪20年代问世至今已80多年，但始终深受读者喜爱。很多作品第一眼即能引起读者共鸣，从此留下深长的记忆。子恺漫画因其大众化和通俗性，赢得了民众最普遍的喜爱和赞赏，也引来了不少学习、摹仿和继承者。其中成就出众者前有次恺（本名李毓镛）、鲍慧和，后有毕克官、胡治均等。丰子恺的家乡——浙江桐乡，则成立了“丰子恺研究会”、“桐乡市漫画家协会”和浙江省科普漫画创作基地，有一大批学习和研究子恺漫画的后辈，故被国家文化部命名为“漫画之乡”。令人欣喜的是在丰子恺先生的后裔中也出现了两位“丰画”传人，这就是丰一吟和宋菲君。
丰一吟得乃父神韵，所摹漫画广为传播，深受欢迎
丰一吟是丰子恺先生的幼女，也是丰先生子女中唯一一个传承父亲画风的人。
丰先生是一位非凡的艺术大师，涉猎各门艺术，且都达到了顶级水平。但这却难倒了他的子女，7个子女不可能像他一样都培养成艺术通才。为前途、生计考虑，子女们只能根据各人喜好，选择一门进行学习和深造，以便长大了既易就业，又能服务社会。于是大多数选择的方向是外语和教师。
丰先生原本也希望有个子女继承他的美术事业，所以让一吟进了国立西湖艺专（中国美术学院前身）学应用美术。但一吟于1948年毕业后没有走美术之路，而是转学俄语，从事了30年的翻译工作。
丰先生去世和“文革”结束以后，国内外很多醉迷“子恺漫画”者，以未能收藏丰画为憾。当时丰子恺的挚友、新加坡广洽法师知道一吟学过美术，就叫她临摹父画，以弥补渴求者愿望。遵洽师之命，一吟只得拿起画笔，试着学临漫画。不想这“画戒”一开，便一发而不可收。凭着她早年学过的美术基础，和对父亲画风的熟谙，不用多时，画笔便由生转熟，所摹漫画，能得乃父神韵。大家观她的画，如见久违的老朋友，辗转馈赠，迅速传播，广受欢迎。
一吟女士虽然临摹父画已达神形毕肖程度，但从不惑于某些鉴赏家的过誉。而且，为了不使后人对自己的摹品与父画难以分辨，防攫利者割去下款伪充父画真迹，她除了题明“丰一吟画”外，还盖上“仿先父遗墨”一印，并常与亲友、后辈谈论识别摹作与丰画的方法。
如今，一吟女士以丰派画风名满画坛。画展开到东南亚各国，作品广受欢迎，供不应求。除摹父亲画稿外，她也有自己的创意画作。但她深知人生苦短，精力有限，自己还有比画画更重要的事要做。她常常压缩绘画的时间，力求在有生之年做好整理父亲史料，编辑父亲全集，培养“丰研”人才，为海内外“丰研”者提供资料等工作。她信奉佛教，心怀慈悲，还常常用自己画作义卖所得去助学及捐助研究经费。因此，凡与她接触过的人，还能从她身上感受到丰子恺先生那种可敬可亲的仁慈遗风。
光学专家宋菲君尽承外祖父遗风，成为丰子恺第三代传人
宋菲君是丰先生外孙，即丰先生二女儿丰林先（亦名宛音）的长子。
在丰先生的7个子女中，林先是第一个结婚成家的，时在艰难的1941年抗战期间。林先与浙江大学生物系毕业的宋慕法在遵义结婚，这给自逃难以来一直过着离乱生活的丰家带来一阵喜气。次年的芳菲时节——清明，林先生下一个男婴，丰先生给他取名“菲君”，意为“芳菲之君。”菲君是丰先生第三代中来到人间的第一人。
丰先生是个童心不泯、喜爱孩子的艺术家，曾创作过大批赞美童性、童趣的儿童漫画。菲君的出生，自然成了丰先生的新宠，成为这一时期丰先生儿童漫画创作新的对象。抗战后期，丰先生辞去教职，靠在四川各地开画展卖画维持一家生计。1945年7月在成都时，他给林先写信寄诗都没有忘记这个可爱的小外孙。其中《寄阿先并示慕法、菲君》一诗写道：
梦里犹闻祖母香，儿时欢笑忆钱塘。
幸逃虎口离乡国，淡扫蛾眉嫁宋郎。
却忆弄璋逢战乱，欣看画荻效贤良。
玉儿才貌真如玉，儒雅风流世有双。
其实，当时的菲君只是一个虚龄才4岁的儿童，未必懂得外公在诗中对他的赞赏。
菲君自幼与外公在一起，直到18岁时离开外公去北京上大学，所以受外公熏陶很多。他从小聪颖灵慧，兴趣广泛，悟性特强。外公作画，他帮着铺纸研墨，耳濡目染，自然对绘画产生浓厚兴趣。外公还教他素描、古诗词。他同时受父亲和小姨影响，还是个京剧迷。读中学时，不仅文科名列前茅，理科也非常突出。宋菲君还是一名天文爱好者，曾自己动手制作出一架天文望远镜，居然能看到木星、土星和月球表面的环形山。外公喜而挥毫作成一幅儿童漫画，并题诗一首：
自制望远镜，天空望火星。
仔细看清楚，他年去旅行。
到文理科分班时，菲君十分踌躇，他既喜欢文科，又热爱数理，究竟该上什么班呢？外公对他说：“我们家学艺术、学外语的多，你的数理成绩这样好，又喜欢天文，还是选理科班吧，将来可以报考北大物理系。”
在外公的鼓励下，菲君选择了理科，并如愿考上了北京大学，读的是六年制物理系光学专业。虽然毕业时赶上了“文革”，未能从事物理学研究，但凭着在大学学习期间打下的扎实基础，却能一直在所从事的光学工程和光学仪器研制开发中，发挥着极其重要的作用。
改革开放后，宋菲君就任中科院属下大恒科技公司副总裁兼总工程师，中国物理学会理事，美国国际光学工程学会院士。著有《近代光学信息处理》《信息光学物理》等学术专著，是一位著名光学专家。
菲君学画，始于上世纪90年代初，他因整天忙于讲学和光学研究，渐感身心疲累，很想有一点文艺生活来调节自己的工作和生活。于是想到了外公对他习字、绘画的培养，开始临摹外公的字画以自娱。1993年，菲君趁到上海出差之际，专门向小姨一吟请教学画之道。一吟深喜丰氏后人中又增加了一个继承父亲画风的生力军，当然尽力指教。从父亲作画的特点，到颜色调制的秘法，无不一一认真指授。菲君在学画过程中碰到的不少具体问题，常常是小姨通过电话指教而得到解决。小姨并专门叮嘱：画作若送人，一定署上“菲君”和钤上“仿外祖遗墨”印章。
菲君凭着自己的艺术天赋，和自幼在外公身边所受熏陶，加上小姨的悉心指导，画艺进步神速。不多几时，菲君的字画尽得外祖遗韵。1996年3月，新加坡佛教居士林举办“弘丰传人书画展”，菲君送展的10件作品深受好评，很快就被参观者预订一空。
作为光学专家的菲君，因又能继承外祖“子恺漫画”的画风，令海内外的很多同行及欧美的一些大学校长、学者专家对他更加刮目相看。菲君也以绘画来调节身心，使生活更加多彩，富有趣味。
（作者附言：本文写作中曾参考曹彭龄《“子恺漫画”代有传人》和宋菲君在浙江大学所作报告，特此致谢。）□
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.□
丰一吟得乃父神韵，所摹漫画广为传播，深受欢迎
丰一吟是丰子恺先生的幼女，也是丰先生子女中唯一一个传承父亲画风的人。
丰先生是一位非凡的艺术大师，涉猎各门艺术，且都达到了顶级水平。但这却难倒了他的子女，7个子女不可能像他一样都培养成艺术通才。为前途、生计考虑，子女们只能根据各人喜好，选择一门进行学习和深造，以便长大了既易就业，又能服务社会。于是大多数选择的方向是外语和教师。
丰先生原本也希望有个子女继承他的美术事业，所以让一吟进了国立西湖艺专（中国美术学院前身）学应用美术。但一吟于1948年毕业后没有走美术之路，而是转学俄语，从事了30年的翻译工作。
丰先生去世和“文革”结束以后，国内外很多醉迷“子恺漫画”者，以未能收藏丰画为憾。当时丰子恺的挚友、新加坡广洽法师知道一吟学过美术，就叫她临摹父画，以弥补渴求者愿望。遵洽师之命，一吟只得拿起画笔，试着学临漫画。不想这“画戒”一开，便一发而不可收。凭着她早年学过的美术基础，和对父亲画风的熟谙，不用多时，画笔便由生转熟，所摹漫画，能得乃父神韵。大家观她的画，如见久违的老朋友，辗转馈赠，迅速传播，广受欢迎。
一吟女士虽然临摹父画已达神形毕肖程度，但从不惑于某些鉴赏家的过誉。而且，为了不使后人对自己的摹品与父画难以分辨，防攫利者割去下款伪充父画真迹，她除了题明“丰一吟画”外，还盖上“仿先父遗墨”一印，并常与亲友、后辈谈论识别摹作与丰画的方法。
如今，一吟女士以丰派画风名满画坛。画展开到东南亚各国，作品广受欢迎，供不应求。除摹父亲画稿外，她也有自己的创意画作。但她深知人生苦短，精力有限，自己还有比画画更重要的事要做。她常常压缩绘画的时间，力求在有生之年做好整理父亲史料，编辑父亲全集，培养“丰研”人才，为海内外“丰研”者提供资料等工作。她信奉佛教，心怀慈悲，还常常用自己画作义卖所得去助学及捐助研究经费。因此，凡与她接触过的人，还能从她身上感受到丰子恺先生那种可敬可亲的仁慈遗风。
光学专家宋菲君尽承外祖父遗风，成为丰子恺第三代传人
宋菲君是丰先生外孙，即丰先生二女儿丰林先（亦名宛音）的长子。
在丰先生的7个子女中，林先是第一个结婚成家的，时在艰难的1941年抗战期间。林先与浙江大学生物系毕业的宋慕法在遵义结婚，这给自逃难以来一直过着离乱生活的丰家带来一阵喜气。次年的芳菲时节——清明，林先生下一个男婴，丰先生给他取名“菲君”，意为“芳菲之君。”菲君是丰先生第三代中来到人间的第一人。
丰先生是个童心不泯、喜爱孩子的艺术家，曾创作过大批赞美童性、童趣的儿童漫画。菲君的出生，自然成了丰先生的新宠，成为这一时期丰先生儿童漫画创作新的对象。抗战后期，丰先生辞去教职，靠在四川各地开画展卖画维持一家生计。1945年7月在成都时，他给林先写信寄诗都没有忘记这个可爱的小外孙。其中《寄阿先并示慕法、菲君》一诗写道：
梦里犹闻祖母香，儿时欢笑忆钱塘。
幸逃虎口离乡国，淡扫蛾眉嫁宋郎。
却忆弄璋逢战乱，欣看画荻效贤良。
玉儿才貌真如玉，儒雅风流世有双。
其实，当时的菲君只是一个虚龄才4岁的儿童，未必懂得外公在诗中对他的赞赏。
菲君自幼与外公在一起，直到18岁时离开外公去北京上大学，所以受外公熏陶很多。他从小聪颖灵慧，兴趣广泛，悟性特强。外公作画，他帮着铺纸研墨，耳濡目染，自然对绘画产生浓厚兴趣。外公还教他素描、古诗词。他同时受父亲和小姨影响，还是个京剧迷。读中学时，不仅文科名列前茅，理科也非常突出。宋菲君还是一名天文爱好者，曾自己动手制作出一架天文望远镜，居然能看到木星、土星和月球表面的环形山。外公喜而挥毫作成一幅儿童漫画，并题诗一首：
自制望远镜，天空望火星。
仔细看清楚，他年去旅行。
到文理科分班时，菲君十分踌躇，他既喜欢文科，又热爱数理，究竟该上什么班呢？外公对他说：“我们家学艺术、学外语的多，你的数理成绩这样好，又喜欢天文，还是选理科班吧，将来可以报考北大物理系。”
在外公的鼓励下，菲君选择了理科，并如愿考上了北京大学，读的是六年制物理系光学专业。虽然毕业时赶上了“文革”，未能从事物理学研究，但凭着在大学学习期间打下的扎实基础，却能一直在所从事的光学工程和光学仪器研制开发中，发挥着极其重要的作用。
改革开放后，宋菲君就任中科院属下大恒科技公司副总裁兼总工程师，中国物理学会理事，美国国际光学工程学会院士。著有《近代光学信息处理》《信息光学物理》等学术专著，是一位著名光学专家。
菲君学画，始于上世纪90年代初，他因整天忙于讲学和光学研究，渐感身心疲累，很想有一点文艺生活来调节自己的工作和生活。于是想到了外公对他习字、绘画的培养，开始临摹外公的字画以自娱。1993年，菲君趁到上海出差之际，专门向小姨一吟请教学画之道。一吟深喜丰氏后人中又增加了一个继承父亲画风的生力军，当然尽力指教。从父亲作画的特点，到颜色调制的秘法，无不一一认真指授。菲君在学画过程中碰到的不少具体问题，常常是小姨通过电话指教而得到解决。小姨并专门叮嘱：画作若送人，一定署上“菲君”和钤上“仿外祖遗墨”印章。
菲君凭着自己的艺术天赋，和自幼在外公身边所受熏陶，加上小姨的悉心指导，画艺进步神速。不多几时，菲君的字画尽得外祖遗韵。1996年3月，新加坡佛教居士林举办“弘丰传人书画展”，菲君送展的10件作品深受好评，很快就被参观者预订一空。
作为光学专家的菲君，因又能继承外祖“子恺漫画”的画风，令海内外的很多同行及欧美的一些大学校长、学者专家对他更加刮目相看。菲君也以绘画来调节身心，使生活更加多彩，富有趣味。
（作者附言：本文写作中曾参考曹彭龄《“子恺漫画”代有传人》和宋菲君在浙江大学所作报告，特此致谢。）□
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.□