韓天雍，1957年生于遼寧沈陽，著名書法家、篆刻家、金石學(xué)家、書法教育家，中國美術(shù)學(xué)院書法藝術(shù)學(xué)院教授、博士生導(dǎo)師。他兼具語言文學(xué)與書法專業(yè)的深厚學(xué)養(yǎng)，1984年畢業(yè)于遼寧大學(xué)外國語言文學(xué)專業(yè)，1992年獲浙江美術(shù)學(xué)院（現(xiàn)中國美術(shù)學(xué)院）國畫系文學(xué)碩士學(xué)位，師從沙孟海、劉江教授；2001年獲首都師范大學(xué)中國書法研究院文學(xué)博士學(xué)位，師從歐陽中石教授。跨學(xué)科的學(xué)術(shù)背景，為其在中日書法比較研究領(lǐng)域的深耕奠定了堅(jiān)實(shí)基礎(chǔ)。

作為中日書法交流的先行者，韓天雍自1998年起應(yīng)日本文部省邀請，赴日本岐阜女子大學(xué)及多所大學(xué)講學(xué)十二年，并在筑波大學(xué)、大東文化大學(xué)、北海道大學(xué)、關(guān)西大學(xué)等高校舉辦學(xué)術(shù)講座，將中國書法、篆刻文化傳播至日本，同時深入研究日本書道史，成為該領(lǐng)域具有影響力的學(xué)者之一。他的學(xué)術(shù)研究貫通中日，以比較學(xué)方法揭示兩國書法藝術(shù)的歷史淵源與相互影響。

韓天雍的書法以大篆聞名。他將甲骨文、金文、石鼓文、小篆等古文字系統(tǒng)熔于一爐，作品“大氣磅礴、拙中見雅”，既有古文字的樸茂雄深，又具時代審美的現(xiàn)代意識。其創(chuàng)作注重以古體發(fā)新聲，以古意抒性靈，探索古文字書法的當(dāng)代轉(zhuǎn)化。

在學(xué)術(shù)研究領(lǐng)域，韓天雍著述豐碩，主要著作有《日本篆刻藝術(shù)》《佛教寫經(jīng)》《三筆三跡》《中日禪宗墨跡研究》《日本書道史》《中國歷代名家篆刻邊款釋文集成》《吳昌碩篆刻》以及《韓天雍大篆》系列法帖十種。此外，他還出版?zhèn)€人作品集十余種，發(fā)表核心期刊論文三十余篇。其中《中日禪宗墨跡研究》獲2008年度國家＂十一五＂課題社科藝術(shù)基金獎；《中國歷代名家篆刻邊款釋文集成》獲2024年＂世紀(jì)好書＂獎。作為策展人，他主持策劃了多項(xiàng)全國性古文字書法大展，為古文字書法的當(dāng)代傳承搭建了學(xué)術(shù)交流平臺。

中國美術(shù)學(xué)院教授劉江曾評價其書法：“骨勢洞達(dá)，氣格雄強(qiáng)，血肉相生，氣骨兼?zhèn)洹袀鹘y(tǒng)又別于傳統(tǒng)，有取他人之長又別于他人，沿著自己的道路前進(jìn)。”韓天雍的作品被中國美術(shù)館、國家釣魚臺國賓館、中國國家畫院等多家藝術(shù)機(jī)構(gòu)收藏。

從師從沙孟海、劉江到問道歐陽中石，從東瀛講學(xué)到著書立說，韓天雍以數(shù)十年學(xué)術(shù)堅(jiān)守與藝術(shù)探索，貫通了古文字書法的傳統(tǒng)精神與當(dāng)代審美，讓古老的甲骨金文在當(dāng)代煥發(fā)新生，以學(xué)術(shù)的高度與藝術(shù)的溫度，書寫著當(dāng)代書法家的文化擔(dān)當(dāng)。

Han Tianyong, born in 1957 in Shenyang, Liaoning, is a and doctoral supervisor at the School of Calligraphy Art of the China Academy of Art. He possesses profound academic knowledge in both language, literature, and calligraphy. He graduated from Liaoning in 1984 with a major in Foreign Languages and Literature, and in 1992, he obtained a Master of Arts degree from the Department of Chinese Painting at Zhejiang Academy of Fine Arts (now the China Academy of Art), studying under Professors Sha Menghai and Liu Jiang. In 2001, he earned a Doctor of degree from the Chinese Calligraphy Research Institute of Capital Normal University, studying under Professor Ouyang Zhongshi. This interdisciplinary academic background laid a solid foundation for his deep cultivation in the of comparative research on Chinese and Japanese calligraphy. As a pioneer in Chinese-Japanese calligraphy exchange, Han Tianyong was invited by the Japanese Ministry of Education, Culture, Sports, and Technology in 1998 to teach at Gifu Women's University and several other universities in Japan for twelve years. He also held academic lectures at universities such as University of Tsukuba, Daito Bunka University, Hokkaido University, and Kansai University, promoting Chinese calligraphy and seal carving culture in Japan. At the same time, he conducted-depth research on the history of Japanese calligraphy (Shodo), becoming one of the influential scholars in this field. His academic research spans both China and Japan, using comparative methods reveal the historical origins and mutual influences of the calligraphic arts of the two countries. Han Tianyong's calligraphy is renowned for its "Dazhuan" (large script). He integrates ancient writing systems such as oracle bone script, bronze script, stone drum script, and small seal script into his work. His creations are "magnificent and elegant their simplicity," possessing both the primitive vigor of ancient scripts and the modern consciousness of contemporary aesthetics. His creative approach emphasizes using ancient styles to express new voices and ancient meanings to convey spiritual, exploring the contemporary transformation of ancient script calligraphy. In the field of academic research, Han Tianyong has a prolific body of work. His major publications include *Japanese Seal Car Art*, *Buddhist Sutra Copying*, *Sanbi Sanji*, *Research on Zen Ink Traces in China and Japan*, *History of Japanese Calligraphy*, *Collection Deciphered Marginal Inscriptions of Famous Seal Carvers in China Through the Ages*, *Wu Changshuo's Seal Carving*, and ten volumes of the *Han Tian Dazhuan* series of model books. In addition, he has published over ten collections of his own works and published more than thirty papers in core academic journals. Among them *Research on Zen Ink Traces in China and Japan* won the 2008 National "11th Five-Year Plan" Social Science and Art Fund Award, *Collection of Deciphered Marginal Inscriptions of Famous Seal Carvers in China Through the Ages* won the 2024 "Century's Best Book" Award. a curator, he has hosted and curated several national exhibitions of ancient script calligraphy, building an academic exchange platform for the contemporary inheritance of ancient script calligraphy. Liu Jiang, a professor the China Academy of Art, once evaluated his calligraphy: "The skeletal structure is penetrating, the spirit and style are powerful, the flesh and blood are mutually generated, and it both spirit and bone... It has tradition yet differs from tradition, adopts the strengths of others yet differs from others, moving forward along its own path." Han Tianyong's works collected by multiple art institutions, including the National Art Museum of China, the State Guesthouse Diaoyutai, and the China National Academy of Painting. From studying under Shaghai and Liu Jiang to seeking guidance from Ouyang Zhongshi, and from teaching in Japan to writing books and establishing theories, Han Tianyong has integrated the traditional spirit and contemporary of ancient script calligraphy through decades of academic perseverance and artistic exploration. He has allowed the ancient oracle bone and bronze scripts to be revitalized in the contemporary era, writing the cultural responsibility a contemporary calligrapher with academic height and artistic warmth.