凤兮·凤兮——馆藏吕凤子先生艺术作品展
A Special Exhibition of Mr. Lu Feng-zi's Art Works, Collection of Suzhou Museum
展览日期：7月22-8月31日
地点：苏州博物馆 现代艺术展厅
吕凤子（1886―1959），别署凤先生，出生于江苏丹阳大户人家。家学渊源，早生慧根。在新旧交替的时代，他走出了一条以中国画为本位、融会西方学理为我所用的道路，将中国画的境界提升到极为高深的层面上来，传达出一股旷世孤音。
凤先生艺术修养全面，传统文化底蕴深厚，于儒理、哲学、老庄、佛学等无不精通。反映在艺术创作上，他集绘画、书法、篆刻、史论、诗词于一身，博大精深。其杂糅真草隶篆四体而百炼钢成绕指柔的"凤体书法"，融东西绘画艺术之长而独具"风神超胜骨力毕现"风骨的中国画，不阿时好，独来独往，奠定了他在中国美术史、书法史上作为一代宗师的地位。
凤先生毕生尽瘁于艺术教育，主张以美育和爱育代替宗教，倡导善和真。他在美术教育上是尊异成异的，不主张模仿抄袭，在思想上是缘异穷异的，不主张囫囵吞枣。他三次创办正则学校，两次捐献全部财产，桃李满天下，刘海粟、徐悲鸿、张书旗等皆曾为其早期学生。
本次展览展出吕凤子先生书画、墨拓、印章、手稿、日记等共计58件，力求从多方面展现凤先生的艺术风采。
Mr. Lu Feng-zi (1886AD - 1959AD) was born to an aristocratic family from the city of Dan Yang, Jiangsu province. Growing up in an intellectual family , his talent was discovered at a very young age.
Mr. Feng lived in a transitional stage between the old Chinese culture and the new. Influenced by the Western civilization in those days, the Chinese art was facing the challenge of the modern ideas and practice. Therefore, not only did his painting encompass the Chinese traditional elements, but also embrace the touches of the Western culture. His distinctive expression in 'time and individuality' made a tremendous impact on the Chinese modern painting.
He cultivated not only the art per se, but the studies of Confucianism, Philosophy and Buddhism, as well as excelled in painting, calligraphy, seal-carving and poem writing. He created his own style in combining the East and the West. Mr. Feng was respected as a true Master in the history of Chinese fine arts and calligraphy.
In addition, Mr. Feng devoted himself in art education. He highly advocated the replacement of religion by art education and the teaching of love. He promoted creativity in lieu of imitating. Mr. Feng built three schools, and donated all his personal assets twice. Many gifted artists, such as Mr. Liu Hai-su, Mr. Xu Bei-hong and Mr. Zhang Shu-qi were all his students.
This special exhibition displays 58 pieces of Lu Fengzi 's works selected form the collection of Suzhou Museum, including paintings, ink rubbings, stamps, manuscripts, diaries. It will show master's art from diverse aspects.
《华山松幅》
创作于1957年。画面描绘了华岳高峰之颠的古松，雄姿挺拔，并运用了较多的色彩：除了青、赭染树外，山头石上亦染紫淡赭，与天色相映；石隙小草，略点朱红；后衬柔笔浅墨纵情勾成的云层，染以浅红，余纸则淡染青空，产生云霞灿烂，高松伟岩的奇效，技法独特，意境高旷。可见先生解放后精神振奋，艺术上不断传新的成绩。
The ink painting "Pine of Hua Mountain" was produced in 1957. There is an old pine standing straightly on the peak of Hua Mountain with a grand and forceful gesture. the author applied different colors in this painting. The pine tree is green and reddish brown; the stone is purple and light reddish brown; the grass is a little vermeil; the sky was light blue decorated with rosy clouds.
This painting is drawn by special artistic skill, it expresses author's lofty artistic conception. It is a testimony shows that Mr. Lu Fengzi was fully inspired after the Liberation, and was rich fruited in his art career.
《先生归矣噫幅》
是凤先生客居壁山九年，临别前的一件艺术精品，画面所题“先生归矣，噫！”是先生踏上归途时的自我心理描述。
1946年，国共和谈失败，南京政府发动全面内战已经迫在眉睫。中国人民身上旧的战争创伤尚未得到治疗，新的战争又将降临。国家的前途命运如何？凤先生就是怀着这样忧虑和不安的心情踏上归途的。
画中老、中、幼三代人组成了画面主体。背景以广阔的空间为衬托，除几株古柳外，作者突出了两块墓碑，这是中国人民近百年来生活在内忧外患中一切屈辱和苦难的缩影。这样的构思在时间和空间上、深度和广度上，都使人有广阔的想象余地。
The ink painting "Return of Teacher" was an elaborate work of Mr. Lu Fengzi. He produced this painting when he prepared to leave Bi Mountain, the place which he had lived for nine years as a guest. He wrote a title "Return of Teacher, alas!" to express his mood on the way home.
The peace talks between the Communist Party and Kuomintang were broken, the threaten of a new national war was at the gate. Lu Fengzi went home with a worried mood during that time.
There are a child, a middle-aged man and an old man in the painting. Two tombstones are highlighted. They stand for all the humiliations and troubles suffered by Chinese people during the past hundred years. The composition was a mix of labors, tombstones and Child. It gives audience a wide space of imagination.
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