鳳兮·鳳兮——館藏呂鳳子先生藝術(shù)作品展
　　A Special Exhibition of Mr. Lu Feng-zi's Art Works, Collection of Suzhou Museum

　　展覽日期：7月22-8月31日
　　地點(diǎn)：蘇州博物館 現(xiàn)代藝術(shù)展廳

　　呂鳳子（1886―1959），別署鳳先生，出生于江蘇丹陽大戶人家。家學(xué)淵源，早生慧根。在新舊交替的時(shí)代，他走出了一條以中國畫為本位、融會(huì)西方學(xué)理為我所用的道路，將中國畫的境界提升到極為高深的層面上來，傳達(dá)出一股曠世孤音。

　　鳳先生藝術(shù)修養(yǎng)全面，傳統(tǒng)文化底蘊(yùn)深厚，于儒理、哲學(xué)、老莊、佛學(xué)等無不精通。反映在藝術(shù)創(chuàng)作上，他集繪畫、書法、篆刻、史論、詩詞于一身，博大精深。其雜糅真草隸篆四體而百煉鋼成繞指柔的"鳳體書法"，融東西繪畫藝術(shù)之長而獨(dú)具"風(fēng)神超勝骨力畢現(xiàn)"風(fēng)骨的中國畫，不阿時(shí)好，獨(dú)來獨(dú)往，奠定了他在中國美術(shù)史、書法史上作為一代宗師的地位。

　　鳳先生畢生盡瘁于藝術(shù)教育，主張以美育和愛育代替宗教，倡導(dǎo)善和真。他在美術(shù)教育上是尊異成異的，不主張模仿抄襲，在思想上是緣異窮異的，不主張囫圇吞棗。他三次創(chuàng)辦正則學(xué)校，兩次捐獻(xiàn)全部財(cái)產(chǎn)，桃李滿天下，劉海粟、徐悲鴻、張書旗等皆曾為其早期學(xué)生。

　　本次展覽展出呂鳳子先生書畫、墨拓、印章、手稿、日記等共計(jì)58件，力求從多方面展現(xiàn)鳳先生的藝術(shù)風(fēng)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.

　　《華山松幅》

　　創(chuàng)作于1957年。畫面描繪了華岳高峰之顛的古松，雄姿挺拔，并運(yùn)用了較多的色彩：除了青、赭染樹外，山頭石上亦染紫淡赭，與天色相映；石隙小草，略點(diǎn)朱紅；后襯柔筆淺墨縱情勾成的云層，染以淺紅，余紙則淡染青空，產(chǎn)生云霞燦爛，高松偉巖的奇效，技法獨(dú)特，意境高曠。可見先生解放后精神振奮，藝術(shù)上不斷傳新的成績。

　　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.

　　《先生歸矣噫幅》

　　是鳳先生客居壁山九年，臨別前的一件藝術(shù)精品，畫面所題“先生歸矣，噫！”是先生踏上歸途時(shí)的自我心理描述。

　　1946年，國共和談失敗，南京政府發(fā)動(dòng)全面內(nèi)戰(zhàn)已經(jīng)迫在眉睫。中國人民身上舊的戰(zhàn)爭創(chuàng)傷尚未得到治療，新的戰(zhàn)爭又將降臨。國家的前途命運(yùn)如何？鳳先生就是懷著這樣憂慮和不安的心情踏上歸途的。

　　畫中老、中、幼三代人組成了畫面主體。背景以廣闊的空間為襯托，除幾株古柳外，作者突出了兩塊墓碑，這是中國人民近百年來生活在內(nèi)憂外患中一切屈辱和苦難的縮影。這樣的構(gòu)思在時(shí)間和空間上、深度和廣度上，都使人有廣闊的想象余地。

　　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.