1937, Japan invaded China in an all-round way. Lv Fengzi led his wife, children and some teachers of the Art College through hardships, came to Chongqing and founded the "Regular Shu School" in the remote Bishan. Bishan is dozens of kilometers away from Chongqing and is not heavily guarded. Robbery often happens. One day, in the dead of night, a group of robbers snatched Lv Fengzi's property, bound Lv Fengzi barefoot and took him out of the house for more than 200 meters. When the defenders nearby knew it, the soldiers held high torches and chased the robbers. The bandits fled in panic, but Lv Fengzi survived. He lamented: "Without a country, where can there be a home? The country is ruined, and this hate is hard to eliminate! What is hateful is that some people do not participate in the war of resistance, but take advantage of others' danger. "
Later, Lv Fengzi moved his family to Jiangjin. His home is close to Chen Duxiu's. Lv Fengzi met Chen Duxiu when she was teaching in a female teacher's school in Beijing in her early years. War of Resistance against Japanese Aggression first met in Chongqing, so naturally she often visited Chen Duxiu. Chen Duxiu spoke highly of his views and practices, saying: "It is really rare for Mr. Feng to continue to adhere to the educational stance, spread culture and art, and let his ignorant compatriots see the light again!"
/kloc-in the spring of 0/940, Zhang Daqian made a special trip to Bishan to visit him. When it comes to running a school, Zhang Daqian knew that Lv Fengzi lacked funds, so he advised Lv Fengzi not to sell paintings to make a living and support his family. Lv Fengzi said: "I am determined to run a school, but I am determined!" Seeing his firm attitude, Zhang Daqian changed his mind and said, "I have limited financial resources and can't help you. I have no money to contribute! " Ok, I'll help you hold an exhibition in Chengdu. "Then, accompany Lv Fengzi to Chengdu. Lv Fengzi was a blockbuster, raising five or six thousand yuan, leaving no money, all of which was used for running a school. Zhang Daqian said with emotion: "Lv Fengzi is a noble man, indifferent to fame and fortune, and has no struggle with the world. He devoted himself to education and set an example for others. "
1940 At the beginning of the year, Wang Ruofei's uncle Huang Qisheng was persecuted for taking part in the revolution and fled from Guiyang to Chongqing. Lv Fengzi was not afraid of involvement, and hired Huang Jisheng as a professor of literature and history. Huang Jisheng often went to the Eighth Route Army office in Chongqing, and had contacts with Dong, Guo Moruo, Wang Ruofei, Huang Yanpei and Tao Xingzhi. , learned a lot about the situation of the North-South War of Resistance Against Japanese Aggression and the movement of democratic unity, and conveyed them to Lv Fengzi at any time. Lv Fengzi never left school. When he knew this, he was very excited. On one occasion, Huang Qisheng said to him, "Mr. Feng, Yan 'an is the headquarters of China Revolutionary War of Resistance against Japanese Aggression, and some condolences are appropriate." Lv Fengzi felt the same way and mobilized teachers and students to draw hundreds of paintings and calligraphy. He himself drew a batch of paintings and handed them to the Chongqing office of the Eighth Route Army, which was taken to Yan 'an by Wang Ruofei for distribution.
Qi Huang was born in 1944 and went to Yan 'an. He transferred Lv Fengzi's paintings to Mao Zedong and introduced Lv Fengzi and his school in Chongqing to Mao Zedong. Mao kept nodding and said, "Mr. Lv Fengzi's spirit is commendable, and his eyes have turned to the victory of the Anti-Japanese War. The improvement of the cultural quality of the whole nation needs education. Mr. Huang, please give my regards and ask Ye (the secretary) to write a letter to Mr. Xie Lu. We are engaged in large-scale productive labor here, with ample food and clothing, and spiritual food is just needed. " On March 1946 and 12, when Huang Jisheng returned to Chongqing, Mao Zedong took out another Yan 'an blanket and asked him to give it to Lv Fengzi.
/kloc-in the spring of 0/949, the Chiang family was defeated, and Zhang Daqian and Chen Lifu both advised Lv Fengzi to take his family to Taiwan Province province. Lv Fengzi decided not to go to Taiwan Province province. 1in the summer of 959, Lv Fengzi suffered from lung cancer. On National Day, he was critically ill, so he asked his family to help him get up and drew three pine trees, one of which was "Chairman Mao Shou". In the history of modern painting in China, there are three painters who are quite distinctive in figure painting, one is Feng Zikai, the other is Ye, and the other is Ye. Lv Fengzi has left the least works among the three countries, which makes it more and more expensive.
Lv Fengzi was very clever when he was young. At sixteen, he was a scholar. At the age of eighteen, I studied martial arts in Suzhou armament school. At the age of 20, he began to study painting, and studied in the graphic engineering department of Nanjing Liangjiang Excellent Normal School run by Li Ruiqing. Li attached great importance to it and stayed in school to teach after graduation. In the following decades, Lv Fengzi has been closely related to art education. The Liangjiang Normal School, presided over by Li Ruiqing, was established with the support of Zhang Zhidong, a master in the Qing Dynasty, with the aim of setting up a new school. Subjects include natural history, mathematics, music, pictures, handicrafts and so on. Other disciplines can employ Japanese teachers, while fine arts are taught by landscape painter Xiao Junxian and Japanese professor Suganosuke. Therefore, Lu's painting education should belong to the style of "combining Chinese and western". I not only learned the traditional apprentice landscape painting, but also learned the advanced western sketch concept. But at that time, the sketch teaching of "Two Rivers" was taught by the Japanese, which was different from the academic sketch in Europe. Therefore, although Lu received the education of "combining Chinese and Western culture", it is essentially different from the later "combining Chinese and Western culture" of Xu Beihong and Liu Haisu.
It is precisely because Lu's sketch education is not a European university education, but a "Japanese sketch" that emphasizes and attaches importance to lines, which seems to have something in common with China's traditional line drawing. This has a great influence on Lv Fengzi's line drawing style.
Influenced by "Japanese Sketch", Lu made in-depth research on perspective, anatomy, color and composition. Lv Fengzi has given lectures on the basic knowledge of pictures such as perspective, anatomy, color and composition. Therefore, this is the difference between the characteristics of Lu figure painting and the previous generation figure painting. Gu Kaizhi's figure painting of the previous generation has been lost today, and it can be said that it is not enough only from the perspective of copying. On the other hand, Lu's figure painting has both form and spirit, bright colors and vivid beauty. His "Luohan Tu" is quite distinctive. Gu Zhuo is often modeled with smooth lines. Among them, the poem "Four Arhats" says: "Everyone comes to smell it and feels sad, and the sky is near, and the sky is near. Where is the lion roar? The voice is chicken feet mountain, I didn't expect to laugh. In the picture, four arhats are upturned, one is sad and the other is sad, and the two arhats behind are laughing at the voice of the northwest. The work satirizes the current situation with arhat, which is intriguing. "
The classification of Lv Fengzi's figure painting, although there are many works satirizing the current situation, has a strong patriotic ideological content. But definitely different from Xu Beihong's realistic figure ink painting, Lu's painting style should still belong to the category of literati painting.
The main feature of literati painting is "painting with books". Lu's calligraphy inherited the method of Taoist Li Ruiqing, which is very distinctive. And it can be well coordinated with its painting style. Lu's theory on the relationship between painting and calligraphy is very insightful: "Chinese painting must be based on the power of infiltrating the author's feelings, which is the characteristic of Chinese painting." Therefore, it is best to use elastic animal brushes that can freely convey the strength of shoulders, arms and wrists in Chinese painting. Painting with fingers or other brushes can only form lines that lack change and cannot be used to replace animal brushes. "and" a painting must use skilled cross-hatching skills, but after painting, you must not see cross-hatching skills, only see the overall image with some meaning. "Otherwise, painting will become something to show off the crochet skills."
Lu's understanding of Chinese painting has two levels: one is to use a pen, that is, to use a pen for calligraphy. Secondly, the purpose of line modeling is "shape", not pen and ink skills. And Lu's idea should be a very intimate suggestion for the development of Chinese painting: don't give up pen and ink, don't be confined to pen and ink. Lv Fengzi showed extraordinary talent in his early years. 190 1 year 15 years old. He is a scholar in the same examination as Han Bihai, Jing Zhongshan and Hu Xiaoshi. Together with Hu Xiaoshi, he is known as "a talented person in the south of the Yangtze River". In his early years, Lv Fengzi had the ambition to serve his country alone. He was admitted to Suzhou Wu Bei School to study martial arts, and then transferred to the Painting and Handicraft Department of Liangjiang Excellent Normal School to study. From then on, he embarked on the road of painting creation and art education, and gradually grew into an accomplished art educator and a famous painter in the modern history of China. According to Lv Fengzi, he did three things in his life: painting, teaching and running a school.
He has taught in Liangjiang Middle School, Shu Ning Normal School, Changzhou No.5 Middle School, Wujin Women's Normal School, Changsha No.4 Middle School, Yangzhou No.5 Middle School, Zhenjiang No.6 Middle School, Zheng Zheng Women's Vocational School, Beijing Women's Normal University, private Shanghai Academy of Fine Arts, Art Department of Central University, National Institute of Social Education, Art Department of Sunan Institute of Culture and Education, Sunan Institute of Culture and Education and Jiangsu Normal University. At the same time, he has held many educational administrative positions and social positions related to art.
Among all his activities in his later years, the most important one was to participate in the establishment of Jiangsu Traditional Chinese Painting Academy in 1957. This participation is not only extremely important to him personally, but also of far-reaching significance to the development of Jiangsu fine arts. The book Research on Chinese Painting, which he spent more than two years writing, is a painting summary that systematically combs and analyzes the basic principles, characteristics and methods of Chinese painting for thousands of years based on his years of creative experience and research results. It is an artistic theory work with the nature of personal creation and summary of research experience, and has made outstanding contributions to the formation and development of "Jiangsu Painting School" in the new period.