鲁慕迅

 1928年12月26日，阴历十一月十五。出生于河南汝州古城法行寺塔西的青龙街42号，乳名:鲁立(后改名鲁中立、鲁思淼、鲁慕迅)

1945年夏于西安及华山从姨父石磊园先生学画。

1946年春任河南南召县立中学美术教师。

1946年秋至1948年春在开封从谢瑞阶先生学画。

1948年初考入中原大学文艺学院美术系，并以鲁慕迅的笔名在《中国时报纸》、《民权新闻》等杂志发表的《"丰画"举偶谈》(对丰子恺先生的作品给予极高的评价)，《贪污与迷信、《夜鹰赞》、《也谈谈太阳镜》、《蝇子》、《路上》、《为曹操伸冤》、《肃犬、《治安安治》、《祈祷》、我质问编辑--兼谈谈典故》等等的杂文、诗歌与漫画。

1950年毕业于中原大学文艺学院美术系。

1951至1958年先后在中国文艺学院美术工队、中南大区长江日报、武汉市长江日报担任美术编辑、组长，从事年画、漫画创作及美术评论，同时从张肇铭、徐松安先生学画。

1958至1961年被划右派，于下放劳动中，常于无人时偷画速写和思考美术理论问题。

1962年夏去长阳，沿清江及到山区写生。此时已回长江日报(一度改为武汉晚报)从事美术编辑及评论工作，不时有画及文章发表，直到文革再次下放。文革中参加批判会时，多在思考美术理论问题，如《试论中国画的气》一文的初步提纲就是在会场的角落偷偷写出的。

1971年重回武汉，任职于市汽车运输公司政工组宣传组，得以随车队深入鄂西山区及神农架原始森林感受大自然和搜集素材，后调入解放公园美工室，7月间画了大量花卉写生，并先后去三峡、大宁河、四川、云南、广西、陕西、武当山等处写生和创作，直到1979年调入湖北省文联。

1979年《马蹄莲》为人民大会堂陈列与收藏;与陈作丁、汤文选、周韶华、冯今松等组成:晴川画会。

1981年回家乡妆州写生创作，重寻旧梦;《千堆雪》等8幅作品参加《湖北十人中国画联展》在中国美术馆展出;为《王霞宙画集》作序。

1982年参加《美术》编辑部召开的美术理论座谈会，宣读论文《试论中国画的气》、《中国画三味--书骨、乐韵与诗魂》、《美术》7月号发表《个个成器》、《芍药新芽》、《艳阳秋》三幅作品，

10月至11月发表《试论中国画的气》一文。参加与何溶、叶朗、沈鹏、贾方舟、彭德、 陈云岗、茹桂、陈博萍、陈方既等在湖北神农架举行的美术创作研讨会。

1984年10至11月间参加中国文联代表团应邀访问英国、荷兰。策划参与由湖北省文联创办的《美术思潮》杂志的试刊号。

1985年参加全国美代会，当选为中国美术家协会第四届理事;《美术思潮》杂志正式出版发行，任第一副主编与编委。11月组织并参加在武汉展览馆举办的"国画新作邀请展"被列为中国美术十大新闻。与戴筠参加烟台美术理论座谈会并去青岛、石岛、蓬莱等地参观学习。先后在长江日报、湖北画报等发表访问英荷系列文章及图片。

1986年应邀参加中国画研究院，中国艺术研究院举办的《全国中国画艺术讨论会》，在《现代中国画断想》发言中提出"多元互补"的观点，随后发表于《中国画》及《美术》。同年参加湖北省第4次美代会，当选中国美协湖北分会副主席，与戴筠去桃花源、张家界、吉首、凤凰等处写生创作。

1988年随中国文联代表团访问英国、荷兰并进行艺术交流，作品《高秋图》等作品在《武汉国际水墨画节》展出;《中国水墨画的发展及其写意传统》一文发表于《88北京国际水墨画展》理论研讨会及文集。1988年6月29日，书法报头版刊登了鲁慕迅先生评论吴丈蜀创作的书法作品《兰亭序》，题为《千载两"兰亭"》，引起轩然大波。单就这篇千字文的书法评论写作而言，窃以为是近三十年来最优秀的书评之一。这么短的篇幅，有述有作，引经据典，评古论今，将自家的观点表述得淋漓尽致，实属难得，令人心生敬意。

1989年《霁月》等6幅作品香港《新晚报》以专版刊出，同时发表刘纲纪评论文章。6月离休，陪夫人戴筠女士赴京山疗养。

1990年举行《鲁慕迅京山诗画展》;同年参加《湖北十人联展》在新加坡展出并应邀访新。

1991年2期《艺术与时代》发表《有竹居艺谈》及《荷乡》等5幅作品，同时发表刘纲纪、徐公度、吴丈蜀评论文章;《文艺报》发表姜天民评论文章。

1992年2期《迎春花》发表《野菊花》等12幅作品及姜弘评论文章。台湾《1992年大陆艺评选》发表《春酣》、《醉卧东篱》等8幅作品及姜弘文《书骨乐韵蕴诗魂》。同年7期《美术》发表《鱼戏图》等9幅作品及《中国画三味-书骨乐韵与诗魂》一文并有陈泊萍评论文章。

1992年故乡河南省汝州市人民政府为其举办《鲁慕迅乡情诗画展》，展后将作品全部留赠家乡。

继1990年京山诗画展后陆续在湖北钟祥、江陵、天门、洪湖、盐利举行个展，1992年赴深圳参与筹备《第八届当代中国花鸟画邀请展》，并为画册作序。

1993年《桃实图》参加中国美协举办《全国首届花鸟画展览》并任评委;参加北京《中国花鸟画理论研讨会》4期《国画家》发表《生命的信息》一文。

1994年7月26日，最亲密的艺术知已爱妻载筠逝世。9月起移居深圳，至此不问世事深居简出。

1995年11月深圳美术馆举办《鲁慕迅花鸟画》展轰动南国，

《芍药新芽》参加《中国当代著名花鸟画家作品展览》并为画册作序。参加香港举办"现代中国画展"。

1986年以来参加1-9、11届《当代中国花鸟画邀请展》。

1996年4月，参加中国画研究院主办的无锡《全国花鸟画研讨会》发表论文;12月在天津参加《首届中国画学及中国画发展战略研讨会》并发表论文。

1997年6月，大型书画选《鲁慕迅画集》由珠海出版社出版，收入1978年以来作品84件，书法作品11件，各家评论文章16篇。《鸡冠花》被收入《中国现代美术全集》第4册。12月尤其策划的全国《国画改革二十年理论研讨会》在深圳举行。

1998年赴西安为已故画石大家石磊园先生整理遗作，7月去大连参加《绿野美术之家》活动。11月《秋语》等作品参加《第一届深圳国际水墨画双年展》。

1999年1月为《石磊园画集》撰文《一派清光照后人》，该文并发表于台湾 1999年第10期《中国人物》和2001年第4期《国画家》;9月参加《晴川画会二十年画展》及活动。

2000年4月赴西安参加《石磊园画展》有关活动，11月出席第6届湖北省美代会被选为顾问。《绿杨堤外水云乡》等作品被收入《当代美术》画集。12月《大厦的崛起》等作品参加《第二届深圳国际水墨画双年展》。

2001年2月《鸟国之春》等15件作品参加《世纪之春国画展》;4月在西安美术学院举办《鲁慕迅画展》，展览由西安美术学院、陕西国画院、中国、陕西、湖北、深圳美协，湖北省文联等共同举办;6月在武汉举行《鲁慕迅画展》，展览由中国美术家协会、湖北省文化厅、湖北省文联、湖北省美术学院、湖北省美术家协会共同举办;9月《荷叶小鱼》参加《百年中国画展》在中国美术馆展出，并收入《百年中国画集》，同时出版《百年中国画展名家精品系列·鲁慕迅专辑》，《杲日融融》收入《新时代中国画作品集》;11月被聘为中国美协2001澳大利亚中国画展评委。

2001年4月由中国美术家协会、西安美术学院、陕西省国画院、陕西省美术家协会、湖北省文学艺术界联合会、湖北省美术家协会、深圳市美术家协会共同举办的《鲁慕迅画展》在西安美术学院美术馆举行。

2002年5月《鸡冠花》、《绿杨堤外水云乡》被收入《中国现代花鸟画全集》。

2001年 6月由中国美术家协会、湖北省文化厅、湖北省文学艺术界联合会、湖北省美术学院、湖北省美术家协会共同举办的《鲁慕迅画展》在湖北美术学院美术馆举行。7月《慕迅题画诗稿》由澳门出版社出版，11月参加全国河南籍名画家中原活动。

2003年9月应邀参加在烟台举办的中国当代花鸟画坛名家作品展及理论研讨会。

2004年9月应邀参加在北京中国画研究院举行的"中国花鸟画九人探索交流展"，12月巡回至汕头、厦门、深圳展出。参展九位画家是:赵梅生、鲁慕迅、周韶华、齐辛民、贾平西、赵贵德、刘荫祥、张桂铭、王金岭。作品《荷叶小鱼》为中国美术馆收藏。

2005年3月8日在北京人民大会堂参加国家科学技术奖励大会被授予《优秀人民艺术家》奖牌。《我爱四君子》参加"科学与艺术---优秀人民艺术家作品展。6月《竹石图》参加"继承与发展---第二届全国中国画名家学术邀请展"7月《鸟国之春》、《照水梅》参加"2004全国中国画百家作品展"10月12 日作品《高风图》搭载"神舟六号"宇宙飞船遨游太空。10月30日作品《香雪》等参加《传承-创新---2005北京皇城艺术馆优秀艺术家邀请展》同时参加《南北花鸟画展》、第12届当代中国花鸟画展。10月参加《湖北省当代国画精品展》在韩国展出。

2006年由湖北美术出版社出版《慕迅画字》。年底赴家乡汝州义务讲学。

2007年由湖北美术出版社出版文集《清茶谈艺》.，为《中国当代美术全集》作序。

2008年出版《慕迅自书百联》，当选为湖北省水墨画院院长。4月被聘为深圳文博会美术馆艺委会副主任，为《陈子庄诞辰九十五周年遗作展》作前言。

2008年12月16日由中国美术家协会、河南省文学艺术界联合会、河南省美术家协会、湖北省文学艺术界联合会、湖北省美术家协会主办的《故乡情--鲁慕迅作品展》在郑州商都艺术馆举行。由河南美术出版社出版大型书画选《鲁慕迅作品集》。参加纪念晴川画会三十周年展"晴川·晴川"湖北十人中国画作品展。

2009年6月与贺敬之，黎辛，柯岩，黄懿芬等畅游新安龙潭大峡谷。为《黄秋园江南三大名楼图卷》，《黄秋园工笔花鸟图卷》题跋。应邀参展"首届中国城市艺术书画提名展"(中国美术馆)。

2010年3月30日至4月6日 《南国花如海》鲁慕迅-高坤水师生画展在深圳美术馆展出。

5月1日参加在黄鹤楼白云阁美术馆《五月墨迹--当代中国著名画家50人作品展》。

11月17日，由湖北省美术家协会、湖北省水墨画院，连云港市书画院、连云港市美术家协会，海州国画院，连云港市美术馆。连云港市花鸟画研究会，共同举办的"心灵之声"--"鲁慕迅花鸟画学术邀请展"在连云港市美术馆开幕，并进行了画展的研讨会。

11月24日，赴海州考察"海州二刻"(孔望山佛教摩崖造像，将军崖崖画)，并提出:将军崖岩画为中国最早的花鸟画之一的观点。

2011年3月，其"当代中国画的多元结构"一文，选入普通高等教育"十二五"规划教材。

4月14日，携弟子赴江西修水县双井村拜谒黄庭坚陵墓。

8月21日，作品参加"精彩百年两岸书画联展"于台北"国父纪念馆"，台湾地区领导人马英九、中国国民党荣誉主席连战，吴伯雄以书面方式致贺。

10月29日赴昆山参加"纪念张大千诞辰112周年艺术精品展暨研讨会"并发言。

12月15日，以耄耋之年组织策划其师"徐松安诞辰一百周年纪念展"在武汉美术馆开幕，并为展览作前言与画册序言。

12月27日，携弟子付迪拜国考察与艺术交流。

2012年5月赴太行山写生

2013年1月由深圳报业集团，深圳美术家协会共同举办的《有竹居小品书画展》在深圳举办。

2013年9月由中国美术家协会、清华大学，湖北省文学艺术界联合会主办，湖北美术家协会，湖北书法家协会，湖北书画院共同举办的《心之声--鲁慕迅书画展》在北京清华大学美院美术馆举行。

 数十年间从事中国画创作及美术理论研究，兼攻书法诗词。其美术作品和理论文章分别了表于《美术》、《中国画》、《江苏画刊》、《湖北画报》、《人民日报》、香港《文汇报》等数十家报刊、先后在京山、汝州、深圳、西安、武汉、郑州等地举行个人作品展，2001年《荷叶小鱼》参加《百年中国画展，《马蹄莲》陈列于北京人民大会堂并刊入《人民大会堂藏画集》，《清风朗月》、《荷叶小鱼》为中国美术馆收藏。2005年被国务院授予优秀人民艺术家称号。其作品《高风图》搭载"神舟六号"宇宙飞船遨游太空。有作品被收入《百年中国画集》、《中国现代美术全集》、《中国现代花鸟画全集》、《中国当代美术》、《中国现代美术家名鉴》(中日合编)、《中国当代书画家百人》、《中国当代国画家辞典》等。并被聘为多所院校兼职教授与客座教授，

鲁氏的绘画作品具有民族文化内涵、时代风貌和个性特徵，是当代融诗书画为一体的文人画大家。先生对书法有着深入的追求，他把篆隶楷行草融为一体，把传统与自己融为一体，把书法与画法融为一体，令其自创的「画字」作品自成一格，书因画而生，画助书运;画线为肌，诗韵为骨，风格简静。

鲁慕迅画作

 <1> 某年端午晚与夫人，秘书携弟子赴某餐厅就餐，宴后步行回寓所途中忽降甘霖，其夫人迅速从包中拿出雨伞为先生遮雨，意外的是:先生却执意将雨伞挪开，其夫人执拗不过，只得目睹任雨点打湿先生全身，却无可奈何……

原来，先生发现四人同行只带了一把雨具，不忍秘书与弟子淋雨，索性大家一起遭雨……

先生时年八十有二。

<2> 某年深秋先生应邀赴江苏某地举办《鲁慕迅花鸟画学术邀请展》。未至下榻宾馆途中心情与时长谦逊和蔼无异，至宾馆大厅内却一言不发，表情极其严肃，到了寝室更是向秘书与弟子大发雷霆!说:为什么交代的事情不照办?!当地接待人员为之不解十分尴尬……

事出有因，原来先生每至某地有:不住五星级宾馆，不吃公家饭，不惊动当地政府领导，展览不收花篮，不搞开幕式(最好不搞)，更不卖画的六项原则。

深知先生四项原则的秘书与弟子却违反了先生的原则，当罚也，在之后为先生接风的副市长在宴会开始之前诙谐的声明:在这里没有副市长只有您的学生，宴会所有费用也是学生自己领的薪水……

<3>先生应参加某叱咤风云人物画画家个展，先生见到在离展厅还有数百米处已经停满了小车，场外摆满了花篮，空中放着气球，展厅门口**把守不许进入，得站在外面场子里等待隆的重开幕式，聆听名人官家训话，先生却把挂在胸前的"贵宾"条悄悄仍在地下，挤出人群逃之夭夭了。

<4> 某年春，先生携弟子拜谒"宋四家"之一，"江西诗派"开创者黄庭坚先贤陵墓的行程中，当地京剧票友社得之此消息后，要为先生表演的强烈愿望，先生热情洋溢的接受了请请。由于票友众多并且是逐一演出方式，以至于四个小时还未结束，先生却乐此不疲坚持要让所有票友上台演出，在场所有的人无不被先生深厚修养的德行与待人处事的方式为之动容……

先生时年八十有三。

<5> 有次先生举办新作展，展览的前言与画册的序言却请弟子(书写)，并要求多写批评的话不要奉承的话……

由此，可见先生对弟子的言传身教可谓是潜移默化。

<6> 上世纪八十年代，先生负责湖北美协工作，与周韶华等人倡议发起了刊物《美术思潮》，自己与周公担任副主编，却请名不见经传的年轻人彭德担任杂志主编，当杂志走上正轨的时候，先生与周公索性全盘托出将杂志完全交给彭德。并由此杂志与展览("国画新作展"等)衍生出了众多的优秀艺术人才，诸如谷文达，高路明，李小山，殷双喜，李津，郎少君，周京新，江文湛，丁立人，等等等等

可见先生和周公的慧眼，与用人不疑的胆略。

 丁芒:

读他的题画诗，一边根据诗中提供的形象，联想其画面，简直是一种艺术的双重享受。因此爱不释手，一气读完。总体感觉是:字字句句从心臆中流露，那么真诚、醇厚和灵动。加之音韵合律，结构合乎旧诗章法，语言流畅。我对诗书画三位一体、互补互彰，有了更深的体味，鲁慕迅先生的经验，很值得当代书画界重视。(系中国作家协会会员、中国散文诗学会副主席、中华诗词学会顾问、世界汉诗总会顾问.)

吴丈蜀:

我与鲁慕迅同志相识有年。在此以前，就读过他作的许多格调清新的花鸟画，给我留下很深的印象。所以，当时的慕迅在我的心目中只是一位优秀的画家。及至和他认识并逐渐加深了友情，交往渐多，并读了他的一些美术评论文章，我才知道他也是一位有高深素养的美术理论家，并且也有相当的文学修养，不同与一般只从事美术创作而不旁及其他美术门类的画界人士。

但是，我却没有想到，慕迅不仅是一位画家、美术理论家，还是一位才华出众的诗人。我读了慕迅的诗，首先感到作者情真意切，质朴自然，不加雕饰;而且多用白描手法，语言明白如话，读之令人倍感亲切。诗也可概见作者用词谴字、驾驭文字的功力。当前的画家中能诗者并不多见。(作者系中华诗词学会副会长)

徐本一:

慕迅先生书如其画，气清格迥，自有一种磊落的意趣。

慕迅先生书如其诗，风骨桌立，细细吟咏总有一股宁折勿曲，宁丑勿妍的心志支撑其间。

当我们说书者，如也的时候，不是将其他的事物来作简单的类比，而是强调书，作为人类艺术的普遍性格总有与其人格相联系相依附的一面。慕迅先生自言于书专研甚少.幼时习唐揩魏碑，继而上溯秦篆汉隶，多在力劲气厚一路上求索。又因画画题诗，信笔为之、不计工拙，心态放旷。而正是他无意于书的心境，造就了他的书画合一，诗书相彰的境界。书，艺之馀也，这是评价的书作的注脚。古往今来，书有繁简两途。繁趋密，趋动，趋浓;简趋疏，趋静，趋淡。两者相化相生，流变衍息，演成两大审美畛域。繁，因素多易于创变;简，因素少，难于大成，繁简递进，又不仅仅在形学上，而是更求精神上一种澡雪。在简的书风中，我们看到了巨子们也总有一种不同常人的气格境遇隐隐地铺垫着他们的心路历程。我相识慕迅先生已经有三十余年了，当我感受起他的形象时，他的书，无疑也是个中介--沉静之书，沉毅之人，沉厚之心，沉渊之思--使我在无言中很快得到了充实的回忆。(作者系中国书法家协会理事，湖北省书法家协会主席)

李尔重:

遵法有度而自化-- 读鲁慕迅的书法

我对慕迅同志的书法，印象深刻。其书法不拘一格，自成一体。平质而典雅，朴素而舒畅。源自章草而不泥，兼篆隶而不滞，特艺之作，略收甲骨。遵法有度而自化，化而愈新不离其宗。既不依样葫芦以自毙，又不放荡无缰而失衡。持规矩以变方圆，守六律以定五音，方圆变化无穷，五音跌宕万状，斯谓之有法幻于无法，赖有法与无法之统一，取得艺术创新之自由。长跑健将始于扶墙学步，身体健壮必须注意饮食营养，艺术大师都出自涂鸦学字。写意之功出于刻苦磨炼之基本功，不下苦功，任意创新，在字必是胡乱潦草，在画必是灭形灭神。在文必是胡言乱语，郑燮说:"必极功然后能写意，非不工而遂能写意也。""横涂竖抹，要自笔笔在法中，未能一笔逾于法外。甚矣，石公(涛)功夫之不可及也。功夫气候，潜差一点不得。"艺术上的无法幻化皆出于有法之功底。章草乃行草之本源，行草之构造与神韵，皆出自章草之洗练，张旭怀素之狂草未有逾于此者，二王之行书未有逾于此者。慕迅书法之变化，亦未有逾于此者。今之书界之为行草者。未习章草，误于任意行笔者多。慕迅的书法，可为书家一鉴。此意不知慕迅以为如何。(作者系原中共河北省委书记兼省长;被毛泽东同志誉为"我们的作家和才子")

刘蒙天:

鲁慕迅先生画展在我院展出，实际上是一次重要的，不可多得的传经送宝.鲁慕迅先生画出那么多创新作品出来，这是值得我们研究和推敲的.他的新作，就新在构思上，独创性上.他把诗书理论统一和结合起来.他把古今中外的优秀成果融合起来.他的作品极可贵之处是自然的流露，是画家对现实生活丰富感情的流露.而不像一般人那样去追求雕琢.我看他画的向日葵，那样大胆泼辣，苍劲有力，显出葵花之雄强，健美.又如两朵菊花头摆满画面，枣树挂满累累硕果，画得那样生动自然.他的画还大量吸收新的构成概念，几条枝杆，几朵花画得那样生动.燕子飞过千亩麦田，也有构成的因素.鸡冠花画得那样逼真生动，是用色构成的，说明他用色的独创之处.总之，鲁慕迅先生的画展是丰富的矿藏，读一二次是不能深入的，必须多读几次才能领略其奥秘.我也希望全院师生都能来多次学习，其收益是无穷的。

大画家李可染先生说过:可贵者胆，所要者魂.鲁慕迅先生的全部作品都体现了可染先生名句的精神.十分可贵，做到这点十分难得.学习鲁慕迅的画作，常说形神皆备，而他的画突出的是"神".做到形似比较容易，而达到神，则不是常人所能为也.他画的向日葵不仅形似，更画出神韵.他画的古松苍劲高洁.他画的荷花池塘表现?逍露谰?耐人寻味.他画作的独创性更令我钦佩.如画仙桃，紫藤，我自己就脱不开吴昌硕大师的框框程式.而他则另辟新径.走自己的路，有创新的面貌.这是很不容易的. 鲁慕迅先生画作达到这样高的水平，核心在于他有高于别人的悟性.这是文学艺术哲学社会科学------多学科丰富知识的和丰富社会生活的综合表现.由于此，他看到了，发现了别人不曾注意的景物.路边小屋他发现了几颗南瓜藤爬上小屋，结出硕果.旁边是几丛修竹，构成一幅精彩的画面.而平常人则视而不见.他的字写得非常精彩，如"脱俗"两字，独到精彩耐看，他写的诗同样深刻清新.一句话，他的诗，字，画统一，和谐，照应，有机结合，这是十分难得的.丰富的感情，精到的笔墨，画出常人所难以达到的高水平，是使人为之倾倒的. 谢谢鲁慕迅先生这次展出，使我终生难忘. (作者为西安美术学院老院长)

周韶华:

当我欣赏他的作品时，有时好像在听他歌唱，有时好像在听他朗诵诗词，有时在品味他的书法艺术。他的作品的最大优点是能让人静下心来去欣赏。

有人说"静观则万物皆能自得"，也有人说"动观则能超越时空"，但这一切都离不开人对自然的态度。我之所以能从慕迅兄的作品中感悟出人自身对于养育自己的那些东西的真诚，这是对人生本质的觉醒，因而引起我深深的共鸣，燃烧起对人生本真的感动，从而不会迷失自身最重要的东西。这些都是鲁慕迅的艺术的生命之所在。

中国画是一种特殊的文化载体，也是一个画家文化信息量的集装箱。它不但要求画家的作品具有高超的技巧，而且要求有诗词、书法与之合力互动，使国画

这门艺术拥有饱和的文化含金量。慕迅兄不但擅长格律诗，也善作古体，诗词格调清新，节奏跌宕起伏，做到了"画中有诗，诗中有画"，"画是无声诗，诗是有形画"，并与书法和谐一体。当今画坛，善画、善诗、善书者寥寥无几，唯慕迅兄的成就尤其值得敬重。(作者系湖北文学联合会主席)

 December 26, 1928, the fifteenth month of the lunar calendar. Born at No. 42 Qinglong Street, Taxi, Fahang Temple, Ruzhou, Henan Province, with the nickname Lu Li (later renamed Lu Zhongli, Lu Simiao, Lu Muxun)

In the summer of 1945, he studied painting from his uncle Shi Leiyuan in Xi'an and Huashan.

In the spring of 1946, he was appointed an art teacher in Nanzhao County High School, Henan Province.

From the autumn of 1946 to the spring of 1948, he studied painting in Kaifeng from Mr. Xie Ruijie.

In early 1948, he was admitted to the Fine Arts Department of the College of Arts and Literature of Central Plains University, and published "Feng Pictures" by Lu Muxun in magazines such as "China Times Paper" and "Civil Rights News" (highly appraised Mr. Feng Zikai's works), "Corruption and Superstition", "Night Eagle Praise", "Talking about Sunglasses", "Flies", "Flies" and so on.《 Essays, poems and cartoons on the road, averting the wrongs of Cao Cao, eliminating dogs, public order, prayer, and my interrogation editor - also talking about allusions.

In 1950, he graduated from the Department of Fine Arts, College of Arts and Literature, Central Plains University.

From 1951 to 1958, he worked as an art editor and group leader in the Art Work Team of the Chinese Academy of Literature and Art, the Changjiang Daily of Zhongnan University, and the Changjiang Daily of Wuhan City. He was engaged in the creation of New Year pictures, cartoons and art reviews. At the same time, he studied painting from Mr. Zhang Zhaoming and Mr. Xu Songan.

From 1958 to 1961, he was classified as a rightist. During the decentralization of labor, he often sketched and thought about art theory when nobody was there.

In the summer of 1962, he went to Changyang and sketched along the Qingjiang River and mountainous areas. At this time, he returned to Yangtze Daily (once changed to Wuhan Evening News) to work as an art editor and commentator. From time to time, paintings and articles were published until the Cultural Revolution was decentralized again. In the Cultural Revolution, when participating in the critical meetings, they mostly thought about the theoretical issues of fine arts. For example, the preliminary outline of the article "On the Qi of Chinese Painting" was secretly written in the corner of the venue.

In 1971, he returned to Wuhan and worked in the propaganda group of the political work group of the municipal automobile transportation company. He was able to experience nature and collect materials with the convoy in the mountainous areas of Western Hubei and the primitive forest of Shennongjia. Then he was transferred to the art studio of Liberation Park. During July, he drew a lot of flower sketches and went to the Three Gorges, Daning River, Sichuan, Yunnan, Guangxi, Shaanxi and Shaanxi successively. Wudang Mountain and other places of sketch and creation, until 1979 transferred to the Hubei Provincial Literary Union.

In 1979, Calligonum was displayed and collected in the Great Hall of the People, and composed of Chen Zuoding, Tang Wenxuan, Zhou Shaohua, Feng Jinsong and so on: Qingchuan Painting Fair.

In 1981, he returned home to make-up state to create life sketches and re-search his old dream. Eight works, such as Thousand Snows, participated in the "Hubei Ten People Chinese Painting Exhibition" at the Chinese Art Museum, and made a preface to "Wang Xiazhou Painting Collection".

In 1982, he attended a symposium on art theory held by the Editorial Department of Fine Arts, and read out three works of the paper "On the Qi of Chinese Painting", "Three Flavors of Chinese Painting--Book Bone, Music and Poetry Soul", "Fine Arts" on July, including "Every Adult Instrument", "New Bud of Peony" and "Yanyangqiu".

From October to November, the article "On the Qi of Chinese Painting" was published. He Rong, Ye Lang, Shen Peng, Jia Fangzhou, Peng De, Chen Yungang, Ru Gui, Chen Boping and Chen Fangji attended the art creation seminar held in Shennongjia, Hubei Province.

From October to November 1984, a delegation of the Chinese Federation of Nations was invited to visit Britain and the Netherlands. Planning and participating in the trial issue number of Art Trend of Thought magazine founded by Hubei Provincial Literary Union.

In 1985, he participated in the National American Congress and was elected the fourth member of the Chinese Artists Association. The magazine Art Trend of Thought was officially published and published as the first deputy editor and editorial board. Organizing and participating in the invitation exhibition of new Chinese paintings held in Wuhan Exhibition Museum in November was listed as the top ten news of Chinese fine arts. Dai Yun and Dai Yun attended the Yantai Art Theory Symposium and visited Qingdao, Shidao, Penglai and other places for study. He has published a series of articles and pictures about visiting Britain and the Netherlands in Yangtze Daily and Hubei Pictorial.

In 1986, he was invited to attend the National Symposium on Chinese Painting Art held by the Academy of Chinese Painting and the Academy of Chinese Art. He put forward the viewpoint of "multiple complementarities" in his speech "Modern Chinese Painting Judgment", which was later published in "Chinese Painting" and "Art". In the same year, he participated in the 4th American Congress of Hubei Province and was elected Vice-Chairman of Hubei Branch of China Association of Arts. He went to Taohuayuan, Zhangjiajie, Jishou and Phoenix with Dai Yun to create sketches.

In 1988, he visited Britain and the Netherlands with a delegation of the Chinese Federation of Literary Sciences and conducted artistic exchanges. His works, such as Gaoqiu Tu, were exhibited at the Wuhan International Ink and Wash Painting Festival, and his article, The Development of Chinese Ink and Wash Painting and Its Freehand-brush Tradition, was published in the Theoretical Seminar and Anthology of the 88 Beijing International Ink and Wash Painting Exhibition On June 29, 1988, the front page of the Calligraphy Newspaper published Lu Muxun's commentary on Wu Zhangshu's calligraphy work "Preface to Lanting", entitled "Two Lanting in a Thousand Years", which caused a great disturbance. As far as the writing of this thousand-character review of calligraphy is concerned, it is assumed that it is one of the best reviews in the past 30 years. Such a short space, some writings, quoting classics and classics, commenting on the past and the present, and expressing their own views incisively and vividly, is really rare and admirable.

In 1989, Hong Kong's New Evening News published six works such as "The Moon" in a special edition and Liu Gangji's commentary articles. She left in June and accompanied Mrs. Dai Yun to Jingshan for convalescence.

In 1990, "Lu Muxun Jingshan Poetry and Painting Exhibition" was held; in the same year, "Hubei Ten People Joint Exhibition" was exhibited in Singapore and invited to visit New Zealand.

In 1991, Art and the Times published five works, such as "Talk on the Art of Judging Bamboo" and "Lotus Township", as well as Liu Gangji, Xu Gongdu and Wu Zhangshu's commentary articles, and "Literature and Art Newspaper" published Jiang Tianmin's commentary articles.

In 1992, the second issue of "Yingchunhua" published 12 works such as "Wild Chrysanthemum" and Jiang Hong's commentary articles. Taiwan's "1992 Mainland Art Selection" published eight works such as "Spring Sound" and "Drunken Lie in the East Hedge" and Jiang Hongwen's "Book Bone Music and Poetry Soul". In the same year, 7 issues of Fine Arts published 9 works such as "Fish Opera Pictures" and "Three Flavors of Chinese Painting - the Musical Rhyme of Book Bones and the Soul of Poetry" with Chen Poping's commentary articles.

In 1992, the people's government of Ruzhou City, Henan Province, held an exhibition of Lu Muxun's poems and paintings in his hometown. After the exhibition, all the works were left to his hometown.

Following the 1990 Beijing Mountain Poetry and Painting Exhibition, solo exhibitions were held successively in Zhongxiang, Jiangling, Tianmen, Honghu and Yanli, Hubei Province. In 1992, he went to Shenzhen to participate in the preparation of the Eighth Invitational Exhibition of Contemporary Chinese Flower and Bird Painting and to make a preface to the album.

In 1993, Taoshitu participated in the First National Flower and Bird Painting Exhibition held by the China Association of Fine Arts and served as a judge; and participated in the Beijing Symposium on the Theory of Chinese Flower and Bird Painting and published the article "Information of Life" in the fourth issue of "Chinese Painters".

On July 26, 1994, Zai Yun, the closest known wife of art, died. Since September, she has moved to Shenzhen, where she has lived in a deep and simple way.

In November 1995, Shenzhen Museum of Art held an exhibition of Lu Muxun's Flowers and Birds Paintings, which caused a sensation in South China.

"New Bud of Peony" participated in "Exhibition of Works of Famous Chinese Contemporary Flower and Bird Painters" and prefaced the album. Participate in "Modern Chinese Painting Exhibition" held in Hong Kong.

Since 1986, he has participated in the 1st - 9th and 11th Invitational Exhibition of Contemporary Chinese Flower and Bird Painting.

In April 1996, he participated in the National Flower and Bird Painting Symposium in Wuxi sponsored by the Chinese Painting Research Institute, and in December in Tianjin, he participated in the First Symposium on Chinese Painting and the Development Strategy of Chinese Painting and published his thesis.

In June 1997, Lu Muxun's Collection of Paintings was published by Zhuhai Publishing House, with 84 works, 11 calligraphic works and 16 reviews since 1978. Cockscomb Flower is included in Book 4 of Complete Works of Modern Chinese Art. In December, the National Symposium on Twenty Years of Reform of Traditional Chinese Painting was held in Shenzhen.

In 1998, he went to Xi'an to collect his works for the late stone painter, Mr. Shi Leiyuan. In July, he went to Dalian to participate in the activity of "Green Field Art House". In November, "Autumn Language" and other works participated in the First Shenzhen International Biennial of Ink Painting.

In January 1999, he wrote "A Family of Lighting Later Generations" for "Shileiyuan Painting Collection", which was published in the 10th issue of "Chinese Characters" in 1999 and the 4th issue of "Chinese Painters" in 2001. In September, he participated in the "Twenty-Year Painting Exhibition of Qingchuan Painting Fair" and other activities.

In April 2000, he went to Xi'an to attend the related activities of Shileiyuan Painting Exhibition. In November, he attended the 6th Mei Dai Congress of Hubei Province and was selected as a consultant. Works such as Shuiyun Township outside the Green Poplar Embankment have been included in the collection of Contemporary Art. In December, "The Rise of Mansions" and other works participated in the Second Shenzhen International Biennale of Ink Painting.

In February 2001, "Spring of Bird Country" and 15 other works participated in the "Spring of the Century Painting Exhibition"; in April, Lu Muxun Painting Exhibition was held in Xi'an Academy of Fine Arts, which was jointly organized by Xi'an Academy of Fine Arts, Shaanxi Academy of Traditional Chinese Painting, China, Shaanxi, Hubei, Shenzhen Association of Fine Arts and Hubei Provincial Arts Federation; and in June, Lu Muxun Painting Exhibition was held in Wuhan. The exhibition was jointly organized by the Chinese Artists Association, the Hubei Cultural Department, the Hubei Wenlian, the Hubei Academy of Fine Arts and the Hubei Artists Association. In September, "Lotus Leaf Fish" participated in the exhibition of "Hundred Years Chinese Painting Exhibition" in the Chinese Art Museum and was included in the "Hundred Years Chinese Painting Collection" and published the "Hundred Years Chinese Painting Exhibition Famous Artists Series".· Lu Muxun's album, The Harmony of the Pestle and the Sun, was included in the New Age Collection of Chinese Paintings, and was appointed as the judge of the 2001 Australian Chinese Painting Exhibition of the Chinese Artistic Association in November.

In April 2001, "Lu Muxun Painting Exhibition" was held in the Art Museum of Xi'an Academy of Fine Arts, Shaanxi Traditional Chinese Painting Academy, Shaanxi Artists Association, Hubei Literature and Art Association, Hubei Artists Association and Shenzhen Artists Association.

In May 2002, "Cockscomb Flower" and "Shuiyun Township outside the Green Poplar Embankment" were included in "Complete Works of Modern Chinese Flower and Bird Painting".

In June 2001, "Lu Muxun Painting Exhibition" was held in the Art Museum of Hubei Academy of Fine Arts, which was jointly organized by the Chinese Artists Association, the Hubei Culture Department, the Hubei Literature and Art Association, the Hubei Academy of Fine Arts and the Hubei Artists Association. In July, Mu Xun's Painting Poetry Draft was published by Macao Publishing House. In November, he participated in the activities of Henan famous painters in the Central Plains.

In September 2003, he was invited to participate in the exhibition and Theoretical Seminar of famous Chinese contemporary flower and bird painters held in Yantai.

In September 2004, he was invited to participate in the "Nine People Exploration and Exchange Exhibition of Chinese Flower and Bird Painting" held by the Beijing Academy of Chinese Painting. In December, he toured Shantou, Xiamen and Shenzhen for exhibition. Nine artists are: Zhao Meisheng, Lu Muxun, Zhou Shaohua, Qi Xinmin, Jia Pingxi, Zhao Guide, Liu Yinxiang, Zhang Guiming and Wang Jinling. The work "Lotus Leaf Fish" is collected by the Chinese Art Museum.

On March 8, 2005, he attended the National Science and Technology Award Conference in Beijing Great Hall of the People and was awarded the Medal of Excellent People's Artists. "I Love Four Gentlemen" participated in "Science and Art - Excellent People's Artists Works Exhibition". In June, "Bamboo and Stone Pictures" participated in "Inheritance and Development - the Second National Academic Invitation Exhibition of Chinese Painters", July "Spring of Bird Country" and "Zhaoshuimei" participated in "2004 National Exhibition of 100 Paintings of Chinese Painting" on October 12, "Gaofengtu" carried "Shenzhou VI" spacecraft to travel in space. On October 30, his works "Fragrant Snow" and others participated in "Inheritance - Innovation - Excellent Artists Invitation Exhibition of Beijing Imperial Museum of Art 2005" and also participated in "North-South Flower and Bird Painting Exhibition" and the 12th Contemporary Chinese Flower and Bird Painting Exhibition. In October, he participated in the Exhibition of Contemporary Chinese Paintings in Hubei Province, which was exhibited in Korea.

In 2006, Mu Xun's Paintings and Characters was published by Hubei Fine Arts Publishing House. At the end of the year, I went to my hometown Ruzhou to teach voluntarily.

In 2007, Hubei Fine Arts Publishing House published the anthology "Qingcha Talking about Art". It is the preface to "Complete Works of Contemporary Chinese Art".

In 2008, Mu Xun's Bailian of Self-written Books was published and elected president of Hubei Ink Painting Institute. In April, he was appointed Deputy Director of the Art Committee of the Art Museum of Shenzhen Cultural Exposition to make a preface to the Exhibition of the Ninety-fifth Anniversary of Chen Zizhuang's Birthday.

On December 16, 2008, "Hometown - Lu Muxun's Works Exhibition", sponsored by China Artists Association, Henan Literature and Art Association, Henan Artists Association, Hubei Literature and Art Association and Hubei Artists Association, was held at Shangdu Art Museum in Zhengzhou. Lu Muxun's Works Collection, a large-scale collection of paintings and calligraphy, was published by Henan Fine Arts Publishing House. Participated in the exhibition "Qingchuan Qingchuan" to commemorate the 30th anniversary of Qingchuan Painting Fair.

In June 2009, he visited Xin'an Longtan Grand Canyon with He Jingzhi, Lixin, Keyan and Huang Yifen. It is the inscription and postscript of "Three Famous Buildings in the South of the Yangtze River in Huangqiuyuan" and "Fine Brushwork Flowers and Birds in Huangqiuyuan". Invited to participate in the "First Nominated Exhibition of Chinese Urban Art Calligraphy and Painting" (China Museum of Art).

From March 30 to April 6, 2010, Lu Muxun-Gao Kunshui Teachers and Students Painting Exhibition of South China Flowers Like the Sea was exhibited at Shenzhen Art Museum.

On May 1, he participated in the May Ink Marks - 50 Paintings Exhibition of Contemporary Chinese Famous Painters at Baiyun Pavilion Art Museum, Huanghe Tower.

November 17, by the Hubei Artists Association, Hubei Ink Painting Academy, Lianyungang Academy of Calligraphy and Painting, Lianyungang Artists Association, Haizhou Academy of Traditional Chinese Painting, Lianyungang Municipal Art Museum. Lianyungang Flower and Bird Painting Research Association, co-sponsored by the "Sound of Mind" - - "Lu Muxun Flower and Bird Painting Academic Invitation Exhibition" opened in Lianyungang Museum of Art, and held a seminar on the exhibition.

On November 24, I went to Haizhou to inspect the "Haizhou Second Carvings" (Confucius Wangshan Buddhist Cliff Statue, General Cliff Painting), and put forward the view that General Cliff Rock Painting is one of the earliest flower and bird paintings in China.

In March 2011, his article "Multi-structure of Contemporary Chinese Painting" was selected as the 12th Five-Year Plan textbook for general higher education.

On April 14, he took his disciples to Shuangjing Village, Xiushui County, Jiangxi Province to pay homage to Huangting's mausoleum.

On August 21, the works participated in the "Wonderful Hundred Years Cross-Strait Painting and Calligraphy Joint Exhibition" in Taipei "National Father Memorial Hall". Taiwan leader Ma Ying-jeou and honorary chairman Lien Chan of the Chinese Kuomintang congratulated Wu Boxiong in writing.

On October 29, I went to Kunshan to attend the Exhibition and Seminar of Art Exhibitions in Memory of Zhang Daqian's 112th Birthday.

On December 15, the exhibition of Xu Songan's 100th Anniversary of Birthday was opened in Wuhan Museum of Art in the year of his birth, and the exhibition was prefaced with a picture album.

On December 27, he took disciple Fu Dubai to visit and exchange art.

Painting in Taihang Mountains in May 2012

In January 2013, the exhibition of calligraphy and painting with bamboo houses was held in Shenzhen by Shenzhen Newspaper Group and Shenzhen Artists Association.

In September 2013, the "Voice of the Heart - Lu Muxun's Calligraphy and Painting Exhibition" was held at the Art Museum of the Academy of Fine Arts of Beijing Tsinghua University, sponsored by the Chinese Artists Association, Tsinghua University, Hubei Literature and Art Federation, Hubei Artists Association, Hubei Calligraphers Association and Hubei Academy of Calligraphy and Painting.

He has been engaged in the research of Chinese painting creation and art theory for decades, and also in calligraphy, poetry and poetry. His works of art and theoretical articles are listed in dozens of newspapers and magazines, such as Fine Arts, Chinese Painting, Jiangsu Painting Magazine, Hubei Painting Newspaper, People's Daily, Hong Kong Wen Hui Newspaper, and held individual works exhibitions in Jingshan, Ruzhou, Shenzhen, Xi'an, Wuhan and Zhengzhou, respectively. In 2001, Lotus Leaf Fish was published. Participated in the Centennial Chinese Painting Exhibition, The Horseshoe Lotus was displayed in the Great Hall of the People in Beijing, and published in the Collection of Paintings in the Great Hall of the People, Qingfeng Langyue and Lotus Leaf Fish are collected by the Chinese Art Museum. In 2005, he was awarded the title of Excellent People's Artist by the State Council. His work Gaofengtu travels in space aboard the Shenzhou VI spacecraft. Some of the works have been included in the Centennial Collection of Chinese Paintings, Complete Works of Modern Chinese Art, Complete Works of Modern Chinese Flower and Bird Paintings, Contemporary Chinese Art, Famous Almanac of Modern Chinese Artists (compiled by China and Japan), Hundreds of Contemporary Chinese Calligraphers and Painters, Dictionary of Contemporary Chinese Painters, etc. He has also been employed as a part-time and visiting professor in many colleges and universities.

Lu's paintings have national cultural connotations, features of the times and personality. They are masters of contemporary literati paintings integrating poetry, calligraphy and painting. Mr. Zhang has a deep pursuit of calligraphy. He integrates seal script, Li script, regular script and cursive script, tradition and painting into one, so that his self-created works of "painting characters" have their own style. Calligraphy is created by painting, painting helps calligraphy; lines are the muscle, poetry is the bone, and style is simple and quiet.

The secretary and his disciples went to a restaurant to have dinner at the Dragon Boat Festival evening. On the way back to the apartment after the banquet, it suddenly rained. His wife took an umbrella out of her bag to shelter him from the rain. Unexpectedly, the husband insisted on removing the umbrella. However, his wife insisted on seeing the rain wet his whole body, but had no choice...

Originally, the gentleman found that the four of them had only brought a raingear with them. He could not bear the Secretary and his disciples to get in the rain, so we were all caught in the rain together.

Sir was eighty-two years old.

Mr. Lu Muxun's Flower and Bird Painting Academic Invitation Exhibition was held in late autumn in Jiangsu. On the way to the hotel, the mood was as humble and kind as the time, but he didn't say a word in the hotel lobby, and his expression was very serious. When he arrived at the dormitory, he was furious with the Secretary and his disciples. He said, "Why don't you do what you have to tell?" The local receptionist was very embarrassed by this.

There are six principles for Mr. Zhang to go somewhere: not to live in five-star hotels, not to eat public meals, not to alarm local government leaders, not to collect flower baskets, not to hold opening ceremonies (preferably not), not to sell paintings.

Secretaries and disciples who are well aware of the four principles of Mr. A violate the principle of Mr. A punishment should also be imposed. Before the banquet started, the vice mayor who took over for Mr. A witty statement was made by the vice mayor: there is no vice mayor here but your students, and all the expenses of the banquet are the salaries of the students themselves...

Mr. <3> Should attend a solo exhibition of some famous figure painters. Mr. saw that hundreds of meters away from the exhibition hall, cars were parked, baskets were laid out outside, balloons were placed in the air, guards were not allowed to enter the exhibition hall entrance, so he had to stand outside for the grand opening ceremony and listen to the official family instructions of celebrities, but Mr. hung them up. The "VIP" bar in front of the chest is still quietly under the ground, squeezing out the crowd and fleeing.

In the spring of a certain year, Mr. Huang Tingjian, one of the four schools of Song Dynasty, was visiting the tomb of Huang Tingjian, the founder of Jiangxi Poetry School, with his disciples. After receiving the news, the local Peking Opera Ticket Club had a strong desire to perform for him. Mr. Huang accepted it enthusiastically. Because of the numerous ticket-holders and the way of performing one by one, so that four hours have not ended, Mr. Happy to insist that all the ticket-holders perform on the stage, some people in the venue are all moved by Mr. Deeply cultivated virtue and the way of dealing with people...

Sir was eighty-three years old.

< 5 > Once Mr. Zhang held a new exhibition. The preface of the exhibition and the preface of the picture album asked the disciples to write and asked them to write more critical words and not flattery words.

Thus, it can be seen that Mr. Hu's teaching to his disciples is imperceptible.

< 6 > In the 1980s, Mr. Zhang took charge of the work of the Hubei Association of Fine Arts and initiated the publication Art Trend of Thought with Zhou Shaohua and others. He and Mr. Zhou served as deputy editor, but invited Peng De, an unknown young man, to be the editor-in-chief of the magazine. When the magazine got on the right track, Mr. Zhang and Mr. Zhou Gongsuo totally handed in the magazine. For Peng de. From this magazine and Exhibition ("New Exhibition of Traditional Chinese Painting"), many excellent artists have been born, such as Gu Wenda, Gao Luming, Li Xiaoshan, Yin Shuangxi, Li Jin, Lang Shaojun, Zhou Jingxin, Jiang Wenzhan, Ding Liren, etc.

It can be seen that the wisdom of Mr. Zhou and Duke Zhou, and the courage of employers.