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草稿:Lu Tie-Zhou

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Lu Tie-Zhou (17 Jun 1899－24 September 1942), originally named Lu Ding-Zhu and a native of Daxi, Taoyuan, was a painter in Taiwan under Japanese rule. He belonged to the Maruyama-Shijō school at Kyoto Painting Academy. Traditional ink-wash paintings were the staple of his works. He was known for flower-and-bird paintings after pursuing advanced training in Japan. Plants, flowers, birds and other animals arose frequently as the subjects of his works,[1]:30, 46 presenting a sense of idealized order with superbly created compositions and other aesthetic qualities. He was also known as “Taiten’s guru.”[2]

Life

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Lu Tie-Zhou was of wealthy origin. His father Lu Ying-Yang liked to hang out with local literati. Learning by osmosis, Lu Tie-Zhou gradually became interested in traditional literature, calligraphy, and ink-wash painting.[3] In the mid-1920s, Lu moved to Taiheichō in the suburbs of Taihoku and opened an embroidery shop there after his father’s demise. He refined his painting skills by drawing flowers and birds for clients and by copying the landscape, flower-and-bird, and figure paintings by famous Chinese artists of the Ming and Qing dynasties and modern times, hence his great competence in calligraphy and painting.[1]:30

Lu Tie-Zhou experienced a setback in his mid-career period. In 1927, the Taiwan Education Association, a front organization of the Department of Education, the Government-General of Taiwan, held the first official “Taiten,” formally introducing the new trends of modern art into Taiwan. Inheriting traditional art, Lu’s work was not favored by the jury and failed to be selected, which prompted Lu to go to Japan in 1928 and enroll at Kyoto Painting Academy, the stronghold of the Maruyama-Shijō school, where he sat at the feet of Fukuda Heihachirō who played a leading role in the modern flower-and-bird painting reform in Japan.[1]:46 In 1929, Lu submitted his paintings Plum and Okra to the third Taiten, and both works were selected for the category of Eastern-style painting. His work Plum further won the laurels of Special Selection.[1][4][5] However, Lu returned to Taiwan in 1930 after merely two years of study due to his family suffered a reversal of fortune. Lu continued to participate in the Taiten after his homecoming. His work Backyard earned him the Taiten Award (1931),[6] Shamo and Castor-oil Plant earned him the Special Selection and Taiten Award (1932),[7] and Southland also earned him the Taiten Award.[8] Lu won awards in successive years, which brought him great fame. Journalist Lin Jin-Hong from the newspaper Taiwan New People even praised Lu as “a talent of the Eastern-style painting scene in Taiwan.”[2]

During the 1930s, a new trend of literati painting emerged in the Taiten. Therefore, Lu considered changing his creative style in the late stage of his career, and submitted his landscape sketching The Dahan River to the seventh Taiten (1933).[9] His attempt at evolving his creative subject, genre, technique, and style found expression in this work.[1]Unfortunately, in the midst of his transformation, Lu fell ill from constant overwork[10][1]:119 that resulted in his cardiogenic sudden death on 24 September 1942.

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In addition to creating works and participating in the Taiten, Lu Tie-Zhou engaged actively in the promotion of painting groups. In 1932, Lu joined the Chinaberry Art Society founded by Gobara Koto and Kinoshita Seigai.[11]:160-166 In 1933, Lin Yu-Shan, Kuo Hsueh-Hu, Chen Jing-Hui, and Lu Tie-Zhou founded the Li Guang Society. In 1935, Lu Tie-Zhou, Kuo Hsueh-Hu, Chen Jing-Hui, Lin Jin-Hong, Yang San-Lang, and Cao Qiu-Pu founded the Six Ink-stone Society, thereby continuing to organize arts education events.[11]:220-225 Lu Tie-Zhou also contributed significantly to arts teaching. After returning to Taiwan in 1930, he began to instruct students in his atelier, originally located in No. 8, the 5th Dist., Taihei-cho, later moved to No. 83, the 7th Dist., and in 1936 it was officially registered as the “Nan-Ming Painting Institute.” Those who had learned painting in Lu’s atelier included Lin Xue-Zhou, Su Qi-Xiang, Liao Li-Fang, Luo Fang-Mei, Lu Meng-Jin, Yu De-Huang, Huang Hua-Zhou, Hsu Shen-Chuan, Chen Yi-Rang, and You Ben-Eh.[1]:138-150[11]:226-229

References

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  1. ^ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 Template:赖, 明珠. 灵动‧淬炼．吕铁州. 台中: 国立台湾美术馆
  2. ^ 2.0 2.1 黄琪惠. 台展泰斗、东洋画翘楚、众画家的一代宗师──大师吕铁州与他的上课教材《鹿图》. 2021 [2022-11-27]
  3. ^ Template:吴, 宝美. 吕铁州与许深州之胶彩创作历程探讨. 书画艺术学刊. 2021, (31): 251-286
  4. ^ 颜娟英. 梅，1929. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所. [2023-05-30]
  5. ^ 颜娟英. 秋葵，1929. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所. [2023-05-03]
  6. ^ 颜娟英. 后庭，1931. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所. [2023-05-03]
  7. ^ 颜娟英. 蓖麻に军鸡 (蓖麻中的军鸡)，1932. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所.[2023-05-03]
  8. ^ 颜娟英. 南国，1933. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所. [2023-05-03]
  9. ^ 颜娟英. 大溪，1933. 台湾美术展览会(1927-1943)作品数据库. 中央研究院历史语言研究所. [2023-05-03]
  10. ^ 吕铁州. 名单之后—台府展史料库. 财团法人陈澄波文化基金会. [2023-05-03]
  11. ^ 11.0 11.1 11.2 白, 适铭. 台湾美术团体发展史料汇编1：日治时期美术团体（1895-1945）. 台中: 国立台湾美术馆. 2019

1. ^ Move to: 1.0 1.1 1.2 1.3 1.4 1.5 1.6 Lai Ming-Chu. Art Museum for Family: Artist Biography: Lu Tie-Zhou (Taichung: National Taiwan Museum of Fine Arts, 2013) ISBN 9789860381603. 2. ^ Move to: 2.0 2.1 Huang Chi-Hui. “Taiten’s Guru, Talented Eastern-style Painter, and Grandmaster of Painters—Lu Tie-Zhou and His Teaching Material The Deer.” 2021 [2022-11-27]. (Original text archived on 2023-03-09). 3. ^ Wu Bao-Mei. “Eastern Gouache Painting: The Creative Processes of Lu Tie-Zhou and Xu Shen-Zhou.” Journal of Chinese Calligraphy and Painting 31 (2021): 251-286. 4. ^ Yen Juan-Ying. “Plum, 1929.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2023-05-03). 5. ^ Yen Juan-Ying. “Okra, 1929.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2023-05-03). 6. ^ Yen Juan-Ying. “Backyard, 1931.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2023-05-03). 7. ^ Yen Juan-Ying. “Shamo and Castor-oil Plant, 1932.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2021-01-26). 8. ^ Yen Juan-Ying. “Southland, 1933.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2023-07-27). 9. ^ Yen Juan-Ying. “The Dahan River, 1933.” Database of Works in Taiten (1927-1943). Institute of History and Philology, Academia Sinica. [2023-05-30]. (Original text archived on 2023-05-03). 10. ^ “Lu Tie-Zhou.” After the List—Database of Futen. Chen Cheng-Po Cultural Foundation. [2023-05-03]. (Original text archived on 2023-05-03). 11. ^ Move to: 11.0 11.1 11.2 Bai Shi-Ming. Historical Compilation of Artist Groups in Taiwan 1: Artist Groups in Japanese Colonial Period (1895-1945). (Taichung: National Taiwan Museum of Fine Arts, 2019).  

[[File:|thumb]]Lu Tie-Zhou
Born 17 June 1899

 Tuā-khoo-khàm Street, Hai-shan-bao, Saⁿ-kak-éng, Taihoku Prefecture, Taiwan under Japanese rule

Died 24 September 1942 (aged 43)

Taiwan under Japanese rule

Nationality Empire of Japan
Ethnic Group inhabitants of main island
Language Taiwanese Hokkien, Japanese
Occupation Painter
Spouse Lin A-Qin
Children Lu Chun-Fan (eldest son)

Lu Chun-Fan (eldest son)

检索自“https://zh.wikipedia.org/w/index.php?title=Draft:Lu_Tie-Zhou&oldid=84346146”