Where was Lu Zongrun born?

Lu Zongrun, 1972- 1988, once worked in Shanghai Museum. He successively studied under Mr. Xu Maokang, a famous restorer of Yangzhou Painting School, and Mr. Dou, a famous restorer of Su School (once restored the silk paintings of Mawangdui 1 in Changsha), and participated in and independently restored more than 100 masterpieces of Song, Yuan, Ming and Qing Dynasties and modern masters, including "Gate" by Wei Xian, a painter of five generations. During this period, he studied with Mr. Wan Yucheng to mount the tablet.

Chinese name: Lu Zongrun

Nationality: China.

Occupation: painting and calligraphy restoration

Main achievements: cleaning Rhodotorula, removing oil from stone green, embrittlement of alum and three-dimensional reduction of rubbings.

Masterpiece: the origin of painting and calligraphy mounting

Character experience

Lu Zongrun, 1972- 1988, once worked in Shanghai Museum. He successively studied under Mr. Xu Maokang, a famous restorer of Yangzhou School, and Mr. Dou, a famous restorer of Suzhou School (once restored silk paintings of Mawangdui 1 Han Tomb in Changsha), and participated in and independently restored more than 100 famous works of Song, Yuan, Ming, Qing and modern times, including Zhakou by Wei Xian, a painter of the Southern Tang Dynasty. During this period, he studied with Mr. Wan Yucheng for mounting stone tablets.

1989 went to Japan to study the restoration and mounting of Japanese paintings and calligraphy. Over the past eight years, dozens of masterpieces of Tang, Jing, Song, Ming and Qing Dynasties, such as Yi Xiu, Liang Kuan and other Japanese national treasures, have been restored and scattered in Japan, and he is also responsible for restoring the only giant cylindrical Buddha painting in Japan.

1998, Hanhetang painting and calligraphy restoration studio was established in Osaka, Japan, and was recognized by the Ministry of Education and Culture of Japan in the following year. It has become one of the few studios in Japan with the qualification of national painting and calligraphy collection restoration, and the only studio in Japan that specializes in restoring China's paintings and calligraphy collected by national public museums. Since the establishment of 18, Hanhetang has restored more than 200 Japanese public and private museum collections, and almost monopolized the restoration project of all China paintings and calligraphy in Kyoto National Museum.

After decades of research, exploration and practical experience, Mr. Lu Zongrun has successively solved several world-wide technical problems in the field of painting and calligraphy mounting and restoration, including cleaning up red mold, degreasing stone green, embrittlement of alum, three-dimensional reduction of rubbings and so on.

Mr. Lu Zongrun not only made the Japanese painting and calligraphy restoration circle re-recognize China's traditional restoration concept and technology, but also realized the integration of the Tang and Song techniques preserved in Japan and the Ming and Qing restoration culture inherited from China.

Mr. Lu Zongrun also made an in-depth study of the western frontier restoration theory, especially the practice of painting and calligraphy restoration in China under the influence of the current Italian mainstream Brandi restoration theory, and made forward-looking work for establishing a new system of painting and calligraphy restoration and preservation and restoration discipline in the 2/kloc-0 century.

At the same time, Mr. Lu Zongrun is also very interested in the purchase, collection and research of inscription calligraphy, and enjoys a good reputation at home and abroad. Mr. Lu Zongrun's Collection of Famous Monuments and Posts published by famous publishing houses includes the rubbings before Yi Shui, the rubbings at the beginning of Cao Quanbei, the rubbings from the essence of Longyan Monument, the rubbings of Cong Baozi, the rubbings of Lu Junming, the Seventeen Articles of Song Tuo and the Ten Articles of Song Tuo, etc. At the same time, Mr. Lu Zongrun has also written many research articles on inscriptions and published them in core academic journals at home and abroad.

In addition, Mr. Lu Zongrun was a visiting professor at An Tian Women's University in Hiroshima, Japan, and a special lecturer at Kyoto University of Plastic Arts 12 years, teaching the course of mounting and restoration of Chinese and Japanese calligraphy and painting. He has held many courses and lectures in museums, research institutes and universities in Taiwan Province Province, Macau, Beijing and Shanghai, such as the restoration of Chinese and Japanese paintings and inscriptions. Mr. Lu Zongrun is now the master tutor of China Academy of Fine Arts, the vice president of Gongbi Painting Research Institute, the member of the protection and restoration expert committee of China Art Museum, and the director of Hanhetang Painting and Calligraphy Restoration Research Institute.

Main work

Literary theory and inscriptions published by Mr. Lu Zongrun.

The Origin of Painting and Calligraphy Mounting, Taiwan Province Historical Relics1August, 996 (Volume 6, No.4).

Evolution of Painting and Calligraphy Mounting in the Southern and Northern Dynasties, Sui and Tang Dynasties, Historical Relics of Taiwan Province Province 1996 10 (Volume 6, No.5).

Evolution of Painting and Calligraphy Mounting in Song and Yuan Dynasties, Taiwan Province Historical Relics199665438+February (Volume 6, No.6).

Overview of the Development of Painting and Calligraphy Mounting Technology in Ming Dynasty, Taiwan Province Historical Relics 1 February, 997 (Volume 7,No.1).

Overview of Painting and Calligraphy Mounting in Qing Dynasty, Historical Relics of Taiwan Province Province1April, 997 (Volume 7, No.2).

Restoration of Buddhist Master Statues, published in Taiwan Province Historical Relics1June 1997 (Volume 7, No.3).

Analysis on the Origin of Hanging Axle Mounting, Taiwan Province Historical Relics1997 65438+February (Vol. 10No). 12).

Easy Revision, published in Taiwan Province Historical Relics, May 2007 (Volume 17, No.5).

Influence of Adhesives on the Preservation of Calligraphy and Painting, Historical Relics of Taiwan Province Province,No. 5438+0, June 2008 (Vol. 18,No. 1).

He Xinjie, China Calligraphy, 2013,09.

The portrait of Master Xuanzang is not Xuanzang, which was published in China Culture Daily on March 22nd, 20 15.

Liu, a master decorator, comes from the cooperation of others. China Painting and Calligraphy, No.3, 20 16 (total No.0 159).

Mounting and Restoration of Rubbings, Proceedings of the International Symposium on Inscription Calligraphy in China (Hong Kong: Cultural Relics Museum of the Chinese University of Hong Kong, 200 1 edition).

Mounting and Restoration of Rubbings, Proceedings of the Second National Symposium on Rubbings (Beijing: Cultural Relics Publishing House, 20 12).

Ming Tuo Lu Jun Monument (Beijing: Cultural Relics Publishing House, 2009)

Yi river Mingya Stone Carvings (Beijing: Cultural Relics Publishing House, 20 10 edition)

Treasure Monument and Dragon Monument (Shanghai: Shanghai Calligraphy and Painting Publishing House, 20 13).

works appreciation