吕凤子，中国画家，教育家。原名浚，字凤痴，号凤子，别署凤先生。擅长中国画、美术教育。
1886年7月7日生于江苏丹阳，1959年12月20日卒于南京。
他15岁中秀才，曾在苏州武备学堂和南京两江优级师范学堂图画手工科学习，后到上海创办神州美术院。
1909年毕业于南京两江优级师范图工科。曾任两江师范附属中学教师、北京女子高等师范教授兼专科主任。
1911年创办正则女子职业学校，1919年起，先后任上海美术专科学校教授兼教务主任，江苏省立第六中学校长，南京国立中央大学艺术系国画组主任、教授兼大学研究院研究员。
1935年任其创办的丹阳正则女子职业学校校长，日军侵占丹阳后，率部分教师内迁四川，创办私立正则艺术专科学校。后受教育部聘任壁山青木关国立艺术专科学校校长。
1940年任国立艺术专科学校校长，1942年创办正则艺术专科学校。
1951年任苏南文化教育学院艺术系教授、江苏师范学院图画制图系主任。
1953年任江苏师范学院图画制图系主任，兼中央美术学院民族美术研究所研究员 。
1958年任江苏省国画院筹备委员会主任。曾当选苏南文联委员，中国美术家协会江苏分会副主席，江苏省人大代表。

吕凤子一生从事艺术教育，培养了大批美术人才。

1951年，吕凤子受苏南行署文教处之聘，来到无锡苏南文教学院任美术教授。1952年秋，吕凤子随校迁苏州，在江苏师范学院（现苏州大学）任教。吕凤子看见自己毕生憧憬和追求的理想社会，而今在共产党的领导下已成为现实，他由衷地感到高兴。1953年，他主动将“正则艺专”全部交给人民政府，家中没有留下任何一件用品。

吕凤子先生晚年，精心刻制了“而今乃得生之乐”，“老子犹龙”两枚印章，作画时钤在画上，以彰其志，他说：“这快乐是忘我无私的共产党给我的，是毛主席给我的。我又怎能不谢他呢？我感谢他，我爱他，等于我爱太阳。我爱太阳，我将画太阳，画人民爱戴的太阳，画太阳的光，画太阳的热，无休地画到手僵，笔直！”

吕凤子晚年多病，患有高血压、风湿性关节炎、心脏病等。北方的友人请他为毛泽东、周恩来、刘少奇、董必武、朱德等党和国家领导人作画，他欣然提笔挥毫，一一画好寄去，还作了《马克思像》、《孙中山像》、《鲁迅像》等，表达了他对这些伟大革命家的崇敬之情。

1959年夏，吕凤子先生肺癌已进入晚期，被困倒在病榻上。国庆节，他生命垂危，还要家人扶着，画了老松三幅，其中一幅《寿毛主席》，题着思考已久的诗句：“辟地开天畅生力，谁实主之毛主席；主席其神乎？穷通一往变无极。谁使变皆成奇迹，主席其圣乎——主席非神也。从未自居是圣哲，却自喻拟而今而后，个个人人都得到炼成的那块历劫不磨铁。不磨铁，能发异光产奇热，光愈明，热愈烈。这便是六亿五千万人民共仰的毛主席。寿毛主席，一九五九年国庆日，卧病苏州，老凤。”这是凤先生不幸长逝前的绝笔。

吕凤子先生是一位伟大的教育家和艺术家，他一生在艺术教育这块园地里辛勤培育，播扬芬芳，鞠躬尽瘁，功在国家与人民，是永远值得人们怀念的。

在近代中国画史当中有三位人物画颇见特点的画家，一为丰子恺、二为叶浅予，还有就是吕凤子了。而吕凤子在这三位中所留下的作品最少，这就愈显吉光片羽之贵了。
吕凤子幼时极为聪颖，十六岁就得中秀才，十八岁在苏州武备学堂习武。二十岁才开始习绘画，就读于李瑞清所开办的南京两江优级师范图工科。颇受李的器重，毕业后遂曾留校任教。而后的几十年里吕凤子便一直与美术教育密切相关着。
李瑞清主持的两江优级师范是清代大僚张之洞所支持下所开办的的，原是为兴办新学。而科目开设有博物、数学、音乐、图画、手工等等。其他科目均可聘请日籍教师，而美术则由山水画家萧俊贤和日人盐见竞、亘理宽之助教授。所以吕氏所受的绘画教育应是属于“中西合璧”式的。既学有传统的课徒式的山水画，也学有西方先进的素描观念。但是当时“两江”的素描教学是由日本人传授的，这与欧洲的学院派素描是有所区别的。因此吕氏虽受“中西合璧”式教育，但这与后来的徐悲鸿、刘海粟等人的“中西合璧”有着从角度上的本质区别。
正因为吕氏所受的素描教育并非欧洲学院教育，而是讲求、重视线条的“日式素描”，这与中国传统的线描似有共通之处。这对于吕凤子以线为主的画风奠定影响极大。
由于吕氏所受的“日式素描”的影响，其对于透视、解剖、色彩、构图，均深有研究。吕凤子曾编写过关于透视、解剖、色彩、构图等图画基础知识的讲义。因而吕氏的人物画特色与前代人物画不同之处也正在于此。
前代顾恺之的人物画今已失传，仅从摹本来看，或称"迹不逮意"。而吕氏的人物画则写形貌色极为生动，颇有顾氏"传神阿堵"的妙处。他的《罗汉图》颇具特色。往往造型古拙，线条流畅。其中《四阿罗汉图》题诗曰：“皆来闻见，弥触悲怀，天乎、天乎。狮子吼何在？有声出鸡足山，不期竟大笑也。"画面上四个阿罗汉仰着面，一个在悲天，一个在悯人，而后面两个阿罗汉则在嘲笑西北方的声音。作品借阿罗汉讽喻时局，耐人寻味”。
吕凤子的人物画的归类，虽有不少讽喻时局的作品，具有浓厚的爱国主义思想内容。但是绝不同于徐悲鸿的现实主义人物水墨画，吕氏的画品风格仍应归于文人画的范畴之中。
文人画的最主要的特点是“以书入画”。吕氏的书法承清道人李瑞清之法，极有特色。且与其画风也能较好和谐。吕氏对于书法与绘画之间关系的论识极有见地：“中国画一定要以渗透作者情意的力为基质，这是中国画的特点。所以中国画最好要用能够自由传达肩、臂、腕力的有弹性的兽毫笔来制作，用手指或其他毛刷等作画，只能构成一种缺少变化的线条，它不能用来代替兽毫笔。”而“成画一定要用熟练的勾线技巧，但成画以后一定要看不见勾线技巧，要只看见具有某种意义的整个形象。不然的话，画便成为炫耀勾线技巧的东西了。”
吕氏对于中国画的理解有两个层面：其一要用毛笔，即书法用笔。其二用线造型的目的是“形”，而不是笔墨技巧。而吕氏的这一主张应该是对于中国画发展极熨帖的建议：既不要放弃笔墨，又不要拘于笔墨。

吕凤子早年就已经表现出非凡的才气，1901年十五岁时就与韩笔海、荆钟善、胡小石等一起考中秀才，与胡小石一起有“江南才子”之誉。吕凤子早年有以身报国的志向，曾一度考入苏州武备学堂学习武术，以后才转入两江优级师范学堂图画手工科学习，从此走向绘画创作和美术教育之路，逐渐成长为近、现代史上卓有成就的美术教育家和著名的中国画家。

按照吕凤子的说法，他一生做了三件事，其一是画画，其二是教书，其三是办学。

他曾先后在两江附中、宁属师范、常州五中、武进女师、长沙四师、扬州五师、镇江六中、正则女子职业学校、北京女子高等师范大学、私立上海美专、中央大学艺术系、国立艺术专科学校、国立社会教育学院、苏南文化教育学院艺术系、苏南文教学院、江苏师范学院任教，同时担任了不少教育行政职务和与美术相关的社会职务、学术职务，从事教育工作前后长达五十年，为中国的美术教育事业奋斗了一生。

在他晚年所有的活动中，最为重要的是1957年参与江苏国画院的筹建工作。这一参与不仅对他个人极为重要，对于江苏美术事业的发展更具有深远的意义。他花费两年多的时间撰述的《中国画研究》一书，是根据自己多年的创作经验积累和研究成果而作的画学总结，将数千年中国画的基本原理、特征、方法等进行了系统地梳理、剖析，是一部带有个人创作和研究经验总结性质的美术理论著作，为新时期“江苏画派”的形成和发展做出了卓越的贡献。

吕凤子1909年于两江优级师范学堂结业后，次年在上海创办神州美术学院；1912年在丹阳捐献家产，创办丹阳正则女子学校，1925年改为正则女子职业学校。抗战军兴，在陈立夫、张澜等人的支持下，1938年于重庆璧山县创办江苏省正则职业学校蜀校，1942年在教育部备案，正式创办正则专科学校。1946年回江苏前，将全部校舍捐赠璧山地方政府办学。同年秋，在丹阳重建正则，分四部分：正则小学、正则中学、正则职校、正则艺专。1951年将正则学校全部转交人民政府公办。
吕凤子早在新中国成立前的二三十年代就已经享有很高的声誉，徐悲鸿、张大千、陈之佛、傅抱石、钱松岩等对他的品德和才艺均有着极高的评价。我国现代美术界卓有声望和成就的美术家刘海粟、徐悲鸿、吴冠中、李可染等都曾随其受学，受到他的美术教育和艺术熏染。
吕凤子山水、花鸟、人物画均极为精湛，但最主要的成就还是体现在人物画上。早年、中年时期的仕女画、诗意画，入蜀后的罗汉画以及建国后表现人民生活题材的绘画，都为他在不同时期赢得了盛誉。

吕凤子一生创作了为数不菲的绘画作品。所作松树题材的作品不下千幅之多，抗战期间于壁山县创作的罗汉题材的作品亦接近两千五百余幅，如果再加上他最为擅长、且延续时间最长的仕女画、诗意画作品，一生创作的作品恐怕不下数千幅。吕凤子的绘画创作，主要是为了办学和教学的需要而进行的，他的绝大多数绘画作品多用于馈赠和出售，以便向社会争取办学的费用，其中也有不少绘画作品是为学生创作以留作纪念的。
通过各种途径，吕凤子的许多作品自创作之后即散佚在私人之手，真正集中保存下来的很少。目前国内除了苏州市博物馆、淮阴市博物馆等文博机构、丹阳档案馆（家人委托收藏）以及萧平、马晓锋等人有部分集中收藏之外，其他大多零散地藏于私人之手；海外有关公私机构收藏、研究吕凤子作品的状况，也不是十分明朗。这为系统地展开研究工作带来很大的困难。但目前亦约有数百幅可确知线索的作品，况且不断有新的绘画作品和文字资料被不断地发现，这对于集中进行吕凤子绘画艺术的研究，也提供了较为充分的基本条件。无论是什么样的原因，让这样一位如此重要、卓越的艺术家长期以来被忽略在人们的视野之外，不能不说是历史的遗憾。
20世纪80年代以后，有关吕凤子绘画研究、出版、展览及相关纪念活动逐渐活跃起来，吕凤子学术研究会、吕凤子纪念馆等先后成立，有关吕凤子的研究论文及著作也不时发表，将吕凤子宣传、研究和纪念活动进一步推动起来。但迄今为止，对吕凤子的研究无论是从深度、广度还是系统性上看，都不能与吕凤子的地位和作用相符合。相信随着条件的逐渐成熟，吕凤子的艺术成就将会越来越清晰地呈现在世人面前。 　

Lv Fengzi, Chinese painter, educationist. Formerly known as Jun, Feng Chi, Feng of the word, not the Department of Mr. Feng. Good at Chinese painting and art education.
July 7, 1886 born in Jiangsu, Danyang, died in Nanjing in December 20, 1959.
He was scholar of the 15 years, in the Suzhou military academy and Nanjing lianjiang Normal School of painting and handwork to Shanghai after learning, China Academy of fine arts founded.
1909 graduated from Nanjing lianjiang normal engineering drawings. A former high school affiliated to Beijing Liangjiang Normal teacher, professor and director of the women's higher normal college.
Established in 1911 1919, the women's occupation school, has served as the Shanghai School of fine arts professor and the dean of Jiangsu provincial sixth secondary school principals, Nanjing national Centre College Department of art of Chinese painting group director, professor and researcher at the Institute of university.
In 1935 he founded the Danyang regular female vocational school principals, the Japanese occupation of Danyang, the rate of some teachers moved to Sichuan, founded private regular art school. After the appointment by the Ministry of education Bishan Qingmuguan national art training school.
In 1940 he was appointed president of national art college and founded regular art school in 1942.
1951 South of Jiangsu Institute of culture and education, Professor of art, Jiangsu Teachers College Department of graphic design.
1953 he served as director of the Department of graphic design, Jiangsu normal college, and researcher at the National Institute of fine arts, China Central Academy of Fine Arts.
1958, director of the Preparatory Committee of Jiangsu Academy of Chinese painting. Who was elected to the South of Jiangsu Federation of literary and art circles, Chinese Artists Association, vice chairman of the Jiangsu branch, Jiangsu Provincial People's congress.

Lv Fengzi has been engaged in art education in his life and cultivated a large number of art talents.
In 1951, Lv Fengzi by the administrative office of South of Jiangsu Education Office hired, came to Wuxi South of Jiangsu Education College as professor of fine arts. In the autumn of 1952, Lv Fengzi moved to Suzhou with the school and taught at Jiangsu Normal College (now Soochow University). Lv Fengzi saw his lifelong vision and pursuit of the ideal society, now under the leadership of the Communist Party has become a reality, he sincerely feel happy. In 1953, he took the initiative to "regular art" all the way to the people's government, did not leave any piece of equipment in the home.
Mr. Lv Fengzi in his later years, carefully carved "is now live music", "Lao Tzu and dragon" two seal, seal paint on the painting, he said: "to Chang Chi, this happiness is selfless Communist Party for me, was given to me by Chairman Mao. How can I thank him? I thank him, I love him, equal to I love the sun. I love the sun, I will paint the sun, draw the people's beloved sun, draw the sun's light, draw the sun's heat, without painting the hands of the stiff, straight!"
Lv Fengzi's sick, suffering from hypertension, rheumatoid arthritis, heart disease, etc.. The friend asked him to Mao Zedong, Zhou Enlai, Liu Shaoji, Dong Biwu, Zhu De and other party and state leaders to paint, he readily pick up a pen brush, one picture sent, also made "Marx like", "Sun Zhongshan", like "Lu Xun as", he expressed these great reverence.
The summer of 1959, Mr. Lv Fengzi has entered advanced lung cancer, trapped down in bed. National Day, he was dying, but also his family helped draw old pine three pieces, including a "life of Chairman Mao", inscribed with thinking long poem: "to open free Miguel, Chairman Mao who is president of the LORD; God? Poor through one to change without pole. Who makes all miracles, the chairman of his sacred - Chairman non God also. Never is itself a sage, but since Yu to everyone from now on, each piece of iron does not ever make. Not to send different light producing iron, Jire, more light, intense heat. This is the Chairman Mao of six hundred and fifty million people. The life of Chairman Mao, the national day, 1959 is Suzhou, the old phoenix." This is Mr. Feng died before his misfortune.
Mr. Lv Fengzi is a great educator and artist, his life hard to cultivate, in art education in the garden spread fragrance, their power in the country and the people, is always worthy of nostalgia.

There are three portraits quite characteristic of painters in modern China history, one for Feng Zikai, and ye Qianyu, there is the lv. Lv Fengzi left in these three works at least, it is more and more expensive, the fragment of a highly treasured relic.
Lv Fengzi was extremely intelligent, have the scholar in sixteen years old, eighteen years old in the Suzhou Military Academy of martial arts. Began learning painting at the age of twenty, the school opened in Li Ruiqing's Nanjing lianjiang normal engineering drawings. Li popular attention, after graduation he had taught. Lv Fengzi has been closely related to art education for decades.
Li Ruiqing presided over the lianjiang normal is the Qing Dynasty Liao Zhang Zhidong under the support offered by the original, is to set up the new. The course has natural history, mathematics, music, painting, crafts. All other subjects have a Japanese teacher, and art by landscape painter Xiao Junxian and the Japanese professor, see salt Watari Kannosuke. So the Lushi painting education should belong to the "Chinese and Western" type. Not only learn the traditional style of landscape painting, but also learn the western advanced sketch concept. But when the "sketch teaching rivers" is composed of Japanese taught, and the European School sketch is different. Therefore, although the "Lushi Chinese and Western but this type of education, and later Xu Beihong and Liu Haisu's" Chinese and Western "has essential difference from the angle of.
Because education is not a sketch by the European Institute of Education Lu, but also pay attention to the line, "Japanese sketch", the traditional line drawing and Chinese seem to have in common. The main line of the Lv Fengzi style lay a great impact.
Due to the influence of LV by Japanese sketch ", the perspective, anatomy, color, composition, have deep research. Lv Fengzi has written on perspective, anatomy, color, composition and other basic knowledge of the picture notes. The LV figure painting features and the previous generation figure painting the difference is this.
Before the generation of Gu Kaizhi's portraits of this has lost, only from a point of view, or "traces of incompetent italy". Lu and figure painting writing morphology color extremely vivid, Gu's "beauty is a life like portrait by ink". His "arhat pursues" characteristic. Often modeling simple, smooth lines. The "four questions" O Arhats map said: "all to smell, touch more compassion, heaven, heaven. Lion roar? Have a sound gyejoksan, not actually laughing. "The picture four eluo Hanyang face, a sad day, one in Benjamin, and behind the two Arohan at the Northwest sound. Works by arhat allegorical situation, intriguing".
Lv Fengzi's portrait is classified, although a lot of the allegorical works, with strong ideological content of patriotism. But not the same as Xu Beihong's realistic figure painting, painting style still Lu should be attributed to the category of literati painting.
Literati painting is the most important feature is the "art book". Lu Qing Taoist calligraphy bearing Li Ruiqing's method, is very special. And can the harmonious style. Lu on the relationship between calligraphy and painting theory knowledge very insightful: "Chinese painting must to penetrate the author affection for the matrix, which is characteristic of Chinese painting. So Chinese draw the best to use free to convey the shoulder, arm, wrist force of the elastic beast without pen making, with a finger or other brush painting, only constitute a lack of change lines, it cannot be used to replace the beast without pen." And the painting must use skilled hook line skills, but after painting must not see hook line skills, to see only a sense of the whole image. Otherwise, painting has become something to show off the hook line technique."
Lu has two aspects for Chinese painting understanding: one should use a brush, namely calligraphy pen. Second, the purpose of line modeling is shape, rather than pen skills. But this claim should be very Yuntie's proposals for the development of China painting: don't give up and don't stick to the ink ink.

Lv Fengzi's early years have showed extraordinary talent, in 1901 at the age of fifteen, Jing Zhongshan, Hu Xiaoshi and Han Bi sea together Xiucai examinations, together with Hu Xiaoshi "Jiangnan" reputation. Lv Fengzi's early ambition was once a die for the sake of the country, was admitted to the Suzhou military academy to learn martial arts, later transferred to lianjiang normal school, learning from the manual drawing, painting and art education, gradually grow into successful art educator in modern history and famous painter Chinese.
According to Lv Fengzi, he has done three things in his life. One is painting, the other is teaching.
He has taught at the school, Nanjing is normal, two fifth Changzhou, Wujin, Yangzhou Changsha women four division, five Division, six in Zhenjiang, the women's regular occupation school, Beijing women's Higher Normal University, a private Shanghai Academy of fine arts and Art Department of Centre College, the National College of art, the National Institute of social education and culture of South of Jiangsu College of education the art department, South of Jiangsu Education College, Jiangsu normal college, as well as a lot of education and art related administrative duties and social duties, academic positions, engaged in educational work after fifty years, the struggle for life education of art China.
In his later years all activities, the most important thing is to participate in the preparation of the Jiangsu Chinese Painting Institute in 1957. This participation is not only very important to his individual, but also has far-reaching significance for the development of Jiangsu's fine arts. He spent two years writing the book "Chinese painting research", is based on his many years of accumulated experience and research results of creation and painting will be summarized, for thousands of years, the basic principle and method of Chinese painting characteristics were systematically analyzed, is a personal creation and research experience summarize the works of art theory in nature, has made outstanding contributions to the formation and development of the new era of "Jiangsu school".

Lv Fengzi in 1909 to lianjiang normal school after graduation, the Academy of Fine Arts was founded in Shanghai, China; 1912 in Danyang donated property, the founder of the Danyang women's regular school, in 1925 changed to the regular female occupation school. Anti Japanese army Xing, in support of Chen Lifu, Zhang Lan and others, in 1938, founded in Chongqing, Jiangsu regular vocational school Shu School, in the Ministry of education in 1942 for the record, formally founded regular college. 1946 back to Jiangsu, will be donated to all schools in Bishan local government. The autumn of the same year, in the reconstruction of Danyang is divided into four parts: regular, regular, regular, regular primary school middle school vocational school, regular college. 1951 will be transferred to the people's Government of all regular schools.
Lv Fengzi as early as the founding of new China in 20s and 30s has enjoyed a high reputation, Xu Beihong, and so on, and so on, and so on, he, he, and so on, and so on, and so on, such as, he, he, he, and so on, and so on, he, such as, and so on, such as, he, he, he, he, and so on, and so on, and so on, and so on, and so on, and so on, and so on. China's modern art circles and prominent achievements of Liu Haisu, Xu Beihong, Wu Guanzhong artists, Li Keran had with the school, by his art education and art influence.
Lv Fengzi landscape, flower and bird, figure painting are extremely exquisite, but the most important achievement is still reflected in the figure painting. Early, middle age paintings, poetry, people's life the theme of the painting and painting Sichuan after Lohan after the founding of the PRC, for he has won good reputation in different periods.
Lv Fengzi created a lot of paintings in his lifetime. The pine works no less than one thousand of them, during the Anti Japanese war in Bishan County creation works near Liangqianwubaiyu's picture, if coupled with him at the most, and the continuation of paintings, works of poetic painting for the longest time, life works may not be number one thousand pieces. Lv Fengzi's painting is mainly carried out in order to need education and teaching, most of his paintings for the gift and the sale, in order to strive for the cost of running to the society, which also has a lot of paintings is for students to create the souvenir.
Through a variety of ways, many of Lv Fengzi's works since the creation after scattered in private hands, rarely concentrated preserved. At present, in addition to the Suzhou City Museum, Huaiyin City Museum and other cultural institutions, Danyang archives (family commissioned Collection) and Xiao Ping, Ma Xiaofeng et al. Part of the centralized collection, the other is scattered and hidden from private hands; study of the works of Lv Fengzi, the overseas private institution is not very clear. This brings great difficulties to the systematic research work. But there is also some hundreds of pieces can ascertain the clues of the works, and there have been new paintings and text data has been found, the research focus on Lv Fengzi's painting art, but also provides the basic conditions more fully. No matter what kind of reason, so that such an important, outstanding artists have long been ignored in people's vision, can not help but say that the history of regret.
After 1980s, the Lv Fengzi painting research, publication, exhibition and related commemorative activities gradually became active in academic research, Lv Fengzi, Lv Fengzi memorial hall has set up, research papers and books about Lv Fengzi also published from time to time, Lv Fengzi propaganda, research and further push up commemorative activities. But so far, the study of Lv Fengzi, whether from the depth, breadth or systematicness, can not be consistent with the status and role of Lv Fengzi. I believe that with the gradual maturity of the conditions, Lv Fengzi's artistic achievements will be more and more clearly presented in front of the world.