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卢子枢作为广东国画界传统派的代表人物,跨越了民国与新中国两个时期,他的山水画创作相应地可分为传统古意与现实创作两个阶段。卢子枢在民国时期的画作,记录了一个发自内心拜服传统之人在早期的观念以及他矢志努力的方向;进入新中国,他虽写生入画,尽力描绘祖国大好河山,但缘于个人传统文人书卷气质,其特色还未能达到新时代的要求。他的生平机遇与作品风格标示着传统文人画家在近代中国画坛的艰辛探索与追求。
As a representative of the traditional school of traditional Chinese painting in Guangdong, Lu Zishu spanned the two periods of Republic of China and New China. His landscape painting can be divided into two stages: the traditional ancient writing and the realistic creation. Lu Zheshu’s paintings in the Republic of China recorded the early concept and the direction of his determination of a man of inner worshiping traditions. Although he was painting in the new China, he tried his best to portray the magnificence of the motherland but due to the booklet of individual and traditional literati Its characteristics have not yet reached the requirements of the new era. His life opportunities and works style mark the arduous exploration and pursuit of traditional literati painters in modern Chinese painting circles.