Jinxixiyuan (Former Residence of Lu Shulun)

Jinxixiyuan (Former Residence of Lu Shulun)

Jinxixiyuan (Former Residence of Lu Shulun) is a cultural tourism attraction.

Sishiyuan is the former residence of Mr. Lu Shulun, a renowned modern painter and national Go master, located in Deqiutang within the ancient town area of Jinxixiang. It derives its name from the two persimmon trees in the garden. The two characters “Sishiyuan” were inscribed by Shen Peng, a celebrated contemporary calligrapher and chairman of the China Calligraphers Association. The main structure of Sishiyuan, "Pianshi Shanfang," was originally built during the Tongzhi era of the Qing Dynasty, as the owner possessed an ancient seal of Shi Tao inscribed with "Pianshi Shanfang" and also found a piece of ancient Lake Taihu rock, which inspired the naming of his study.

Sishiyuan now serves as an art exhibition hall for the calligraphy and paintings of the late Mr. Lu Shulun and his second son, Mr. Lu Jiaheng.

Lu Shulun (1900–1980), whose given name was Ji, also known by his courtesy names Xulun and Shulun, and his art names Lushuzi, Can Daoren, and Sishiyuan Laoren, was a native of Jinxixiang, Kunshan. Known for his reclusive and unpretentious nature with the temperament of a hermit, he excelled in poetry, calligraphy, painting, and the game of Go. In the 1930s, he represented China as a member of the national Go team competing against Japanese players. He studied painting under the renowned modern artist Chen Jian’an and was also a disciple of the school of Lu Lianfu. He once taught at the Suzhou Lanshang Academy of Fine Arts. His landscape paintings carry the essence of Yuan Dynasty artistry, and works such as "Autumn Mountains and Secluded Temple" were selected for the 1937 National Art Exhibition.

Lu Jiaheng, the second son of the late Mr. Lu Shulun, courtesy name Chiping, is currently a member of the China Calligraphers Association, vice chairman of the Suzhou Calligraphers Association, director of the Kunshan Kunlun Hall Art Museum, and a nationally certified first-class artist. His calligraphic works have won numerous awards in domestic and international competitions and are housed in many galleries and museums around the world.

Influenced by his father from a young age, the intelligent and studious Lu Jiaheng inherited his family's legacy in epigraphy, calligraphy, and painting. Initially, his calligraphy was heavily influenced by Dong Qichang and Zhao Mengfu, later drawing inspiration from Yan Zhenqing, Wu Changshuo, and the epigraphy scholar Weng Fanggang. Through these studies, he grasped the brush techniques of calligraphy and painting. He further sought guidance from Song Jiding of the Wu School, eventually dedicating himself to the study of Han and Six Dynasties steles and focusing on clerical script creation. Occasionally, he also created ink paintings, often incorporating cursive seal script techniques, reminiscent of the styles of Xu Wei, Chen Chun, and Wu Changshuo. Lu Jiaheng's calligraphy spans a variety of styles, with particular excellence in clerical script. His clerical script works exude an ancient aura, featuring bold and unrestrained brushwork. The strength, resilience, and powerful momentum of his strokes reflect this vividly. One of his hanging scrolls, inscribed with the phrase "Since ancient times painters were no mere commoners; today’s scenery belongs to poets," reflects the graceful charm of Zhao Mengfu, the bold spirit of Northern Stele inscriptions, and a profound, vigorous texture with soaring momentum. The style of his clerical script crashes like waves splitting the shore, creating snowy peaks, or soars like an eagle cutting through the sky — naturally majestic. Lu Jiaheng’s ink paintings are also uniquely styled. His small-format paintings may be modest in size but radiate grandeur, elegance, and refinement, featuring novel compositions and artistic charm. The bone structure of lines is the lifeblood of Chinese painting. The solid yet lively lines, bright yet understated color palette, and well-rounded forms and spirits in Lu Jiaheng’s paintings ultimately stem from his deep foundation in calligraphy. In his works, bamboo remains evergreen through the seasons — unshaken by fierce winds, undimmed by frost or dew, graceful and pleasant in both summer breezes and autumn dew.

Lu Jiaheng’s depiction of elegant bamboo features unhurried brushstrokes on the stems, with tones that gradually shift between light and dark. The rounded strength of the bamboo trunks is rendered with remarkable liveliness. The bamboo leaves are painted stroke by stroke, with careful modulation of pressure, capturing their near-circular shapes vividly on paper. In his use of ink, the front of the leaves is darker, the backs lighter, and there are few overlapping strokes. The layering from light to dark is orderly even at the tips. Even in the finest details, the brushwork remains fine yet resilient. Truly, “his brush moves as if guided by a divine force, bringing spring wherever it touches.” His artworks exude graceful charm, natural delicacy, and indescribable beauty, setting him apart among contemporary mid-career and young calligraphers.