Lu Dongzhi, 1962, from Beijing. On June 5th, 1997, one of the first private museums in Chinese mainland, the Museum of Ancient Pottery Civilization was established. 201111died of a sudden heart attack on October 24th at the age of 49.
Chinese name: Lu Dongzhi
Nationality: China.
Place of birth: Beijing, China.
Date of birth: 1962
Date of death: 201101October 24th.
Occupation: calligrapher
Graduate school: Northwest University
Main achievements: the museum of ancient pottery civilization was established.
Representative Works: Collection of Qin's Works
Character business card
Lu Dongzhi, male,1born on September 20th, 962), was actually born on the Gregorian calendar 10 and 18, but he was used to the summer calendar and the old year number, and the date of10 was September 20th of the old calendar. Established one of the earliest private museums in Chinese mainland-Museum of Ancient Pottery Civilization.
Walking on the West Street of You 'anmen, Xuanwu District, Beijing, and crossing a narrow alley, I came across the "Museum of Ancient Ceramic Civilization" by accident. My mind is still imagining the grandeur it may have, but my heart is frozen by this quaint and dignified antique building. The lush pines and cypresses in front of the museum witnessed its history. Weeds are overgrown on the wall, the patterns on the wall that are eclipsed by disrepair and the sparse tourists seem to be telling its loneliness and loneliness. Compared with the eye-catching advertising signs and lively crowds in the Grand View Garden next to it, this corner is really too deserted.
Low-key performance
As the curator of the museum of ancient pottery civilization, he has tens of millions of wealth, but still maintains a low-key and simple life. No matter how rich people around him are, he is unmoved and insists on not selling a collection.
"I am a museum, which is different from any investment project. I don't sell collections, and I don't want to make money from them. Therefore, collection is the love of my life, not an investment. "
However, whether it is admitted or not, the more than 3,000 artworks collected by Lu Dongzhi, only the Wadang series in the Han Dynasty, are increasingly scarce. The market price of each piece is more than 20,000 yuan, and the estimated total value has exceeded10 million yuan. Objectively speaking, he left a lot of wealth to future generations, but the beneficiary of this investment is not himself, but the whole society.
Personal experience
Lu Dong taught himself poetry and calligraphy when he was in middle school. 198 1 studied calligraphy with Mr. Ouyang Zhongshi. 1982 studied poetry writing with Mr. Wang, and later studied poetry and music with classical poets such as Jin Jishui, Ma Liqian, Kong and Liu Yuxuan. 1985 won the first prize in reportage of "International Youth Year Essay".
1986 won the first prize of "the first national miniature novel competition". Joined Beijing Branch of Chinese Writers Association and went to Luxun College of Literature of Chinese Writers Association for further study. From 65438 to 0987, he entered the writer training class of Northwest University and began to teach himself cultural relics collection and archaeology.
1988 part-time editor of writers publishing house. 1989 after graduating from northwest university, I left my job to concentrate on studying novels, poems and paintings, and was obsessed with collecting archaeology. 1992 The Collection of Poems and Paintings was published, and the Beijing Writers Association and China Youth Publishing House jointly held a seminar on the Collection of Poems by Lu Dongzhi.
1993 participated in the preparation for the publication of collector magazine and held the "Ludong Collection Tile Exhibition". 1994 participated in "94 Oriental Collectors Cultural Relics Annual Exhibition". 1995 made 60 original pieces of Wadang rubbings collected by Lu Dongzhi in the Warring States Period, Qin and Han Dynasties, found Qin Nifeng and made every effort to collect, protect and preliminarily sort out the research. 1996 held the "Exhibition of Tile Printing in Eastern Shandong", cooperated with professors on the academic project of Qin Niyin, co-authored the Collection of Qin Niyin, founded the museum of ancient pottery civilization, co-organized the "First Academic Seminar on Newly Discovered Qin Niyin" with Northwest University * *, announced the major discoveries of Qin Niyin, and was applied as a part-time associate professor of Northwest University.
1997, the Museum of Ancient Pottery Civilization was opened, and a series of special exhibitions such as "Cave of Painted Pottery, Vase Grand View, Mud Seal, Preface of Ancient Pottery" were launched.
1998 completed 80 rubbings of "Dream of Liu Zhen, Zhai Qin, Mu Feng, Lu Dong", and was invited to give a mud-sealed lecture in Japan, and held many academic and artistic exchange activities in Tokyo and Osaka.
1999, he produced 60 Oracle Bone Inscriptions rubbings in Dream of the Road East. In 2000, the "Demolished Structure and Others-Ludong Art Exhibition" and the "Special Exhibition of the Third Anniversary of the Opening of the Museum of American-Austrian Ancient Ceramics Civilization" were held. 200 1 Write columns such as Dream Zhai Miscellaneous Language for China Cultural Relics Newspaper and Cultural Relics World Magazine, design logo, make 80 rubbings of Ancient Ceramic Civilization Museum, collect, protect, sort out and conduct on-the-spot investigation.
In 2002, he cooperated with Professor Zhou Xiaolu on the topic of "Research on Dredging in the Warring States Period in Xincai", jointly organized on-the-spot investigation, and jointly published a series of articles such as "Discovery of Original Dredging".
In 2003, 60 rubbings of the Warring States Period Clay Seal of the Museum of Ancient Ceramic Civilization were produced. In 2004, he put forward the theory of "ancient pottery civilization coordinate system" and began to preside over the basic work of "ancient pottery civilization coordinate system project". In 2005, we held "acrylic rock exhibition of gods or witches-Ludong" and "art exhibition of gods or witches and others-Ludong".
In 2006, he published the collection Possibility-A Lonely Traveler's Poetic Journey.
In 2007, the Exhibition of Ancient Ceramic Civilization-Exhibition of the 10th Anniversary of the Opening of the Museum of Ancient Ceramic Civilization was held.
In 2008, he published "Journey to the Tao-Collection of Ancient Ceramic Civilization Museum".
Strange fate or choice
"There is a kind of suffering is a choice", which is a sentence in a poem written by Lu Dongzhi in his early years. He put this poem and other poems into works of art and hung them in the exhibition hall of the museum, which was particularly eye-catching. It is from these poems that we can read his loneliness and detachment, and his inner world full of ideals and dreams.
Embarking on the road of collection, Lu Dongzhi said, is an inexplicable fate and the result of choice. It is the dream of all young people to resume the college entrance examination after the Cultural Revolution and enter the halls of universities. Lu Dongzhi failed in the college entrance examination for the first time in Sun Shan, but the physical examination found a heart attack, which ruined his possibility of taking the second college entrance examination, which was a great blow at that time. Therefore, he had to make a determined effort to teach himself. In order to make achievements in calligraphy, painting, poetry and other literary and artistic aspects, he sought teachers and friends and traveled all over Beijing. In this process, he met many famous teachers, such as Ouyang Zhongshi and Xiao Lao, and his calligraphy works won awards one after another. 1985, his reportage works won the first prize of "International Youth" essay, when he was only 23 years old. Wang Meng, Tang Dacheng, Cong and other literary predecessors especially appreciated him, so he joined the Beijing branch of the Chinese Writers Association and was recommended to Lu Xun College of Literature of the Chinese Writers Association for further study.
1987, Lu Dongzhi was admitted to the writer class of Northwest University. I wanted to make some achievements in literature, and I also wanted to get a paper diploma. However, when he set foot on the land of Feng Shui in Xi 'an, he was attracted by the thick and mysterious atmosphere of ancient civilization, and collecting archaeology became his dream. During his school days, he focused on treasure hunting and dreams, and started his initial "archaeology" at the site of Northwest University Library. At that time, he searched in the deep pit of the former site of Northwest University Library with his backpack every day, feeling so puzzling that he forgot to eat and sleep, and gradually got the remaining pottery tiles, which were filled with desks and beds in the dormitory. This has become a temporary legend and joke for his classmates who are trying to realize their dreams as writers.
However, he was not satisfied with what he got, and he decided that what he was looking for had not yet appeared. Finally, one day, he kicked out a Tang tablet with three lines and six characters on it: the first line is "You", the second line is "Bodhisattva" and the third line is "Bowser". He felt that his soul was touched and suddenly calmed down, and he had a sense of detachment and longing. He decided that this was the psychic artifact he was obsessed with and destined to belong to him. "You can't hope for a bodhisattva", what a complete sentence, a Oracle Bone Inscriptions. Since then, he has been more devoted to the collection, and his infatuation has never changed. Romance has never stopped. "Collection" changed his life and life.
Dreams are full of hardships.
From the very beginning, Lu Dongzhi's book collection broke away from vulgarity, ornateness and popularity, thus tending to be lofty, elegant and unpopular, and always putting academic value first. He found that history is uncovering a mystery, a thin seam shining with strange light. It was history that helped him to become a scholar, which enabled him to accumulate treasures in all directions in more than ten years, and quickly established a collection system with elegant taste and huge structure, comparable to those of predecessors who gathered knowledge, power and money 50 years ago. In 1980s, China people began to wake up from the nightmare of "Cultural Revolution", culture began to revive, and personal consciousness and wealth consciousness gradually awakened. A collection craze with the attributes of popular culture has emerged rapidly throughout the country. More and more people feel happiness, beauty and value from the collection behavior, and make achievements, and Lu Dongzhi is one of them. He named his house less than 20 square meters "Meng Zhai". In less than ten years, Meng Zhai has become a cultural relic warehouse, which is full of all kinds of magical treasures and his great dream of collecting 5,000 years of civilization. His original collection series was Wadang. 1993 "Exhibition of Works of Ludong Tile" was held in Beijing, which was the first special exhibition on ancient China Tile. With the discovery of "Mengfeng Mud" and the large-scale entry of painted pottery of the Yellow River civilization in Neolithic Age, he began to dream of building his own museum.
1April, 1996, Lu Dongzhi planned to establish the "Oriental Civilization Museum" in cooperation with Mengzhai Collection and China Renmin University, but it failed for various reasons. Just as he was suffering for this, history once again opened the gap. With the continuous efforts of many collectors, the Beijing Municipal Bureau of Cultural Heritage decided to set up the first batch of private museums in China. He started the substantive planning of establishing a museum. After comprehensive and serious investigation, appraisal and demonstration by National Cultural Heritage Administration expert group, 1996, 10, Ludong Ancient Ceramic Civilization Museum and other four private museums in China were his 35th birthday. For a time, he became a news figure, and people wanted to interview and visit him every day. They can't understand that the museum in Qianshan is still a long way from its establishment to its opening, and the cruel reality is giving Lu Dongzhi, the last scholar immersed in dreams and poems, a great test. Maybe it's a great mission from heaven. It's amazing. Maybe it's "Bodhisattva can't help being angry". It experienced unimaginable hardships in advance. On June 1997, the Museum of Ancient Pottery Civilization was grandly opened. People flocked to the exhibition hall, and the preciousness and exquisiteness of the exhibits, the degree of specialization, cultural taste and artistic style of the exhibition really exceeded people's expectations. A few years later, a chairman of the International Exposition Association pointed out that "miniaturization, specialization and privatization" is the basic direction for the future development of global museums. The ancient pottery museum just fits.
Walk before loneliness.
The noise and excitement of opening the museum are fleeting, and then it is lonely to go forward and stick to it. Indeed, private museums were new things in China at that time. Not many people can really understand and treat it correctly, especially from the perspective of public welfare. First of all, the house is rented and the water and electricity are paid at commercial prices.
Lu Dongzhi recalled that at that time, people often saw him and asked, "Is business good?" "Are you still working?" "Can you make this thing?" He said that it can be seen that this is still a "sale" in most people's minds. Especially when people know that they are losing money, they often ask, "Why are you still doing it after losing money?" Don't say that the public, even the cultural and artistic circles, have many misunderstandings that lead to discrimination. An expert from the Museum of Cultural Relics wrote an article clearly stating that private museums should not buy unearthed cultural relics. However, in Lu Dongzhi's view, it is the duty and obligation of private museums with cultural relics as the main body to buy, rescue and sort out the unearthed cultural relics scattered among the people in time, which is the reason for their existence. Over the years, he has always regarded it as his responsibility and mission to rescue, collect, sort out, publicize and display unearthed cultural relics scattered among the people. In his view, "cultural relics do not lie in who owns them, but in the attitude of the owners." No matter who he is, as long as his attitude towards the cultural relics he owns is sincere, kind, beautiful, of lofty significance and fair to the public, he is reasonable and should be respected; No matter where it is placed, as long as it is legitimate, open and conducive to public viewing and research, it is meritorious and should be helped. On the other hand, even a national scientific excavation, even owned by the most advanced state-owned cultural and artistic institutions, is not a crime as long as it has been lost for a long time and cannot serve the public, as long as it is improperly damaged! Similarly, a museum is not about who runs it, but about how it is run and whether it meets the accepted definition of a museum. "
Facing the reality, eastern Shandong is more understanding and tolerance. He said: "The museum itself is a lonely undertaking, especially in our country. Unlike western developed countries, there is a relatively complete foundation system. The new rich are not so far-sighted, and they can't see the value and light of private museums for a while. Everything needs us to work hard alone, and we need to go forward alone and make wonderful things. " So, he personally showed the glory of his museum. Every year, "5. 18 International Museum Day" is held, and the "souvenirs" they sell are the most popular. His series of rubbings of Dream Zhai Yuan is published every two years, with a limited edition of 60 or 80 copies each, which is of brand significance and is collected by collectors, artists, scholars and cultural research institutions mainly in Japan. This has also become his main source of income to maintain the survival of the museum.
Ideal or dream
Perhaps it is the insistence on collection and art that makes Lu Dongzhi seem a bit "stingy" in life. He is the father of two children, but he lives in a two-bedroom house. Although he is the owner of a special museum with thousands of cultural relics, he still travels by taxi. He admits that in this era of material surplus, most people need to "lose weight", and their basic life is already good. The secular values of a good house and a good car are not enough to tempt him.
Regarding the future of the museum of ancient pottery civilization, Lu Dongzhi said: "Success means socialization, and I hope it will become the wealth of mankind." I have belonged to this society since I was founded. I only have this great destiny, and I became attached to it at the moment of my life. I tried my best to carry it forward, enhance and realize its value and dignity. This is the goal of my work. "
At the end of 2002, he submitted a Letter of Intent for Cooperation in the Development of Ancient Ceramic Civilization Museum to Director Dan Jixiang, and wrote in the letter: "It can be said that we have an extremely important and special cultural relics collection system with profound and rich connotations, which is almost complete and self-contained; We also have a profound understanding of the cause of museums, sincere and advanced operating concepts, and comprehensive working ability, but we lack funds and no suitable' place'! In order to realize our ideal, we urgently need a space for survival and development that can be fully utilized. With more and more people's attention, understanding and demand for museums, and with Beijing marching towards an international cultural center and an international metropolis, we see the possibility of mutually beneficial and coordinated development with large-scale construction projects (cultural and artistic investment projects, real estate projects and tourism products projects). To this end, we wholeheartedly seek this possibility from the society. In recent years, we deeply regret to see that some quite large museums have been built, but there are no decent collections; Some large-scale construction projects began to seek and create the light of culture and art, but they wasted a lot of money and space because of blindness or amateur. There is also a strange pearl in the dark corner. Please imagine: in any large-scale construction project, take out a small piece of space and put it in the museum of ancient pottery civilization, and put this pearl with special personality on it. Everything there will be dazzling spread because of the extraordinary light of this pearl, thus generating new value, significance and possibility! This is a gem destined to shine, and everything we do is to make it more dazzling. "
Dream of the future
Regarding the future, he wrote in his article: "The museum of ancient pottery civilization in my dream is a small' postmodern' building that stands out in a rural clearing of about six to ten acres. It should have a comprehensive modern museum function and reflect its style and personality. I will give full play to everything in my spiritual field here, so as to realize my' possible realm'-to create the' Magic Cube of Dream Zhai Culture'. In this Rubik's Cube, I will realize the coordinate system of ancient pottery civilization. In order to realize my ideal, I will try my best to create a' Possibility Foundation', which will ensure the permanent existence of the museum of ancient pottery civilization and maintain a people-based cultural and artistic institution-'Possibility Institute'. "
The museum of ancient pottery civilization has been established for 10 years. As the first batch of private museums in Chinese mainland, Ludong has gone through ten years of loneliness and hardship. He is lonely and enthusiastic; Both hard and happy; It is both traditional and modern. Indeed, we feel his happiness, because he has formed an indissoluble bond with ancient civilization, and he has integrated his collection, archaeology, writing, art and life. Perhaps the word "Fu" on the newly made screen wall of the south wall of the Mint, which corresponds to the entrance of the museum, also indicates that there will be more happiness and fate waiting for him in his lonely journey.