Biography Shao studied calligraphy and painting
On August 1, the 24th year of Daoguang's reign in the Qing Dynasty (1844), he was born into a scholar's family in Zhangwu Village, Xiaofeng County, Zhejiang Province. He studied with his father when he was young, and later went to a private school in a neighboring village. When he was more than 10 years old, he liked to carve seals. His father gave him guidance and started to get started.
In the tenth year of Xianfeng (1860), the Taiping Army and the Qing Army fought in western Zhejiang. The family took refuge in the barren mountains and valleys, and his younger siblings died of famine. Later, he was separated from his family and worked as a day laborer for others. He lived in exile in Hubei, Anhui and other places for several years.
In the fourth year of Tongzhi (1865), he became a scholar. That year, Ren Xun, a distinguished maritime master, collaborated with Zhou Xian to paint a portrait of Wu Changshuo.
In the eighth year of Tongzhi (1869), he went to Hangzhou and studied at the Jingshe Jingshe, where he studied primary school and poetry from the famous Confucian Yu Yue. Compiled into "Pu Chao Yin Cun". Make friends
In the eleventh year of Tongzhi (1872), I went to Shanghai and got to know Gao Yongzhi.
In the sixth year of Guangxu (1880), he lived in Wu Yun (Pingzhai) and asked for advice from "Zhuan Yun Tower Seal". Wu Yun deleted it and changed its name. "Cutting the Gougulu Seal". Get to know Wu Qiunong, Jin Xinlan, Gu Chacun, Hu Sanqiao, Fang Zixin, etc. Befriended Yang Xian (Jianshan).
In the eighth year of Guangxu (1882), he lived in Suzhou. Friends recommend him as a minor official to make ends meet. Befriended Yushan Shen Shiyou.
In the ninth year of Guangxu (1883), I met Ren Bonian in Shanghai. Ren Bonian wrote "Small Portrait of the Turnip Pavilion".
In the 13th year of Guangxu's reign (1887), when he arrived in Shanghai, Ren Bonian painted "The Picture of Enjoying the Coolness in the Palm Shade".
In the fifteenth year of Guangxu's reign (1889), he was in Suzhou. Shi Bonian visited him and wrote "Portrait of Wei Suhan" for him and composed his own poem. Shi Xuchen and Tan Futang wrote the preface to "Foulu Poetry".
In the 16th year of Guangxu (1890), he lived in Shanghai. Meet Wu Dacheng.
In the 18th year of Guangxu (1892), Ren Bonian also created "Picture of Enjoying the Coolness in the Banana Shade".
In the 19th year of Guangxu (1893), three volumes of poems written before the year of Renchen were compiled and published in Shanghai, titled "Poems in Foulu".
In the 20th year of Guangxu's reign (1894), he presented Weng Tong with poems and printed manuscripts in Beijing. When the Sino-Japanese War broke out, Wu Dacheng joined the army and went north to fight against the Japanese. After the defeat, he continued to serve as Wu Dacheng's army.
In the 21st year of Guangxu's reign (1895), Ren Bonian created the "Palm Shade Recalling the Past" and "Shanhaiguan Military Enlistment". In November, Ren Bonian died of illness in Shanghai. He wrote a poem, cried about it and wrote a couplet.
In November of the 25th year of Guangxu's reign (1899), he was recommended by Ding Baoyuan and appointed as the magistrate of Andong County. He resigned in January. Dedicated to calligraphy and painting
In the 26th year of Guangxu (1900), Japan's Kawai Senlang became his disciple.
In the 29th year of Guangxu (1903), the style was customized. The poems written by Renyin before are compiled and selected into the fourth volume of "Foulu Poetry", together with the three previous volumes and the "Bie Cun" volume, combined into one volume.
In the 30th year of Guangxu's reign (1904), he moved to No. 19 Guihefang and named his house "Pisitang". Zhao Ziyun (Zhao Yunhe) surrendered.
In the 35th year of Guangxu's reign (1909), he joined the Shanghai Yuyuan Painting and Calligraphy Society in Shanghai.
In the first year of the Republic of China (1912), he went to Hangzhou to have a banquet with friends from Xiling. Start with words.
In the second year of the Republic of China (1913), Xiling Seal Society was established and he served as president. In autumn, Mei Lanfang came to meet me. Become close friends with Wang Yiting. Wang Yiting promoted Wu Changshuo's calligraphy, painting and epigraphy art in Shanghai's business and financial circles, making him famous.
In the third year of the Republic of China (1914), Wang Yiting held Wu Changshuo's first solo exhibition in Liusan Garden, which made Wu School art known and respected by the Japanese art world. Shanghai Painting and Calligraphy Association was established and he served as president.
In the fourth year of the Republic of China (1915), the Shanghai "Ti Jin Guan Calligraphy and Painting Association" elected Mr. Wang as its honorary president.
In the sixth year of the Republic of China (1917), Wu Changshuo's step-wife, Mrs. Shi, passed away in Shanghai.
In the ninth year of the Republic of China (1920), his calligraphy and paintings were exhibited for the first time in Nagasaki, Japan. Tokyo Wenqiu Tang continued to publish "Wu Changshuo's Painting Book", and Nagasaki Shuangshui Garden published "Wu Changshuo's Painting Notes". Zhu Le Sanlie is a disciple.
In the 10th year of the Republic of China (1921), he went to a banquet at Lingyin Society in Hangxi. The "Stele of the Three Elders of the Han Dynasty" was purchased by Japanese merchants. He and his colleagues in Xiling ran to appeal and sold paintings for charity, and finally raised 8,000 yuan to redeem the stele. A bronze statue of Fumio Asakura of Japan.
In the twelfth year of the Republic of China (1923), Pan Tianshou was introduced by Zhu Wenyun to visit him and wrote a couplet as a gift. Disciple Chen Shizeng passed away.
In the 14th year of the Republic of China (1925), Sha Menghai was introduced as a disciple by Wang Xian. He wrote the introduction and title to the "Flower Scroll" posthumous by his late mentor Zhou Xian. Died of illness in Shanghai
Died in his residence in Shanghai on November 29, 1927, the 16th year of the Republic of China.
In November of the 22nd year of the Republic of China (1933), he was moved and buried beside the Song Mei Pavilion at the foothills of the west side of Baoci Temple in Chaoshan near Tangqi, Yuhang County, Zhejiang.
Character Achievements Seal Engraving
When he was young, he was influenced by his father and loved to write books and engrave seals. He first studied regular script from Yan Lugong and continued from Zhong Yuanchang; he studied official script from Han stone carvings; and he studied stone drum inscriptions from seal script. His writing techniques were initially influenced by Deng Shiru, Zhao Zhiqian and others, and he later incorporated them into his later writing of "Shigu". The running script is inspired by the writing styles of Huang Tingjian and Wang Duo, and the composition of Huang Daozhou. It is also influenced by the calligraphy style of Beibei and the writing style of seal script. It has great ups and downs, and is smooth and dangerous.
Wu Changshuo started his seal carving from the "Zhejiang School" and later specialized in Han seals. He was also influenced by Deng Shiru, Wu Rangzhi, Zhao Zhiqian and others. He was good at leaving blank spaces, or diagonally slanting, with majestic and majestic compositions. The sense of volume is very strong. The knife blends into the pen, and the seal carving is majestic yet charming, clumsy yet simple, ugly yet beautiful, ancient yet modern, ever-changing yet righteous. Taking Ding Yi at the top and Qin and Han Dynasties at the bottom, he used a carving knife with an "edged edge and an obtuse angle" to combine the cutting and punching techniques of Qian Song and Wu Hu to make seals.
On the basis of inheriting the excellent achievements of his predecessors in the punching and cutting methods, Wu Changshuo integrated the strengths of various schools of thought and continued to explore in a large number of seal cutting creation practices to combine punching and cutting. The knife techniques blend together to form their own knife technique combined with punching and cutting. This kind of knife technique is flexible and changeable. It can cut while punching, or cut while punching, or even cut while cutting... This changeable knife technique combines the sharpness, strength, and refreshingness of the punching knife with the implicit, sharpness of the cutting knife. The integration of simplicity and simplicity vividly expresses the meaning of calligraphy and the meaning of knife, which highlights the individual characteristics of his seal cutting technique which is vigorous, simple and lush yet elegant.
The incomplete knife technique is a common technique in Wu Changshuo's seal cutting creation. We know that most of the ancient seals of the Qin and Han Dynasties have lost their original smoothness and smoothness due to erosion of water and soil, and natural weathering, and have become incomplete. It is precisely these defects that give us special aesthetic effects such as simplicity, subtlety, simplicity, and clumsiness. This is the result of nature. Wu Changshuo is good at craftsmanship. On the basis of the traditional punching and cutting techniques, he supplements them with knocking, hitting, chiseling, grinding or borrowing sand, shoe soles, nail heads, etc., which greatly enriches the expression techniques of seal cutting art and creatively combines them. The metal and stone flavor produced by the knife and stone effect in the art of seal cutting has risen to a new aesthetic realm of incomplete beauty.
Main seal cutting works: "Lion Buttons Carved in Shoushan Laokeng", "Constructed World Matters", "Reading Books Through the Ages", "Studying Is a Blessing", "Black Qingtian", "January Anton Order" " "Anji County, Huzhou" "Remnant Stone Tower on Mount Tai" "The Gardener was born in Plum Cave and grew up in Bamboo Cave" "The Book of Violence" "Qianxun Bamboo Studio" "Qianxun Bamboo Studio" 3 carvings "Wu Junqing's letter seals good fortune and longevity" "Anji Wu Junzhang" "Lei Jun", "Chrysanthemums in Fresh Frost", "Qui Nhon Li Min". Painting
Content
The subjects of paintings are mainly flowers, and occasionally landscapes. In the early stage, he received the guidance of Ren Yi, and later he used Zhao Zhiqian's painting method, and drew on the strengths of Xu Wei, Bada, Shi Tao and the Eight Eccentrics of Yangzhou. He used seal script, official script, and Kuangcao brushstrokes to incorporate rich colors and ink, vigorous and clumsy, and innovative. appearance. His works pay attention to the whole and emphasize the momentum. He believes that "the unrestrained and unrestrained aspects should not depart from the law, and the subtle aspects should take care of the spirit", which is full of gold and stone spirit. Pay attention to the density and density of the brush, ink application, color application, inscription, seal, etc., and the appropriate coordination. Wu Changshuo said to himself: "My greatest strength in life is that I can paint with calligraphy techniques."
He used seal script to write plum orchid and wild cursive to make grapes. The paintings of flowers, wood and rocks are characterized by sophisticated writing skills, strong momentum, and novel layout. The composition is also close to the calligraphy and painting of calligraphy and seals. He likes to use the pattern of the character "Zhi" and "女", or make it diagonally. The use of color is similar to that of Zhao Zhiqian, who likes to use rich and contrasting colors, especially magenta, which is rich and lustrous.
Because Wu Changshuo used "cursive seal script" in his paintings and did not strive for realism in the shapes, he formed a direct and heartfelt "big freehand brushwork" form that influenced the modern Chinese painting world.
He loves plum blossoms and writes in seal script and cursive script. He uses both black plum blossoms and red plum blossoms. The moisture and color of the red plum blossoms are just right, with red and purple alternating, and the writing is smooth. He also likes to paint orchids, and he likes to paint them with thick or light ink colors and seal script calligraphy, which is strong and powerful. The bamboo poles are painted lightly with light ink, and the leaves are highlighted with thick ink. They are alternately dense and dense, full of changes, or accompanied by pine, plum, stone, etc., forming a "double clear" or "three friends". Chrysanthemums are also a common theme in his paintings, accompanied by rocks or tall, thin ancient vases, which complement the chrysanthemums. Chrysanthemums are mostly produced in yellow color, or as black chrysanthemum and red chrysanthemum. The ink chrysanthemum is drawn with burnt ink, and the chrysanthemum leaves are splashed with a large brush in alternating shades of light and dark.
In his later years, he painted more peonies, using bright carmine colors, which contain more water, and contrasting them with dense branches and leaves, making them full of vitality. Lotus, narcissus, pines and cypresses are also common subjects in paintings.
Vegetables and fruits such as bamboo shoots, green vegetables, gourds, pumpkins, peaches, loquats, pomegranates, etc. are also included in the painting, which is full of life. He admires Zhou Xian's fruit and vegetable style. His works use both color and ink, which are vigorous and vigorous. They have a profound influence on modern flower and bird paintings.
Main paintings: "Heavenly Bamboo Flowers", "Wisteria Picture", "Ink Lotus Picture", "Loquat Picture in May", "Apricot Blossom Picture", "Twelve Screens of Flowers", "Plum Blossoms", "Four Screens of Flowers" "Peony", "Orchid Stone Picture", "Turquoise Picture", "Flowers" 2 pieces, "Wisteria Picture", "Miscellaneous Picture Album (Part 1, 2)", "According to the Sample", "Heavenly Fragrant Dew Picture", "Qiju Prolongs Life", "Devot Chrysanthemum Sketches" "Peony Picture", "Peony Narcissus Picture", "Great Wealth", "Buddha Picture", "Wealth Immortal Picture", "Red Plum Picture" 2 pieces, "Rose and Orange Picture", "Autumn Beauty Picture", "Three Thousand Years of Fruitfulness", "Characters" and "Three Thousand Years of Fruitfulness" "Peach", "God's Good Luck and Longevity", "Stone Plum", "Dianthus Picture", "Pine Plum Picture", "Hanging in Cold Season Picture", "Peach Fruit Picture", "Melon and Fruit", "Viewing Books under the Lamp", "Gusu Silk Painting Picture", etc.
Features
① The breath of gold and stone: The first major feature of Wu Changshuo’s painting art is the breath of gold and stone. The so-called breath of gold and stone refers to the flavor of the bronze inscriptions cast on the bells and tripods and the words engraved on the stone tablets. People often say that so-and-so's paintings have the flavor of gold and stone. In fact, this standard of criticism only came about after the emergence of Wu Changshuo's painting style. For example, when people talk about Xu Qingteng and Bada Shanren, they have never heard that their paintings have the flavor of gold and stone.
②Vigorous brushwork: The second major feature of Wu Changshuo's painting art is his vigorous brushwork. The so-called vigorous brushwork refers to the simplicity, vastness, and sophistication of the brushstrokes in his paintings, which have a strong and powerful sense of power. People often say that the breath of Wu Changshuo's paintings is very thick and heavy. According to people in the calligraphy and painting circles, the "tip of the pen" is very big. The so-called "big pen" does not mean that the brush he uses is very big, but that the breath of his pen is very rich. One stroke is pure gold and jade, which penetrates the back of the paper, and is rich in meaning and atmosphere.
③ Rich colors: The third major feature of Wu Changshuo's painting art is rich colors. In the past, people always said that Chinese paintings should not use so many colors, because using too many colors would make them look tacky. However, Zhang Jundong pointed out that the ink used in Wu Changshuo's paintings was particularly thick, and the colors were particularly bold, bright and rich. For example, Wu Changshuo has painted many peonies, many of which are bright red and purple, but they do not make people feel tacky, and they have a very literati style. Therefore, Zhang Jundong believes that the key to Chinese painting is not the amount of color, but who uses it and how to use it.
④Various
The fourth major feature of Wu Changshuo's painting art is the variety of brushwork and ink techniques. This is reflected in several aspects. Zhang Jundong gave an example. For example, when Wu Changshuo painted chrysanthemums, he could paint a chrysanthemum very richly, whether it was front, side, static or dynamic. Calligraphy
Wu Changshuo's regular script began with Yan Lugong, and he studied stone carvings of the Han Dynasty, and seal script and stone drum inscriptions
Wu Changshuo's calligraphy. Learn from Huang Tingjian and Wang Duo in running calligraphy.
Wu Changshuo's calligraphy works are mainly seal script and running cursive script. The official script he wrote in his later years has become longer in structure and adopted a vertical posture. The pen is vigorous and full, with traces of seal script, and the seal script and official script are integrated into one. Create a unique look.
Wu Changshuo's official scripts can be found on Han steles such as "Han Sangong Mountain Stele", "Zhang Qian Stele", "Songshan Stone Carvings" and "Shimen Ode". After middle age, he read many original epigraphy and rubbings, and chose stone drum inscriptions as the main object of copying. After decades of repeated study, the stone drum essays written by him are concise, powerful and unique in style. The writings written after the age of 60 are especially sophisticated, mature and powerful. I like to write couplets from the collection of Shigu characters. In his later years, he used seal script and official script to write cursive scripts. His writing style was vigorous, powerful, and informal.
"Xiling Seal Society Records" is an inscription written by Wu Changshuo when he was 71 years old to commemorate the establishment of Xiling Seal Society. It has excellent diction and calligraphy. It is a masterpiece of Xiaozhuan art style during Wu Changshuo's old age. Poetry
Wu Changshuo is good at writing poetry and has been reciting it for decades without interruption. His poems and prose are strange and simple, with many allusions and are not very popular. However, some quatrains are purely written in line drawing, which are lively and natural, close to spoken language, and have the characteristics of bright and elegant style. The style is very similar to folk songs. Some quatrains are lively and natural, close to spoken language, sometimes contain irony, and express the real feelings of life. The poems he wrote on paintings and paintings have far-reaching sustenance and are quite romantic. His comments on previous paintings and calligraphy are particularly insightful. Some of the Five Ancients written in his early years were ironic, exposing certain injustices in the dark society at that time. He didn't write many prose works. Most of them were prefaces and postscripts, textual research, and sketches on paintings. The writings were simple, honest, and approachable. There are many exquisite works in the sketches and paintings. It expresses the real feelings of life and denounces ugly phenomena, which is quite effective in defeating more with less. When reading, you are vaguely facing the author and talking eloquently, which is very meaningful. Published works
"Pu Chao Yin Cun" has a preface written by Shi Xuchen (Yu Sheng) in the ninth year of Tongzhi (1870, when he was twenty-seven years old), and a postscript by Wu Yaohua. On the title page, Wu himself inscribed the four characters "Pu Chao Yin Cun" in seal script, and another eight characters "Jin Zhong Yu Pan Shan Fang Seal Xue". The score contains six ink marks of "Test Poems" with eight rhymes and five characters written by Mr. Wang in his early years. ***103 seals, all without margins, thread-bound in two volumes, unpublished.
"Cangshi Zhai Seal Seal", the inscription date is: "In the spring of Jiaxu, the 13th year of Tongzhi (1874, thirty-one years old), it was inscribed in Wuyuan Yiguang."
< p> "Qiyun Pavilion Seal", self-signed "Wu Junchang Shi. 1876 (32 years old)."Zhuan Yunxuan Seal", 1879 (36 years old).
"Tiehanshan Pavilion Printing", 1881 (38 years old).
There are two volumes, four volumes and one volume of "Qiegulu Seal". It is a loose-leaf printing manuscript that was randomly rubbed after printing. Therefore, it is the best bound volume seen today, with the highest number of printings. They vary in number and content. It was written in Guangxu Guiwei 1883 (forty years old). There is an inscription in February of the ninth year of Emperor Guangxu's reign (1883) of Xu Kang.
"Collection of Poems of Yuan Gai Yulu", 1885 (forty-two years old).
"Foulu Yin Cun", the first four volumes, the title page and the autograph are all woodcut editions, 1889 (forty-six years old). There are 63 seals, with margins, Yang Xian's inscription and Wu's autobiography.
The three volumes of "Foulu Poems" also include poems on paintings and inkstone inscriptions signed: "Bie Cun", 1893 (50 years old).
"Foulu Yin Cun" is composed of two volumes, four volumes, 51 blocks of printing, with seal inscription, and Wu's own inscription. 1900 (57 years old).
"Wu Changshuo Shigu Linben", written in 1902 (59 years old), was published in the 101st issue of "Shupin" by Japan's Hirao Gumi in 1960.
Six volumes of "The Seal Collection of the Xu Family in Guanzidezhai" were compiled by Xu Shikai and printed by Wu Changshuo in Renyin of Guangxu (1902). There are 149 seals in existence, 13 of which were engraved by Wu Changshuo for the Xu family. , with seal and preface by Xu Shikai.
"Wu Changshuo's Inscriptions on Stone Drums", written in 1908 (65 years old), is the collection of Qian Jingming, and is inscribed at the beginning of the volume by Tan Zemin. Published by Shanghai Painting and Calligraphy Publishing House in 1979.
Four volumes of "Wu Cang Shi Seal Pu" were published by Youzheng Book Company in 1911.
"Wu Changshuo Stone Drum Inscriptions" was engraved in stone by Qian Jingming when Wu Changshuo was sixty-five years old (1908). In 1910, the lithographic version was printed by Qiugu Zhai in Shanghai.
"Mr. Wu Changshuo's Flower Album" was published by the Commercial Press in 1914 (71 years old).
"Foulu Seal", three volumes and four volumes, was published by Shanghai Xiling Seal Society in 1914 (71 years old). There is a preface by Ge Changying (book collection) and an inscription by Wu Yin (Shi Qian). The deposit is 58 square meters, and the stamp is attached. The four volumes in four volumes were written by Wu Yin "from friends whom he had recently visited or borrowed". They were printed in 47 squares, with a seal and a preface by Wu Yin.
"Wu Changshuo's Stone Drum Essays", the last title is "Jiayin (1914, seventy-one years old) came to Ruan Ke Tianyige in June to write the full text of the Northern Song Dynasty stone drum." Popularized by Shanghai Dazhong Bookstore in 1914, blunt root Title label.
"Xiling Seal Society Records" was written and written by Wu Changshuo in 1914.
Four volumes of "Bitter Iron and Broken Gold" were published by Shanghai Xiling Seal Society in 1915 (72 years old). One of the volumes is "Shiguwen Linben".
"Wu Changshuo's Ink Paintings on Stone Drums" was printed in 1918 (at the age of seventy-five) and published by Shanghai People's Fine Arts Publishing House in 1988.
The eight volumes of "Foulu Yin Cun" were engraved by Mr. Zhang Bianqunjituo. 1919 (seventy-eight years old).
A volume of "Foulu Seal Exquisite Rubbing", this book was made by Wu as a gift to his friend Pan Feisheng with a self-engraved seal for his own use. It has 36 seals. In 1919, it was self-edited and published, including Pan's short notes.
"Collection of Wu Changshuo and Zhao Ziyun", compiled by Sun Xuedi, 1920 (seventy-nine years old). Character evaluation
China Net ("Wu Changshuo"): As a master figure in the late Shanghai School, Wu Changshuo is a key figure in the art of modern calligraphy and painting in my country. He is a link between the past and the future and deserves to be a great master. His art influenced many subsequent painters, and many modern painting masters either came from his disciples or were influenced by his art. For example, the modern "Shanghai School" painters, Chen Shizeng and Qi Baishi of the "Beijing School", as well as Huang Binhong, Pan Tianshou, Fu Baoshi, Li Keran, etc. were all influenced by Wu Changshuo.
Chinese People’s Liberation Army and National People’s Congress website: (Wu Changshuo) A key figure in the transitional period of the development of modern and modern calligraphy and painting art in my country, a master of the four great masters of "poetry, calligraphy, painting and sealing", During the late Qing Dynasty and the Republic of China, he was a famous Chinese painter, calligrapher, and seal carver. He was an epoch-making figure in the field of calligraphy and painting in my country.
Painter Qi Baishi ("Baishi Poems"): ①The paintings of Ivy, Snow, and Dadizi can be painted vertically and horizontally, and I am so convinced that I wish I could have done it three hundred years ago. You grind ink and arrange paper. If you guys don't accept it, I'll stay hungry outside the door and won't go. That's a good thing. "② Qingtengxue is a faraway mortal, but the old fou is old and has a unique talent. I want Jiuyuan to be a lackey, and the wheels will come under the three families.
Fan Di'an, Director of the National Art Museum of China: Wu Changshuo opened up a new path for Chinese painting A new trend in a century.
Calligrapher Yu Youren: From the Yuan, Ming and Qing Dynasties to the Republic of China, the style has influenced hundreds of famous calligraphers.
Wu Changshuo, a very influential figure in the Chinese painting circle. Master. In the context of traditional cultural integration and communication, Wu Changshuo was also affected. His greatest characteristics and advantages are accommodation and transcendence. Although the times have a huge driving force in his life, his own hard work is also. The important reason for his success is that Wu Changshuo is different from traditional literati painters. He combines poetry, calligraphy, painting and sealing. He can learn from the strengths of others and integrate them. In particular, he uses gold and stone to seal, calligraphy and painting. The most traditional artistic factors and aesthetic ideals have shaped new artistic styles and trends.
Wu Changshuo not only realized the wild and ancient spirit of painting, but also pushed Chinese painting to a new realm, which had a profound impact on the modern Chinese painting world.
Wu Changshuo is best at freehand flowers, and was most influenced by Xu Wei and Bada Shanren. Due to his profound skills in calligraphy and seal cutting, he integrated calligraphy and seal cutting strokes, knife movements, compositions, and postures into painting, forming a It has a unique painting style rich in gold and stone. Wu Changshuo uses "cursive seal script" in his paintings and incorporates calligraphy into his paintings; his line skills are extremely profound. Although the texture of his lines seems not rich and practical enough from the perspective of drawing shapes, it is precisely by abandoning the fetters of shape that Wu Changshuo's paintings have entered the hall of "meaning", thus forming an influence on the modern Chinese painting world. A form of expression that expresses one's mind directly and heartily.
As the founder of Shanghai-style painting, his art had a huge and far-reaching impact on the development of modern Chinese painting. Since the 20th century, many outstanding painters such as: Qi Baishi, Wang Zhen, Zhao Ziyun, Chen Shi, Chen Banding, Chen Shizeng, Zhu Qizhan, Liu Haisu, Qian Shoutie, Pan Tianshou, Wu Zhi, Wang Ge, Zhu Lesan, etc. have all been influenced by it. The influence and inspiration of Wu Changshuo's art. They are representative practitioners of Wu Changshuo's art. In the study, inheritance and research of Wu Changshuo's art, they are also very important in interpreting, inheriting and leading the development process of modern flower-and-bird painting in modern China. value and function. Among them, Wang is the best among Wu Changshuo's disciples. He devoted his whole life to fully inheriting Wu Changshuo's art and had outstanding attainments in the fields of poetry, calligraphy, painting and printing.
Wu Changshuo is called the Seal Sage in Japan, and he is as famous as the calligraphy sage Wang Xizhi, the painting sage Wu Daozi, and the grass sage Zhang Zhi. Historical Records
"Wu Changshuo's Epitaph" (written by Chen Sanli, a master of Chinese studies)
"Wu Changshuo's Chronology" Relatives Great-grandfather: Fang Nan, Imperial College Supervisor;
Ancestor : Yuan, Juren, Guanhaiyanjiaoyu;
Father: Xinjia, Juren, interception county magistrate;
Madam: Zhang Gong, dead bandit. I will continue to marry Shi Gong, who is diligent, kind and thrifty, and can help my husband achieve his ambitions. Stepwife, Mrs. Shi;
Children: Yu, Han, Mai, and one daughter. Yushang. After Han Chu followed his father, he was able to remember sealing and painting matters. As a married woman, he worked as a seal script and official script at the same time, passing on each other's skills and making a name for himself;
His grandsons: Chang Ye and Yao Hua. Anecdotes about people
Love plum blossoms but also love dog meat
The Lao family belongs to the Tangqi Wang clan. Lao Shaolin served as a minister of the State Council in the early days of the Republic of China, and later retired and returned to his hometown in Tangqi. . I heard that some prosperous families in the town, such as the Wang family, the Yao family, the Wu family, and the Lu family, had frequent contacts with Mr. Wu Changshuo and had many calligraphy, painting and calligraphy works by the master, so I also asked someone to ask Wu for calligraphy and paintings. Unexpectedly, the master suddenly Ting Lao's official title was not granted, so he was so anxious that he went around to inquire about his husband's temperament and hobbies, and used his brain.
At the end of winter this year, as the weather cleared after the snow, Mr. Wu Changshuo went to Chaoshan to walk in the snow to look for plum blossoms, as he did in previous years. Walking to the foot of Chaoshan Mountain, I saw a newly built thatched cottage among the plum trees beside the road. It was quite elegant. In addition to the rich fragrance of flowers wafting in the cold wind, there was also an alluring fragrance, so I stopped unconsciously. pace. At this time, I saw an old man walking out of the thatched hut. After nodding and recognizing Wu, he immediately invited him to sit inside. Seeing that he behaved politely and spoke well, the gentleman went in to chat. After a while, the old man said that he happened to have game on hand and might as well have a drink. Although what was served was not game, it was Mr.’s favorite dog meat. As a result, the two of them talked while drinking and eating, and they were very speculative.
When Lao Shaolin celebrated his birthday two years later, the relatives and friends who came to congratulate him found that many of Wu Changshuo's masterpieces of calligraphy and painting had been hung in the hall.
Feelings about family affection
Wu Changshuo was first married to his wife named Zhang. She died of hunger and disease during the military rebellion shortly after their wedding. Later, at the age of 29, he re-married Mrs. Shi from Linghu. He has six children. Wu Changshuo's early life was full of troubles. When he was 17 years old, he fled with his father due to war and even had the painful experience of almost starving to death. During this period of displaced life, Wu Changshuo lost many close relatives, which made him understand the value of family ties. Therefore, Wu Changshuo's family life after getting married was warm and harmonious. "A ruthless man may not be a true hero, but a pity for a child is not a husband." This art master, who is famous for his heroic and fierce painting style, shows more affection and gentleness when facing his children.
Intelligent satire on Hartung
In the early years of the Republic of China, one day, the famous real estate developer Hartung in Shanghai celebrated his birthday and wanted to ask Wu Changshuo to paint a three-foot-high painting for his birthday. Enhance the birthday atmosphere. Unexpectedly, Wu Changshuo had long heard that Hartong first started his career by selling opium. Moreover, he always hated this group of people who were running rampant in foreign trade. So Wu Changshuo decided not to paint.
At that time, Hartung was a director of the Ministry of Industry Bureau of the British and French Concessions. He knew that people like Wu Changshuo were worth winning over, so on the one hand, he lured people with large sums of money, and on the other hand, he entrusted people who were working at the time. Wu Xingfen, Sha Fuqing and others, whose reputation in the Shanghai painting circle was slightly lower than that of Wu Changshuo, interceded with Wu. Out of sympathy for his colleagues, he sharpened his ink and brush and drew a picture of cypress trees. Before the painting was finished and the inscription had not yet been made, Hartung had already come to pick up the painting in person. But when he saw that the leaves of the cypress tree were larger than the cypress trees in nature, he asked: "The leaves of the cypress tree are so big, does it have any meaning?" Wu Changshuo said: "It looks like this is a strange cypress, but you might as well turn it upside down. have a look.
Hartung followed the instructions and looked at it upside down and said, "It's a picture of grapes." At this time, Wu Changshuo said seriously: "That's what I mean." "Hartung asked puzzledly: "Why do you want to draw it upside down? At this time, Wu Changshuo couldn't help laughing and said: "I drew it according to your logic. You like to turn things upside down, turning black into white and good into bad. Of course, the painting I gave you had to be hung upside down." . "Hearing this, Hartong laughed loudly and said that it was well said, but he was very angry in his heart.
The title of the bronze statue
Wu Changshuo is the seal of Xiling, Hangzhou The first president of the society. Japanese sculptor Fumio Asakura loved Wu Changshuo's calligraphy, painting and stone work. He came to China in the ninth year of the Republic of China (1920) and became a close friend of Wu Changshuo. After returning to China, Asakura Fumio used his refined techniques. He made a bronze bust of Wu Changshuo and personally sent the statue to Hangzhou. After viewing it, Wu Changshuo was filled with admiration and wrote an inscription behind the bronze statue: "Not Changli's poems, chanting wood laymen; not Pei Cen's stele, referring to stone people." Son: I cast it in gold, but I am not Fan Li. I dare to ask the wise men and officials in that capital what their intentions are. In the eighth month of Xinyou, Changshuo's opera is titled seventy-eighth. "The broad mind of this art master is revealed between the lines. Commemoration for future generations
Wu Changshuo Memorial Hall
Wu Changshuo Memorial Hall was completed and opened on September 12, 1995. It is located in Chuansha Town, Pudong, Shanghai The nearby Huaxia Cultural Park covers an area of ??6 acres. It is built according to the style of Wu Changshuo's former residence at No. 12 Jiqingli, Shanxi North Road, Shanghai. It is a two-story Shikumen building with "Art Life", "Works Exhibition", "Bedroom", " There are 5 halls including "Art Studio" and "Shanghai Painting School". After the establishment of the museum, Wu Changshuo's calligraphy, painting, and seal cutting works and historical materials about his life activities were regularly displayed in rotation, as well as Wu Changshuo's artistic creation supplies, daily utensils, etc., providing researchers with rich information. It has also held many calligraphy, painting and seal cutting exchange activities between China, Japan and South Korea.
Former Residence of Wu Changshuo, Zhejiang
Wu Changshuo’s former residence is located in Shang Street, Zhangwu Village, Zhangwu Town, Anji County, Huzhou City, Zhejiang Province. . The former residence is a courtyard-style deep house with original main building, east and west side halls, reverse hall, "Zhuangyuan Bridge", Half Moon Pond and other buildings, covering a total area of ??about 2,500 square meters. Wu Changshuo spent 22 spring and autumn years here. .
Wu Changshuo's Tomb
Wu Changshuo's tomb is located on a hillside 200 meters west of Chaoshan Daming Hall in Yuhang District, Hangzhou. It was listed as a provincial cultural relic protection unit in 1989. 3 meters in diameter. The tombstone is engraved with the characters "Mr. Anji Wu Changshuo". It is 1.4 meters high and 0.65 meters wide. There is a tomb table on the right side of the tomb, which records his life and deeds. On the left front is a full-body statue of Wu Changshuo.