Wu Changshuo 1844-1927
Lot 374 Wu Changshuo (1844-1927) Shigu Wen Jiuyan Lianli Axis Ink Paper Ben Ji Wei (1919) Made 244×55.5 cm (per painting) RMB: 3,800,000-5,800,000 (2) Inscription: Mr. Ermei Daya belongs to the seal, for the collection of old Tuo hunting jie characters, Shi Ji Wei (1919) Dong Meng. Seventy-six sorcerers Wu Changshuo. Plutonium Seal: Mr. Wu Changshuo is deaf and deaf, and He Weng explains: On the same day, You Shu came to Yu Fengjun Li, and Linyuan Self-Pleasure can be described as a fish I know. Publication: Rong Baozhai - Lecture on Calligraphy and Seal Engraving, p. 93, Rongbaozhai Publishing House, 2020 edition. Description: Zou Tao inscription.
Wu Changshuo dabbled in stone drum texts from a young age, and after middle age, he used stone drum texts as his main copying objects. Over the past few decades, he has extensively studied many originals and expanded copies of gold and stone, and has studied them repeatedly, not to deliberately imitate and seek form in vain. His stone drum text, condensed and vigorous, self-made, unique style. After the age of 60, his stone drum text was more rounded and concise, rigid and soft, and he wrote couplets of stone drum character collections.
This piece of "Shigu Wen Jiu Yan Lian" was written in 1919, when Wu Changshuo was 76 years old. The scale of the work is huge, the writing is completed in one go, the pen is vigorous, the breath is deep, the chapter is stopped, the penmanship is exquisite, and there is no slack pen. The seal book is dense and sparse, the line is stretched and graceful, the circle is strong and the square is folded, the style is simple and natural, implicit and not calculated by the rules, rich in gold and stone. The style of writing is round and round, such as "cone painting sand" and "house leak marks", mellow and deep, which fully reflects his humble and ancient, idyllic and unworldly style of writing.
Lot 371 Wu Changshuo (1844-1927) Seal Book "悃悃無華" Horizontal Phi Ink Ayamoto Jiayin (1914) 39.5 × 217.5 cmRMB: 2,000,000-3,000,000 Inscription: Mr. Xiao Lu is about to enter the capital, and the book is written with ambition. Wang Suiying, Wan He, Shen Ying, and Hong Taojingshang. Wu Changshuo shi Jiayin (1914) was eleven years old, seventy years old. Description: Humble: sincere and simple; Hua: exaggerated. Sincere and not vain. Describe it as sincere and untrue. From the Book of the Later Han Dynasty, Emperor Zhang: "Quiet officials, sorrowful and unpretentious." Wu Changshuo, who was seventy-one years old at the time, had just joined the Nine Elders Association. He also served as the president of the Shanghai Calligraphy and Painting Association, and on the occasion of his friend Mr. Xiaolu's visit to the capital, he gave the old book to Mr. Xiaolu, showing Wu Changshuo's high character evaluation of Mr. Xiaolu.
This painting is a fine calligraphy of Miao Weng in his later years. In the recent history of Chinese calligraphy, Wu Changshuo is a master of the Kaizong Li school, and his works have a unique personal style. In Wu Changshuo's calligraphy creation, mainly seal calligraphy and grass, this work was created in 1914 as a fine calligraphy in the late years of the old man, with a circle of circles and a strong, rigid and soft, with a seal into the pen, vigorous and majestic, eclectic. After the middle and late years, Wu Changshuolin wrote "Stone Drum" gradually "away" from the form and conveyed the gods, and the penmanship tendency of the calligraphy and cursive writing became more and more obvious. The small seal he wrote also has a sense of "arbitrariness", and gradually formed the unique aesthetic characteristics of this work. The writing pen in this work is completely centered, showing the righteousness of the literati "shouzhong", revealing a kind of strength in the round twists and turns, flexible but not weak, smooth and flexible without the slightest arrogance. Its strokes have a strong "ink gas", the author dips ink full when writing, and the next pen is smooth, so a thicker "head" appears at the beginning of the pen. In the immediate vicinity of the strokes, there is also a phenomenon that the strokes are slightly adhesion due to ink infiltration. Among the calligraphies that Wu Changshuo is good at, such as seal, li, kai, line, and grass, the grass is the earliest mature and the most widely used. From the inscription of this work, we can glimpse that its line book is easy to retract, moist and dry, and has the tendency to overwhelm the mountains and the sea. Wu Changshuo's xingcao was influenced by the thesis in his early years, and gradually mixed with the meaning of the seal book around the age of forty, and after the age of seventy or eighty, he formed this kind of seal, affiliation, kai, line, and grass in this work, and all kinds of brushwork dissolved in one furnace, majestic and vigorous, wanton and old, and his own style had matured, reaching the situation of Sun Guoting's "when the meeting is passed, everyone is old".
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Lot 372 Wu Changshuo (1844-1927) Linshi Drum Wen Four-Screen Vertical Axis Ink Paper Propyl Shen (1896) Made 134.5×40 cm (per painting) RMB: 1,500,000-2,500,000 (4) Inscription: Bingshen (1896) In October, both looking at the Lintian Pavilion northern Song Dynasty Benshi drum text, the sick arm holding tube failed to be virtual and real. Wu Junqing. Seal: Junqing Dali, Cangshi
"Shigu wen" is the earliest stone inscription in China, carved on ten drum-shaped stones, hence the name. The lines of "Stone Drum Text" are more uniform and rounded than those of Jinwen, the glyph structure is simpler than that of oracle bone and jinwen, neat and slightly rectangular, parallel lines are more arranged and decorated, rigorous and dense, with pen round and straight, pen is vigorous and solemn, word spacing, line spacing is open and balanced, sparse as a clear sky and stars, the characters are larger than inches, the atmosphere is simple and ancient, majestic and thick, simple and natural, quite respected by all generations, is an excellent model for starting with the big seal. Ming Zhujian's "Treatise on Seals" said: "The Stone Drum Text is the first seal law in ancient and modern times. ”
Successive generations of scholars have studied the "Stone Drum Text" the most, the deepest, and the most unique is Wu Changshuo, and all those who comment on Wu Changshuo must mention his "Stone Drum Text". The Guangxu Decade (1884) was an important turning point in Wu Changshuo's practice of sealing calligraphy, and Wu Changshuo began to contact the Shiguwen Tuobao, which had an important influence on his later calligraphy. Since then, "the realm of one day and one day" has finally become a generation of masters and become the "first person in the Stone Drum Seal Book".
This piece of Wu Changshuo's "Linshi Drum Text" was written in October 1896, which is the Linyi Pavilion Northern Song Dynasty Benshi Drum Text, and it is humble to be able to combine reality and reality. The "Stone Drum Text" copied by Wu Changshuo and the original "Stone Drum Text" are very different in appearance, with both classical forms and hills in the chest. The lines have changed from the smooth and solid of the original version to the flow of strokes and the flying of natural interest, although the lines are round and solid, but there is no sloppy and slippery meaning, they are all solid seal lines, with a sense of fragmentation, with gold and stone atmosphere; the structure is formed from the original flat posture to form a high and low uneven trend, the words fly, and they are about to come out; the space division breaks the equilibrium, the loose can go, and the air is not airtight; the pen is old and spicy, and the force is ten thousand millimeters, full of domineering atmosphere; there is a dry and wet and dry point on the ink. This is Wu Changshuo's successful attempt to borrow the past and open up the present.
The overall effect of this set of four screens rhymes in the rules, and Wu Changshuo imitates the intention, on the one hand, it shows that the energy is full, on the other hand, it can be seen that the skill is extraordinary. Compared with the common old spicy and golden stone full of stone drum texts in his later years, these four screens show a handsome posture, which not only can see Wu Changshuo's early extraordinary skills, but also an important historical material for studying Wu Changshuo's calligraphy process, which is extremely precious.
Lot 373 Wu Changshuo (1844-1927) Lishu Liuyan Lianli Axis Ink Paper Jiayin (1914) 111.5×24.5 cm (per painting) RMB: 500,000-800,000 (2) Inscription: Yunyuan Great Brother Genus Book, Jiayin (1914) Mengxia, Set Cao Jing finished the inscription. Angie Wu Changshuo. Seal of The Seal: The Seal of Junqing, the Seal of Cangshuo Jian: The Interpretation of Yiyan Zhaizang: Three Thousand Soldiers of the Great Han Dynasty, So Wu Zun Five Hundred Sages. Above: "Yuncheng Big Brother" is Zhao Yuncheng (1874 -1955), a native of Suzhou, Jiangsu Province. Ziyun, formerly known as Dragon, was renamed from the beginning. Zhao Yunyuan first learned to paint from Ren Qian and Gu Hu, and later studied under Wu Changshuo, abandoning his previous studies and becoming famous, becoming a master for Wu Changshuo. Later, he moved to Shanghai and became a permanent director of the "Maritime Inscription Museum" and a member of the Maritime Calligraphy and Painting Federation. Good at painting flowers, landscapes, and is also good at seal carving, but also can cursive. Books, paintings, and seal engravings all have the charm of Wu Changshuo without attacking his appearance, and the method of Xu Wei, Shi Tao, Shi Xi, and Bada Shanren is to paint heroically and his reputation is growing day by day. In the early 1950s, he was hired as a librarian at the Suzhou Museum of Culture and History. Description: Heritage Store Collection.
Although he studied Lishu for a period of time in his early years, and Ziyun "once read the Hundred Han Tablets and once held the Ten Stone Drums", due to his interest, his energy and efforts at that time were actually above the "Ten Stone Drums", so the research and effort spent on the Lishu in the early and middle periods was not much. Although it is not dedicated to Lishu, Wu Changshuo's profound seal calligraphy and cursive calligraphy skills have been fermenting day by day, and in a state of "unintentionally being in Jia Naijia", he has achieved a style of Lishu that has never been seen before. In Wu Changshuo's run-up case, there are often words such as "only make seal books, and should not be divided", "divided and truly written should not be", and the works handed down by Lishu are also extremely rare, and it is difficult for ordinary people to see them. This "Lishu Liuyan Lian" was written in 1914 by Wu Changshuo for Gaozu Zhao Yunren. For the proud disciple Suoshu, Wu Changshuo naturally agreed. Zhao Yunyuan studied painting in his early years at Ren Pre and Gu Hu, and around 1904, through the poet Gu Cha Estate Zhijie, he was able to worship Wu Changshuo as a teacher. Wu Changshuo became the leader of the maritime painting world, and Zhao Yuncheng's contribution was indispensable. Zhao Yunyuan took Wu Changshuo's letter to visit Wang Yiting, and was deeply loved by Wang Yiting. Open up the various fan villages and framed painting shops, so that Duoyunxuan, Jiuhuatang, Jinyuntang, Jinruntang, Tianbaotang and other painting shops will receive the goods on their behalf. About half a year later, Zhao Yun returned to Suzhou and told Wu Changshuo of his achievements at sea, prompting Wu Changshuo to decide to settle on the sea. Wang Yiting vigorously promoted the art of the Wu School in the Shanghai business and art circles, and Wu Changshuo eventually became the leader of the "Maritime Painting School". In the inscription, Wu Changshuo said that the "Lishu Liuyan Lian" was "a collection of words from the Cao Jing Complete Stele "Cao Jing Complete Stele" (i.e., "Cao Quan Stele"). Wu Changshuo's book was mainly influenced by the Cao Quan Stele, the Pei Cen Ji Gong Stele, the Zhang Qian Stele, the Kai Kai Chu Dao Carved Stone, and Deng Shiru. However, unlike the flat posture of the Cao Quan Stele, Wu Changshuo's "Lishu Liu yan lian" has a longitudinal tendency. The knot body of each word is longitudinal, wide and narrow, left low and right high, round and straight, positive and straight, and then mixed with the combination of stone drum wen seal book kung fu, high ancient and simple, graceful and comfortable. The successful path of his Lishu just confirms the concept of "seeking printing outside india" advocated by printing science since the Qing Dynasty, and attacks this "jade" with "the stone of his mountain" and embarks on a path of freedom.