This exhibition, together with the Zhejiang Provincial Museum and the Xiling Printing Agency, two important cultural institutions, selects 144 sets of fine works of calligraphy and painting seal engraving, showing Wu Changshuo's persistence in "apprenticeship with the ancient" and the boldness of "being new with the ancient", and is also one of the series of art exhibitions of "Modern and Modern Calligraphy and Painting Masters" of the Shenzhen Museum.
Exhibition hall
The exhibition is divided into four parts. The first part is the middle age period 1874-1899 (31-56 years old): Qiuyi Southeast, during this period Wu Changshuo's "poetry, calligraphy and painting" four major areas are involved, the early works are mainly "imitation of the ancient".
The second part is the changes in the turmoil 1900-1911 (57-68 years old): self-exploration, with the division around the age of fifty-five, the composition of his works, the ink used in the next pen has basically matured, the poetry creation, the golden stone calligraphy skills have been quite advanced, especially the study of the "Stone Drum Text" has matured, calligraphy and painting brushwork are integrated, and gradually present a distinct Wu Changshuo characteristics.
The third part is the Shanghai period 1912-1927 (69-84 years old): art harvest, Wu Changshuo officially settled in Shanghai, served as the first president of Xiling Printing Society, his art entered a harvest period, thick accumulation and thin hair, with the rule of the seal as the leading force, with gold and stone calligraphy to cast the wind and flesh, with poetry as the soul and realm, poetry and painting seal integration burst forth, the achievement of a generation of masters. Most of his famous works were completed during this period.
Part IV: Seal engraving master Wu Changshuo, Wu Changshuo in the art of the world, the earliest name of the seal, his art is tough in the gold stone seal carving. Wu Changshuo also commented on his artistic achievements, gold stone is greater than calligraphy, calligraphy is greater than painting. This section of the collection shows the seal engraving works of several periods of his life.
Jin Shi pen and ink literati people's hearts are | Wu Changshuo's "flower" world!
In the history of Chinese art, Wu Changshuo, whose "poetry, books, paintings, and prints" are all extinct, is an epoch-making figure.
He is a pioneer of Chinese Haipai art, together with Ren Bonian, Pu Hua, and Xugu, known as the "Four Great Masters of the Haipai school at the end of the Qing Dynasty", and the first president of Xiling Printing Society.
In the late Qing Dynasty, the imperial examination was gradually abolished, and the promotion path of literati students was no longer what it used to be. Many readers have shifted their gaze from the mountains and rivers to the flowers, birds, fishes and insects around them, and this change is both a change of mentality and confined to real life.
The Department of Flower and Bird Painting was a great success in the painting circle of the late Qing Dynasty and the Republic of China. As a painter, although Wu Changshuo learned to paint late and will show people after the age of forty, he is best at large-scale flowers. Today, let's take a look at the flowers written by Wu Changshuo.
plums
Wu Changshuo likes to paint plum blossoms, with the emotional sustenance of affection and attachment to writing. "The bitter railroad man Mei is a confidant, and it is a long skill to portray flowers." The lonely character of the plum blossom independent winter is a symbol of Wu Changshuo's self-comparison.
Plum blossom sketch axis
Color on paper
Twenty-eight Years of Qing Guangxu (1902)
Length 126.8 cm Width 66.9 cm
This picture is Wu Changshuo's fifty-nine-year-old work, which is the stage when his painting art is becoming more and more mature, but the brush is still beautiful, and it can still be seen that he was influenced by Ren Bonian and others, compared with Cangxiong in his later years, there is more clear and pure Songxiu.
Wu Changshuo's plum blossoms have their own unique features. He likes to express the old plum, the curved branches, like the iron bones of zhengzheng, which contrast strongly with the delicate flowers.
chrysanthemum
Chrysanthemums are also common themes in Wu Changshuo's pen, including ink chrysanthemums, yellow chrysanthemums, red chrysanthemums, white chrysanthemums, etc., most of which are common varieties in the garden, with wild and natural forms, vigorous growth, or growth by stones, or accompanied by fences, reflecting the hidden poetry of "picking chrysanthemums and eastern hedges".
Colored Flowers Album Fifth Blooming Chrysanthemum (Partial)
Thirty Years of Qing Guangxu (1904)
9 open length 37.9 cm width 41.7 cm
In addition, chrysanthemums often bloom in autumn, so they symbolize autumn, and September is often called the chrysanthemum month. Jiu is also homophonous with Jiu, so the use of chrysanthemums to symbolize longevity, painting chrysanthemums for the elderly He Shou is also one of the reasons why Wu Changshuo frequently painted chrysanthemums.
lotus
Ink Lotus Axis (Gift Lu Hui)
Ink on paper
The Twelfth Year of Qing Guangxu (1886)
Length 98.5 cm Width 46.1 cm
Wu Changshuo's middle-aged works have a cold and elegant tone, which is different from the rich and ancient presented in his later years. This painting was painted at the age of forty-three and is a masterpiece of his early years. In the painting, the lotus leaves are sprinkled with ink splashing method, outlining the veins of the leaves when the water is not dry, and the ink color changes. The contrast between black and white sets off the lightness and delicacy of the lotus flower, and the picture is ethereal and elegant, and the paper is cool.
The lotus flowers of Wu Changshuo's later years, on the basis of the quaint and fresh of the predecessors, the pen and ink highlight the grandeur, grandeur and majesty.
peony
Peony, in full bloom in the spring, the flowers are huge, the flower shape is full, the whole body is rich and elegant, the national color is heavenly fragrance, and it has the reputation of the flower king. Wu Changshuo likes to use strong and vivid colors with strong contrasts in the use of colors, especially good at using magenta, which is strong and bright.
Guishou Immortal Chart Axis
Decade of the Republic of China (1921)
Length 140 cm Width 46.5 cm
This picture was made by Wu Changshuo when he was seventy-eight years old. Peony symbolizes wealth and is often liked by painters, so it has become a common subject for Wu Changshuo's paintings in his later years. There is a strange stone standing in the painting, the peony is dyed with western red stains, and there are ink lines below to outline the daffodils, and the diagonal line of the picture is composed, forming a large visual impact, which is a typical painting of Wu Changshuo in his later years.
peach blossom
In his later years, Wu Changshuo painted many plum blossoms and peach blossoms, with neat brushstrokes, thick colors and vulgar colors, painting with calligraphy brush and ink, and the composition was strange and very visually impactful.
Peach blossom chart axis
Eleven Years of the Republic of China (1922)
Length 185.5 cm Width 56 cm
Interpretation: The clouds are thick and scorching, and the red light is wrapped in quite a litian. Don't eat more flax rice, full of peach Hua has been immortal. Record old works to fill in the blanks. On the twenty-ninth day of March, kehu was sick for a day, and it was written quite like Mengfu. Bamboo Brother genus to why. Anji Wu Changshuo was deaf. Year seventy-nine.
Seal: Wu Junzhi Seal (Bai WenYin), Wu Changshi (Bai Wenyin), Half Day Estate (Zhu Wenyin).
Peak chart axis
After admiring so many works of Master Wu Changshuo, I would like to introduce this "Peak Picture Axis" to you. At the end of the Qing Dynasty and the beginning of the People's Republic, bronze works combining full-shaped expansion and painting were prevalent. This "Peak Chart Axis" is one of the fine works of art.
Length 180.1 cm Width 96 cm
The subject matter of this type of painting evolved from the traditional Qing Dynasty and hung in the hall at the beginning of the New Year as a blessing. The two bronzes on the screen, the left side is Zhaojian Ding, and the right side is the famous Wuhui Ding.
In the picture, the Tuoyan Huiding is fully realistic, the instrument type is simple, and the text is clear. The front and back of the ding are painted with ink plum and color peony respectively. Plum blossoms with pen vigorous, peony with quaint colors, the picture is full of ancient meaning, rich and elegant. The word "dingsheng" has an auspicious meaning.
Jin Shi pen and ink literati people's hearts are | Wu Changshuo: A drum breaks through zhuyitong
Wu Changshuo (1844 ~ 1927), the first name of Jun, also known as Junqing, the word Changshuo, do not sign Cangshi, Cangshi, more than other names, common people are Cangshuo, Lao Cang, Lao Miao, Tao Daoren, Bitter Iron, Broken Lotus Pavilion Chief, Five Lakes Yin Cai, Great Deaf and so on. He is a giant of modern and contemporary "Haipai" art, and the first president of Hangzhou Xiling Printing Society.
Wu Changshuo self-rated artistic achievements, gold stone is greater than calligraphy, calligraphy is greater than painting. In the world of calligraphy and painting, when everyone talks about Wu Changshuo, they will definitely think of Shi Guwen; when it comes to Shigu wen, they will also think of Wu Changshuo.
What exactly is Shi Guwen?
I don't know if you remember that in the first episode of "National Treasures", there was a stone drum that could be called "China's first antiquity". What the hell is this? How does it relate to the Stone Drum Text?
They are stones of the pre-Qin period, because the shape is thin and thick, the top is slightly round, like a drum, it is called a stone drum. The stone drum text, as the name suggests, is the text carved on the stone drum, which is a kind of text that transitions from a large seal to a small seal.
Since ancient times, the stone drum text has been cherished by the world, so it shines through the ages and flows through the ages. The stone drum text is carved on 10 drum-shaped granite stones, and the stone is hard. Each stone drum is engraved with a poem of four words, which is a song about the hunting of ancient emperors, so it is also called "hunting exhaustion".
Why is Shi Guwen loved by Jinshi artists?
From a historical point of view, Shi Guwen praised the great historical deeds of the ancestors and the first emperors who made great contributions to the historical development of the Qin people. Singing both the past and the present, using poetry to depict a vivid historical picture of the entrepreneurial development of the Qin people.
Seal book "Xiling Printing Society" banner
Specific age: 1915
Xiling Seal Society Collection
From an artistic point of view, Shi Guwen is also the favorite of countless Jinshi artists. The chapter method of the stone drum text is basically vertical and horizontal orderly, the pattern is clear, simple and dignified, dignified and generous, the structural proportion of each word is roughly the same, and the word spacing and the line spacing are roughly equal, giving people a noble and solemn, solemn and colorful feeling. The Shigu script paved the way for the further development of the seal book, and also laid a solid foundation for the "book and text" policy implemented by Qin after unifying the whole country, which was the "matrix" of Qin Shi Huang's unification of Chinese characters.
What did Wu Changshuo learn from Shi Guwen?
Calligraphers and painters regard Shiguwen as an important nutrient of their own calligraphy art, and then integrate it into their own calligraphy and painting art. Wu Changshuo, an outstanding master of art in the late Qing Dynasty, looked at the first generation with poetry, calligraphy and painting. His seal book is a model for the good study and good use of the "Stone Drum Text", and he has been attentive to this all his life, and has the reputation of "one drum to write through all the arts", he once said: "Yu Xue seal is good to come to the "Stone Drum", and has been engaged in this for decades, and there is a realm of one day a day. The influence of Shiguwen can be seen in other artistic creations after him, including calligraphy and painting.
calligraphy
Set of "Stone Drum Text" axis
Fifteen Years of the Republic of China (1926)
Collection of Zhejiang Provincial Museum
This axis was written by Wu Changshuo when he was 83 years old for Sha Menghai, and belongs to his late years. Wu Changshuo's calligraphy creation is based on the "Stone Drum Text", which is accompanied by the seal writing style of other Golden Stone cultural relics, and in his later years, he was especially immersed in the study and copying of the "Stone Drum Text". This painting is "linqi is not in shape", strange and clumsy, full of gold and stone atmosphere, which is a typical calligraphy feature of his later years.
painting
The stone that often appears in Wu Changshuo's flower paintings is related to the stone in the stone drum text
Wu Changshuo stone drum wen, Wang Zhen lotus fan
(Gift business speech) partial
Eight Years of the Republic of China (1919)
(Partial)
Decade of the Republic of China (1921)
The stones in the painting are in a convergent trend, just like the calligraphic characteristics of the stone drum text, the arc of the opposite direction, the end of the line converges inward, the middle has an outward tension, the shape is round, full, and the sense of volume is grand and thick.
Many of the branches that appear in Wu Changshuo's freehand flowers are like wooden sticks standing in the painting, hard and powerful, like cast iron, which may be related to the fact that the lines of the stone drum are mostly straight lines, or it may be related to Wu Changshuo's perennial seal engraving.
If the leaves of the flowers in the painting are removed and only the branches are looked at, the structural main line of the flower painting is also quite similar to the internal structure of the stone drum text.
"Painting and seal law can be merged, deep thinking and solipsism only go alone", admiring Wu Changshuo's paintings is not only limited to the specificity of things, but also needs to experience its charm abstraction, which is also where freehand painting is different from realistic painting, and it is also the most difficult to express freehand painting. The brilliance of Wu Changshuo's paintings is also here.
Shi Guwen has undoubtedly been integrated into Wu Changshuo's blood and reflected in his paintings, which is also the thickness, condensation and strength we feel when we look at his paintings.
Jin Shi pen and ink literati people's hearts are | Wu Changshuo's alias and self-metaphor
Wu Changshuo (1844 ~ 1927), the first name of Jun, also known as Junqing, the word Changshuo, do not sign Cangshi, Cangshi, more than other names, common people are Cangshuo, Lao Cang, Lao Miao, Tao Daoren, Bitter Iron, Broken Lotus Pavilion Chief, Five Lakes Yin Cai, Great Deaf and so on.
Wu Changshuo has a lot of nicknames in his life, and in addition to other names, there are also some "self-metaphors" that are also quite interesting. Today we have selected some from Wu Changshuo's self-metaphors and nicknames, let's talk about it
Wu Changshuo - "Sour Cold Lieutenant"
Wu Changshuo was born in 1844 in Wucun, Anji, Zhejiang Province, and died in Shanghai in 1927 at the age of 84. However, it is because of the long volume of Chinese modern painting art that ends an era.
"Acid Cold Lieutenant Statue" Ren Bo Nian
This is a portrait of the great painter Ren Bonian for Wu Changshuo, wearing a red hat with no top button and wearing a sunflower yellow official robe, he has just returned from a business trip, the robe has not been taken off, arched his sleeves, and has not yet had time to wipe his sweat. This shabby picture was seen by Ren Bonian, so there was this heirloom. Wu Changshuo himself also found it funny, and while he was amused, he thought of his life of being poor and destitute, and his sorrow came from it, and he titled "Sour Cold Lieutenant" to laugh at himself.
He also painted plum blossoms, but he painted plum blossoms as big as wine cups, some people ridiculed him, the painter was not ashamed, but extended the brush wider, so we saw this full peach, gorgeous peony, sweet lychee, and fresh cabbage, people in his melons, fruits and vegetables, see a thousand years of Chinese painting history, a new life, a new emotion.
"Guishou Immortal Chart Axis" Wu Changshuo
Wu Changshuo - "Bitter Iron"
Historians pointed out that in this era of tight literary network and ideological rule, scholars could only avoid contact with actual politics. As a result, academic art is good and ancient, and Jin Wen Yi Ding and Qin brick and Han tile have become popular.
The entry of gold stones into printing, books and paintings has become the characteristic of the era of seal engraving art in Qing Dynasty calligraphy and painting.
Wu Changshuo has been a good stone since childhood. At the age of fourteen, he began to treat India "and India is not separated from the day". In fact, Wu Changshuo was first and foremost written in the world.
When he was a child, his family was cold, Shi Zhang picked up from the creek in front of the village, or practiced on square brick tiles, and the carving knife was made of scrap iron or nails, and only time was rich. Later he named himself "Bitter Iron".
"Seal Book "Bitter Iron Residence"" Shi Yusheng
When Wu Changshuo carved the stone seal, he entertained himself with stone all his life.
Wu Changshuo - "Cangshi"
Wu Changshuo was fifteen or sixteen years old and engaged to the Zhang clan of a neighboring village.
In the spring of 1860, the Taiping Army hit Jiangsu and Zhejiang, and the betrothed Zhang shi was sent to the Wu family by his family, but before he could get married, his hometown of Wu wu had become a battlefield. Seventeen-year-old Wu Changshuo fled with his father, and the family was left with foot-binding female relatives who could not escape, and Zhang Shi took the initiative to stay and take care of her mother-in-law.
Once Wu Changshuo took refuge in a cave, for several days there was no food, there was nothing around but stones, fortunately the surrounding villagers were able to survive, in gratitude for this kindness, he also named himself "Cangshi".
"Tao Zhai" white text seal
Side section: Rokushoku, Cangshi rework, Shi Gengchen February.
After the Taiping Army was pacified, Wu Changshuo returned to his hometown, which had long since changed its face. Of the nine members of the Wu clan, except for him and his father who fled, the other seven people have all died.
Hometown has become a sad place of ten rooms and nine empty, Wu Changshuo left, he opened a piece of land on the edge of the county town, thinking that his livelihood, "although the hometown is not far away, the change of land is also sad."
Wu Changshuo studied hard for ten years in this Banmu Garden, which he called "Wuyuan", and planted melons and vegetables on weekdays, and planted 30 plum blossoms. He began to paint, and the beginning of the painting was the plum blossom, which had a cold and bitter fragrance, and he commemorated the unmarried lady with the plum blossom.
After "Bitter Railway Man Mei Confidant", Wu Changshuo's life was marked by quaint and cold plum blossoms and simple and rough stones, and he also called Cangshi all his life.
In his later years, Wu Changshuo's "Bright Moon Predecessor" engraved the back of Zhang's back as the edge of the seal, and only printed it on the plum blossoms he painted.
Wu Changshuo - "Old Man"
"Parents are here, not far away."
In 1868, his father, who had fled with Wu Changshuo, died of illness. He was the only one left in the family of nine. At the age of twenty-five, Wu Began to travel.
A piece of luggage, a box of broken books, began to look for teachers and friends, this is his life's famous "study tour", "eunuch", "art seller" and "guest" career. Not only to support the family, but also for the artistic feelings that have sprouted, but also to win the fame of the career.
Wu Changshuo often said that he "hated not reading much in his life" In Hangzhou, he took Yu Fan as a teacher, laid the literary foundation for calligraphy and painting, and in Huzhou, he also worked as an assistant to Lu Xinyuan, a collector of ancient books and gold stones. During his years of study tour, he made a group of learned teachers and friends.
In 1882, he met an antique dealer, in China's traditional "scholar farmers, industrialists and merchants", the merchant is the last. However, Wu Changshuo showed rare respect for the merchant and wrote the four characters of "Dao in Wa", and as a result, the antique dealer introduced Wu Changshuo as a confidant, and in gratitude to Wu Changshuo, he gave a precious ancient silk as a gift.
Wu Changshuo called the study "缶庐", the most commonly used number in calligraphy and painting is "Lao Miao", and he himself is called "缶翁".
Wu Changshuo's Golden Stone Art
Wu Changshuo's achievements in seal engraving have epoch-making significance for the art of seal engraving in the mainland, mainly because he melted poetry, books, paintings and prints into a furnace to open up a new realm of seal engraving art. His achievements are mainly derived from the cultivation and thinking of art, which are embodied in:
Poetry melts in print. He likes to write poems with "hard words to burst in" and engrave with "blunt knives to hard in".
"Junqing Seal Letter" Zhu Wenyin
Side section: Gengchen Jiuqiu carved in liangxuan, Changshi.
The painting is melted in the print. His paintings rise and fall, good at leaving blanks, or diagonal oblique, meteorological splendor, composition block sense is very strong.
"Zhou Jia Hou Shu" white text print
Side section: The pen is scribbled, scribbled, and sixty years are suddenly unknown. The old man carved this, with the indignation of people and books. The Moon of Mengchun.
The book melts in print. His seal book has a strong personality, the words in the print have a penmanship, and the knife is integrated into the pen. Therefore, his seal engraving often shows the characteristics of majestic and charming, clumsy and simple, ugly and beautiful (this "ugly" is mainly in "broken"), ancient and modern (like ancient seals is new), and change and positive (change is more and more in line with the formal).
To this day, there are still many people who study Wu Changshuo's seal carving.
Jin Shi pen and ink literati people's hearts are | Wu Changshuo's middle age: Qiuyi Southeast
Part I Seek Art Southeast
Middle age: 1874-1899 (31-56 years old)
Wu Changshuo was born in poetics and began to govern in his early years. At the age of 29, he studied under the master of scripture, Yu Fan (1827~1902), and at the same time traveled extensively, observing the ancient artifacts of Mobao and the inscriptions of inscriptions. Wu Changshuo's "poetry, calligraphy, painting and printing" are all diligent imitations of the ancients, and the artistic style of this period can be summarized as "apprentices with the ancients".
Wu Changshuo studied calligraphy from Zhong Xuan, introduced into the Kai, and studied the "Stone Drum Text" for ten years, drawing on the suggestions of his teacher Ren Bonian to paint in cursive writing, but he was still in the early stage of painting with books, with sharp brushwork and light and elegant colors.
Ink-hop chart axis
The Twelfth Year of Qing Guangxu (1886)
Length 98.5 cm, width 46.1 cm
Interpretation: Pillow mounds facing the wind lie on the green moss, junjia snow lane open to the door. Not too wild Tan Shi evil, hand to fleur to escape the heat. Give Lu Lianfu's old friend poems, record this to fill in the gaps. In April, Changshi Wujun.
Seal: Wu Junzhi Seal (White Wen Yin), Wu Changshi (White Wen Yin).
Wu Changshuo's middle-aged works have many cold and elegant tones, which are different from the rich and thick ancient presented in his later years. This ink lotus was painted at the age of forty-three, and the lotus leaves are sprinkled with splashing ink, outlining the veins of the leaves when the water is not dry, and the ink color changes interestingly, and the paper is cool.
Tan Fu Tang Filler Picture Axis (Gift Tan Fu Tang)
Sixteen years of Qing Guangxu (1890)
Length 21.5 cm, width 53 cm
Interpretation (1): Smoke willow oblique yang filler picture. Mr. Fudo ordered to write. Gengyin February, Wu Jun and guests in Shanghai.
Plutonium seal: Wu Changshi Yi Shou Chang (White Wen Yin).
Interpretation (2): The words of the futang are too poignant, and the eyes are full of mushrooms and the shadow of the sun is low. The hut has a door to cover the water, and the willow root runs through the wall to the creek. Leaning on the voice to push the red friend, asking the word car to crush the white causeway. It is best to listen to the west lake to press the beat, and the sound of the maple breaks the blue glass. Bitter iron and question.
Plutonium seal: 缶記 (朱文印), All Day Longshi (朱文印). Zhen Jian Tibetan Seal: Jin Yu Obtained (Bai Wen Yin), Zhang Jin Yu Appreciation True Record (Bai Wen Yin).
This picture was made by Wu Changshuo for his teachers and friends when he was 47 years old, and the whole canvas is mostly dyed with ink stains, slightly mixed with ochre flower blue, the tone is pale, and the pen is sparse, which is a masterpiece of landscape in his early years.
Huang Binhong inscribed the poem hall "Futang Filler Picture", and below it are Pan Tianshou, Zhang Zongxiang, Xia Chengyi, and Zhang Jinyu.
The seal book shi graphite sentence seven words
Twenty Years of Qing Guangxu (1894)
Length 150.5 cm, width 29.5 cm
Interpretation: There is a amount of food and wine, drunkenness and catching the moon, and drinking and eating without talent and hunger. Graphite Brother wrote a sentence belonging to the book. Guangxu Jia Noon October, Junqing.
Seal: Lao Wei (Zhu Wenyin), Junqing's Seal (Zhu Wenyin), Cangshuo (Bai Wenyin).
Wu Changshuo's early seal book works, while directly taking the Qin and Han Dynasties, actively absorbed many famous seal calligraphers of the Qing Dynasty, such as Deng Shiru, Yang Yisun and others. At this stage, Wu Changshuo's seal book presented many faces, and had not yet formed his personal style.
At this stage, Wu Changshuo's calligraphy and painting style advanced with the times, and there were many poems in the middle, and the artistic practice of "painting with poetry and painting into poetry" gradually derived a new artistic understanding in "chasing the ancient".
Jin Shi pen and ink literati people's hearts are | Change in Turmoil: Self-Exploration
Part II: Self-Exploration
Changes in turmoil: 1900-1911
(Age 57-68)
Before the age of fifty-five, Wu Changshuo's artistic creation is mostly to absorb the nutrition of the ancients, refer to the details of all parties, absorb the accumulation of the period, after the age of fifty-five Wu Changshuo poetry, books, paintings, printing of the composition of the chapter, the pen with ink has basically matured, poetry creation, Jinshi calligraphy skills have been quite a realm, especially the study of "Stone Drum Text" has matured, calligraphy and painting brushwork integration, the use of the center of the flat way of using the pen, from the front of the front of the line to the thick lines with vitality, paintings, The calligraphy is round and thick and the atmosphere of ancient clumsiness spews out.
Twenty-eight years of Qing Guangxu (1902)
Length 180.1 cm, width 96 cm
Interpretation (1): Period Zhong observes the genus of adults, and intends to point out the color of the Thirteen Peaks Caotang, that is, Pu Junjian. It was in the mid-autumn moon of Nongyin, and the yu ji of the Fetish Hall was in the clouds. Wu Junqing. Seal: Seal of Junqing (Zhu Wenyin), Cangshuo (White Seal).
Interpretation (2): According to The Legend of Wei Huiding, it is appropriate to be a country, so that it is not allowed to be this Ding, and it will be sinned. Wei Shi was afraid and sent to Jiaoshan Mountain. "Jigu Zhai" interpretation: burnt word, clinging to sacrifice, called burnt. Foolish Case, Guangya Shiki: Meat is also burnt. 膰 is the provincial text, not the two meanings of the word. In August, Junqing remembered again. Plutonium Printing: The Recent Situation of Bitter Iron (White Seal).
At the end of the Qing Dynasty and the beginning of the People's Republic, bronze works combining full-shaped expansion and painting were prevalent. This figure is extended to Huiding, the full shape is realistic, the instrument type is simple, the side of the golden text rubbing, the text is clear. The front and back of the ding are painted with ink plum and color peony respectively. Plum blossoms with pen vigorous, peony with quaint colors, the picture is full of ancient meaning, rich and elegant.
The Seal Book collects Du Fu's sentences and seven words
Three Years of Qing Propaganda (1911)
Length 177.1 cm, width 35.4 cm
Interpretation: Admiralty In the eastern order, the Yellow River in Qinghai is rolled up in the clouds. Shaomo Xian's concubines belong to the Genus Zi, which is a collection of Du Shaoling sentences. Xinhai Chunzhong, long rain and early rain. Junqing was ill on his left foot. Seals: Zhou Jia Hou shu (Bai Wen Yin), Junqing Zhi Yin (Zhu Wen Yin), Cang Shuo (Bai Wen Yin).
This couplet is a work by Wu Changshuo when he was sixty-eight years old, and the content is collected from Du Fu's poems. Wu Changshuo was very attentive to the study of the seal book very early on, and after middle age, the knot gradually left the original moment, and he established his own face around the age of sixty, and at the age of seventy or eighty, he was even more wanton and alone. This joint shows an initially formed personal style.
Magnolia chart axis
Thirty-one Years of Qing Guangxu (1905)
Length 141.5 cm Width 43.7 cm
Interpretation (1): The green strip is powerless to lead the wind long, embellished with silver flower jade shavings incense. Yunyou knows that people are far away, and the curtain gently dissolves the white neon dress. Guangxu Thirty-one Year Otomi Chun Chun Chang Shuo was written in the Fetish Hall.
Plutonium Seal: Pegatron (White Wenyin), Bitter Iron Recent Situation (White Wenyin).
Interpretation (2): The morning bell did not report the dawn of the building, and the magnolia tree was supported by the wall. The old man in the south neighbor moved with pleasure and took off his hat to the flower. A branch holds a short sentence of gifts, and Jiang Mei falls to the spring moon. The jade man was carved, and the wife and child smiled and clapped their hands. Today, the light in front of the church is light and earthy. Bitter iron.
Seal: Junqing Dali (White Seal).
The white depiction of magnolia petals and ink-dyed branches are born in a virtual reality, with the brushwork of golden stone seals into the painting, and the thick and old-fashioned pen and ink are integrated into the simple and frank freehand, creating a beautiful effect of "bold and fragrant". This painting is a masterpiece of the organic combination of poetry and calligraphy.
At this stage, the composition of the painting with large opening and closing and large bevels has been basically formed, and under the influence of its own jinshi calligraphy, the painting style presents a distinct Wu Changshuo characteristic, which is truly "unique" in the field of freehand flowers. Also in 1900, Wu Changshuo completely bid farewell to politics and established himself in the art world.
Jin Shi pen and ink literati people's hearts are | Shanghai period: art harvest
Part III: The Shanghai Period
Harvest of Art 1912-1927 (aged 69-84)
In the first year of the Republic of China (1912), Wu Changshuo officially moved to Shanghai until his death in 1927. In 1913, he was elected as the first president of the Xiling Printing Society. During this period, although Wu Changshuo made a living from the art of mane, he also entered the realm of "random movement of the pen". Calligraphy is rooted in ancient meaning, but the next pen is not rigid, more arbitrary, forming a right high and left low, tight and loose posture; painting under the pen with thick color, arbitrary, no pretense, natural frankness and momentum, poetry is even more good sentences.
Seal Book Tour Inscription Banner
First year of the Republic of China (1912)
Length 65.5 cm, width 134 cm
Interpretation: Nongzi Daxue Festival, Yuhang Lujian, Jinyun Lou Estate, Shaoxing Hu Zongcheng, Wu Yin, Haining Zhou Chengde, Yinxian Ma Heng, Jiahe Shen Guangying, Hangzhou Zou Jianhou, Ding Shangzuo, Ding Ren, Wang Tonglie, Ye Ximing, Wang Shoufu, Ye Ming, Anji Wu Cangshuo Tongyou Inscription, Son Han, Mai Shi.
This banner was made by Wu Changshuo at the age of 69, reflecting his travel experience with many friends in Zhejiang, and has strong literature research value. The work is in the style of a small seal book, referring to the simplicity and clumsiness of the golden text, the lines are strong and thick, and the artistic conception is murky.
Four Years of the Republic of China (1915)
Length 46 cm, width 174 cm
Interpretation: Xiling Printing Society. It has been (should be B) in October, Wu Junqing sealed the forehead.
Seal: Seal of Junqing (Zhu Wenyin), Cangshuo (White Seal).
Xiling Printing Society is the first academic society in mainland China specializing in the study of gold stone seal carving, which was established in Hangzhou in 1904 with the purpose of "preserving gold stone and studying printing". In the second year of the Republic of China (1913), the Indian Society colleague recommended Wu Changshuo as the first president.
This banner is round and thick with a pen, the knot body is stretched to the vertical position, and the whole body is elegant and thick, with the beauty of Gu Maoxiong.
Linba Dashan people deer map
Length 133.5 cm, width 40 cm
Interpretation: Wang Sun painted a deer without him, and cultivated to the point of fushouduo. The grip could not be looked back, and the poor thorns were full of copper camels. Lu Sosuo Pro Eight Great Paintings of Deer, Yi Ji Chun, Wu Changshuo.
Seal of Plutonium: Seal of Junqing (White WenYin), Changshuo (White Seal), Zen Yongxuan (White Literary Seal).
This picture is made by Wu Changshuo when he was seventy-two years old, when he was about to draw the Eight Great Mountain People's penmanship. "Deer" and "Lu" harmonic sounds, indicating auspiciousness and wealth, this figure uses thick ink dots to highlight the integrity of deer bones, and the lightness of the fur is outlined with short and light, forming changes and contrasts in ink language, which shows Wu Changshuo's old skill in pen and ink control in his later years. In the picture, there are also inscriptions by Li Ruiqing and Zheng Xiaoxu, the masters of the late Qing Dynasty and the Republic of China.
Length 140 cm, width 46.5 cm
Interpretation: Guishou Immortal. Xin You may Wu Changshuo year seventy eight.
Seal: Wu Junzhi Seal (Bai Wenyin), Wu Changshi (Bai Wenyin), Xu Su (Zhu Wenyin).
This picture is made by Wu Changshuo when he was seventy-eight years old. Peony symbolizes wealth and is often liked by painters, so it has become a common subject for Wu Changshuo's paintings in his later years. There is a strange stone standing in the painting, the peony is dyed with magenta stains, and the diagonal line of the picture is composed, forming a large visual impact, which is a typical painting of Wu Changshuo in his later years.
Merson diagram axis
The Twelfth Year of the Republic of China (1923)
Length 188.2 cm, width 92.9 cm
Interpretation: The long pine line is flying springs, and the peaks are cut off by the clouds. When the customary dust is gone, the dragon goes up to cultivate the smoke. A few looks in November of the year of The Decade, the sticky wall reads by itself, slightly like Tianchi and Shi Tao, but the qi is not mellow and can be ashamed. Eighty-year-old man Wu Changshuo.
Seal of Plutonium: Seal of Junqing (Zhu Wenyin), Cangshuo (Bai Wenyin), Shi Renzi Room (Zhu Wenyin).
Wu Changshuo painted in his later years. Good vertical and long screen, the composition is more full. Although the scale of this work is large, the middle part of the cut branch of the pine tree depicted in this work is strange and shocking, and the pen is thick and heavy, and there is a wind of gold and stone. The inscription on the left and the empty layout in the lower part make the picture have a upward atmosphere, which shows the painter's unique ingenuity.
Writing poems on the Axis
Fourteen Years of the Republic of China (1925)
Length 135.7 cm, width 67.1 cm
Interpretation: Tiger negative wolf jumping illusion yigong, which is the heavy pupil of the Qin clan. The sea fill flew into a fairy carp, and Lou Lean frantically moved not to Ji Hong. Outside the Jipu Liushaling Valley, Cut Cloud Heavy House Bullfighting East. The plum blossoms fall and grow well in spring, and I smell a flute of wind when I am deaf. Deaf. Sell wine yi white clouds, play the flute and sit on the yellow calf. The river flowers are red on the shore, and the mountain rain is green. Inscription. The pot is kept in place. B ugly winter. Wu Changshuo was eighty-two years old.
The content of this scroll includes Wu Changshuo's Seven Laws of Deaf Hearing and five "Inscription Paintings", which were written at the age of eighty-two. The calligraphy style has a distinct personality, uses the pen quickly, has the characteristics of continuous unrestrained and vigorous movement, and this calligraphy style should be influenced by Zhang Ruitu, Wang Duo and others in the late Ming and early Qing dynasties.
Eleven years of the Republic of China (1922)
Length 185.5 cm, width 56 cm
Interpretation: The clouds are thick and scorching, and the red light lives in the sky. Don't eat more flax rice, full of peach Hua has been immortal. Record old works to fill in the blanks. On the twenty-ninth day of March, on the Lake of Ke, the sickness was written for a day, and it was quite similar to Meng Gao. Bamboo man brother to why. Anji Wu Changshuo was deaf. Year seventy-nine.
During this period, Wu Changshuo's art entered a period of full maturity, thick accumulation and thin hair, with the control of the seal as the leading force, with the golden stone calligraphy to cast the wind and flesh, with poetry as the soul and realm, poetry, calligraphy and painting seal integration burst forth, achieving a generation of masters.
Jin Shi pen and ink literati people's hearts are | Seal engraving master Wu Changshuo
The fourth part is the master of seal engraving Wu Changshuo
Wu Changshuo is among the artists, the earliest in the world, and his art is tough in the golden stone seal carving. It is also seal engraving that lays a situation for artistic development in the future. Wu Changshuo also commented on his artistic achievements, gold stone is greater than calligraphy, calligraphy is greater than painting.
Wu Changshuo worked hardest in Printing, he carved Yin Xi with blunt knives out of the front, the chapter was strict and the sword was bold, not only magnificent, majestic and strange, but also the mouth was neat and meticulous, and the font shape was colorful. Wu Changshuo's seal carving was first studied in Zhejiang and Anhui, and was influenced by Deng Shiru, Zhao Zhiqian and other families, and the early printing style was relatively thin. In the later period, the seal method of a large number of stone drum texts, Qin and Han seals, sealing mud, Han seals, bricks and tiles and other text characteristics, the original "blunt knife out of the front method".
After the age of 40, Wu Changshuo's seal engraving gradually entered a mature stage, and the printing style was simple and ancient, and the ancient style was melted and cast, combining the ancient style of Qin and Han with the two schools of Zhejiang and Anhui to form a unique seal carving artistic characteristic.
After the age of 50, Wu Changshuo's printing art has reached a high degree of maturity, and the printing style is subtle and extensive, delicate and timid, refined and elegant, which is in line with the style of calligraphy and painting.
The Sixth Year of Qing Guangxu (1880)
Height 2.5 cm, printed surface length and width 2.3 cm
Engrave for Zhou Zuo. This seal shows the traces of Wu Changshuo's influence from anhui and Zhejiang, and also has the meaning of ancient coins, and the line treatment is not weak, emphasizing the weight and weight, and the ancient atmosphere is full of ancient atmosphere.
Height 2.7 cm, printed surface length and width 2.0 cm
Self-printing. This is Wu Changshuo's commonly used seal, the line flow is gentle, the length is qualitative, the space is properly utilized, although it is a plain and solid road, but the Zen meaning is thick, reflecting his early years have a deeper understanding of seal engraving.
Thirty Years of Qing Guangxu (1904)
Height 4.8 cm, printed surface length and width 2.5 cm
Self-printing. This seal was engraved when Wu Changshuo was sixty-one years old. The so-called "Zhou Jia Hou", time flies, the nails have passed, the emotions intersect, and I can't help but sigh that "people are old and old". "People are old and old" has always been the highest state of the writer's lifelong desire, and at this time, Wu Changshuo is also moving towards the peak of his art in his later years.
"One Month Anton Order" White Text
"Dyed in Cang" Zhu Wen double-sided print
republic
Height 3.9 cm, printed surface length and width 1.8 cm
Side section: Han Yin Hun Ancient Meaning of Neglect, Zhi Ji.
Self-printing. At the age of fifty-six, Wu Changshuo had to be appointed as the governor of Andong County, Jiangsu Province, but less than two months after taking office, he hung up the seal and resigned, and successively engraved the three-party "One Month Andong Order" seal to vent the arrogance in his chest, which was one of them. The other side is engraved with "dyed in Cang", and the words "Mozi Dyeing" are published: "Zi Mozi sighs when he sees the silk dyeer, that is: dyed in Cang is Cang, dyed in yellow is yellow, the person who enters changes, his color also changes, the five into must, and only then is five colors." Therefore, dyeing must not be careless also. ”
Wu Changshuo's seal carvings are the achievements of predecessors, but they can jump out of the barriers and become a unique family, and their printing style can be majestic, wonderful in virtual reality, fine in thickness, thick and simple in flow, and vigorous in beauty. The seal engraving style had a far-reaching influence and formed the "Wu School".