【Abstract】Taking the early Qing Dynasty painter Wang Wu as the research object, this paper attempts to sort out the original literature and related research literature about Wang Wu, so as to present the research characteristics and related achievements in this field, and sort out the shortcomings and related problems related to Wang Wu's research.
【Key Words】Wang Wu Literature Research Review
Wang Wu (1632-1690), formerly known as Wang Xianwu [1], was a Chinese poet who was also known as Xueqian Daoren (雪颠道人), Ruweng (如翁), bushan (不山). A native of Wu County (present-day Suzhou, Jiangsu), he was the grandson of Wang Jun, a scholar of the Ming Dynasty. Wang Wu was quite famous at that time, and Wang Wan[3] said in the "Biography of Mr. Wang of forgetting the Temple": "And the paintings he painted were beneficial to the work, and the good deeds commented on Mr. Wang's paintings, although the predecessors Chen Shan renfu and Lu Shuping could not pass by." [4] Wang Shimin also praised his works: "Modern sketching, with a sense of hospitality, and vivid charm in solo work, should be in the wonderful product." [5] At that time, people often referred to Wang Wu and Yun Shouping as equally famous for their paintings of flowers and birds. In addition, his disciples included Zhang Hua[7], Zhou Li [8], Tang Guangqi [9], Jiang Tinggan[10] and others, and Wang Zhongchun[11], Ge Tang[12], Hua Wenhui [13] and others were influenced by his painting style, so it was called the "Forgetting Nunnery School" [14].
In the study of Wang Wu, scholars can mostly pay more or less attention to his brief life experience, family background, and make a rough analysis of his works, and most of them appear in art history books, catalogue history books, and museum collection bibliographies, and there are basically no scholars to study his in-depth case studies. Wang Wu had a certain influence in the flower and bird painting circle in the early Qing Dynasty, and was equally famous with Yun Shouping, who not only had a large number of paintings handed down, but also had sufficient relevant literature to be excavated. Therefore, the systematic special study of it has certain value and significance for clarifying the overall situation of the painting world in the early Qing Dynasty, especially the context system of flower and bird painting. As comprehensively and systematically as possible, the author collected his surviving works, and sorted out the chronology of the catalogue of works, identifying the references, inscriptions, seals, etc. in the visual works. At the same time, the author sorted out and summarized the materials on the theory of painting and the literature on local history, genealogy, poetry collections, etc., and combined with various research results of the current academic community, sorted out the deficiencies and problems related to Wang Wu's research.
First, the collation of original materials
(1) Genealogy, biographical texts and local chronicles
Genealogy is the most direct and objective way to understand Wang Wu and his family. There are four existing genealogies of the Wang family, namely the "Taiyuan Family Tree" compiled by Wang Yanting and Wang Yi in the 36th year of the Qianlong Dynasty,[15] the "Family Tree of the Taiyuan Wang Clan Continued Repair" compiled by Wang Zhongjun and others in the 6th year of Qing Daoguang[16], the "Genealogy of the Wang Clan of Dongting" [17] repaired by Ye Yaoyuan and others in the third year of the Qing Dynasty,[17] and the "Family Tree of the Moli Wang Clan" edited by Wang Jilie and others in the 26th year of the Republic of China.[18] Among them, the "Taiyuan Wang Family Tree" is a continuation of the "Taiyuan Family Tree", and the content describing the Wang Wu family in the "Taiyuan Family Tree" is not much complementary. The "Dongting Wang Family Genealogy" basically draws on the main content of the "Taiyuan Family Tree". Compared with the above three, the "Genealogy of the Wang Clan of Moli" is more comprehensive in content, and there are still some differences in the content of Wang Wu. Therefore, the "Genealogy of the Wang Clan" compiled by Wang Jilie and others and the "Taiyuan Family Tree" compiled by Wang Yanting and Wang Yi basically contain most of the information of the Wang Wu family and its members. The "Taiyuan Family Tree" is divided into twenty volumes, from the kedi, tomb diagram, lineage table, lineage chart, historical biography, inscription, art and literature and other aspects of the narrative, you can systematically understand the relationship between family members and the life deeds and achievements of family members. In terms of family lineage, its description is basically consistent with the "Genealogy of the Moli King"; in terms of the record of family members' deeds, it has a certain complementarity with the latter in content.
For example, in the "Taiyuan Family Tree", the documents recorded about Wang Wu include Wang Wan's "Forgotten An Gong Biography", Chen Yuanlong's "Forgotten An Cemetery Table", Wang Wu's "Landscape Lou Poem", "Six Poems of forgotten An"; and in the "Family Genealogy of the Wang Clan of Mo Li", it also includes "Suzhou Fu Zhi Biography", Huang Zhijun's "Forgotten An Gong ForgetFulNess Manuscript Sequence", Wang Jilie's "Forgotten AnThology of The Forgotten An Poems", Wang Wu's "Forgotten An Poems Banknote "Crane Spectrum One Volume" and other related contents. Looking at the family tree, it can be seen that Wang Jun is the key figure in the gradual development of the Wang family into the Dongshan clan, and he has realized the transformation from a personal scholar to a prominent family, and his descendants have been given the title of Wang Jun's prominent position, and it has lasted for two generations. To wang Wu's great-grandfather Wang Yusheng's generation, he gradually lost the shadow of his ancestors. By the time of Wang Wu's father, the family had gradually declined, and Wang Wu's father had also died due to the fall of the Ming Dynasty. It is recorded in the "Genealogy of the Moli Wang Family": "Shunzhi Yiyou committed suicide Chinese New Year's Eve, and his life was left with a scarf, and the tomb table said 'Therefore the king of Ming knows my husband', and posterity followed it." [19] This kind of personality trait and attitude of Wang Wu's father may have influenced Wang Wu to a certain extent, making him indifferent to fame and fortune throughout his life and living in seclusion.
In biographical texts and local chronicles, there is more information about Wang Wu, but the description is not exhaustive and needs to be carefully examined. Regarding Wang Wu's biographical sacrifice texts, there are three main types: Wang Wan's "Biography of Mr. Forgotten King"[20], Chen Yuanlong's "Table of the Forgotten An Cemetery", and Huang Zhongjian's "Sacrifice King Forgotten An" text. As a good friend of Wang Wu, Wang Wan's "Biography of Mr. Wang Of forgetting An" is relatively accurate and objective, so it has been cited in many research literature. This biography mainly introduces the life of Wang Wu and his paintings, as well as praise for Wang Wu's character and poetry that is willing to give alms and help others. Compared with Wang Wan's "Biography of Mr. Forgotten King", Chen Yuanlong's "Forgotten An Cemetery Table" is mainly a praise for Wang Wu's life deeds, and the writing has several aspects to learn from Wang Wu's "Biography of Mr. Wang Wu", the difference is that the records about Wang Wu's birth and death years, burial locations and Wang Wu's family members are relatively detailed. Huang Zhongjian's "Sacrifice to the King" mainly records his interactions with Wang Wu, in order to praise his articles and character. Compared with the "Biography of Mr. Forgotten King" and the "Table of the Forgotten An Cemetery", this sacrifice text records Wang Wu's life and deeds in relative detail, and has a specific chronology. In addition, Wu Dexuan's "Records of Hearing and Seeing the First Moon Building" also has a record of Wang Wu's biography, but the content basically refers to Wang Wan's "Biography of Mr. Wang of Forgetting An".
In the local chronicles about Wang Wu, the content contained is relatively concise, only a few sentences and basically praise his paintings, and most of them use the words from Wang Wan's "Biography of Mr. Wang of Forgotten Nunnery", including "Suzhou Fu Zhi", "Jiangnan Tongzhi", "Jiangsu Yiwen Zhi Suzhou Volume", "Wu County Chronicle", etc., as well as the descriptions in the "Qing History Draft". In addition, in Gu Gongxie's "Notes on Dan Wu", an anecdote of Wang Wu is also recorded: "Draw a small photo with a mirror, sleep inward, and say: Afraid of seeing the layman, the knower sees his brain and knows his person, and spreads the divine quxiao." [21] In addition, Wang Wu lived in many places during his lifetime, such as the most famous being The Yi Old Garden where Wang Jun lived before, and Wang Gongsun wrote the "Picture of the Yi Old Garden" for him; and xie ou caotang, and his friend Guizhuang wrote "Xie Ou Caotang"; and there was also Fangcaotang. These materials are of great help for us to understand Wang Wu's life, travels, and painting ideas. In general, through biographical tributes and local chronicles, it is possible to roughly understand Wang Wu's life experience, poetry, paintings and other related aspects, but as a case study, it is still thin, and it is necessary to constantly fill in and outline Wang Wu's life from Wang Wu's poems, painting inscriptions, travels and other related historical materials.
(2) Painting catalogue, appraisal and influence
Wang Wu's catalogue of various types of paintings is not rich and relatively scattered, mainly including Qing Fang's "Dream Garden Calligraphy and Painting Record" "Li Gu Zhai Wang Qinzhong Album", of which Wang Wu's flower and bird paintings are six pages; Qing Ge Sihuan's "Ai Ri Yin Lu Calligraphy and Painting Record Supplementary Record Continuation Record" "Wang Wu Butterfly Rice Capsule Axis"; Qing Pang Yuanji's "Virtual Zhai Famous Painting Record" bibliography "Wang Forgetful An Pubian Li Crane Chart Axis", "Wang ForgetFulness Water Daffodil Picture Axis"; Qing Qi Xueqiu's "Seeing and Hearing Continuation" bibliography "Wang Forgetful An Flower Paper", "Wang Forgetful An Ink Flower Twelve Frame Paper", "Wang Forget An Apricot Flower", " Wang Forgotten Ann Peach Blossom Partridge "Wang ForgetFuln Ink Flower". The above is only a simple bibliography of Wang Wu and his paintings, and there is no other explanation. And Qing Ge Jinxuan's "Catalogue of Paintings and Calligraphy of Ai Ri Yinlu" records Wang Wu's "Wutong Autumn Color Chart Axis", and at the same time records Wang Wu's own poems; Qing Lu Shao's "Records of Ancient and Modern Famous Fans" has written four paintings, "Wang Forgotten Lotus Flower Map", "Ammonite Begonia", "Furong Map", and "Narcissus", each of which has Wang Wu's own poems; Qing Zhangzhao's "Shiqu Baodi" records "Wang Wu Imitates Yuanren Xiting Jutu", "Wang Wu Tianzhu Daffodil Axis", "Wang Wu Calligraphy and Painting Combination Bi", "Wang Wu Flower Freehand Volume", each of which has Wang Wu inscriptions. The above roughly summarizes Wang Wu's works that were recorded at that time, and we can see that the bibliography is relatively simple, and only some of them explain their inscriptions, paintings and other contents.
The evaluation of Wang Wu's paintings is generally praise-oriented, in which we can also see some related content about Wang Wu's painting techniques, teacher inheritance, status, and social travel. Wang Shimin praised: "In the sole work, you can be known for your spiritual appearance." At the same time, Wang Jian titled "Wang Forgotten An Flower Album": "The five dynasties and the Song Dynasty are the most rewritten, but they are inevitably carved, and there is a true but not wonderful theory." In modern times, from Qinan to Baiyang and Baoshan, the princes began to dye with the color and never went to the painting academy. [22] It can be seen that the above two painters' evaluation of Wang Wu's paintings is consistent, and it can also be speculated that most of the paintings in the courtyard of painting at that time can also see the shadow of Wang Wu's paintings in Wang Wuliushi's paintings, but Wang Wuhou took the Fa WuMen, and the painting style was constantly changing. In addition, Yun Shouping, who is equally famous with him, also praised Wang Wu's paintings in his "OuXiangguan Collection": "Dripping with heavenly fun and flying, it is really the will of the Yuan people, and it should be driven alongside the Duke of Baiyang." [23] Mr. Guangxia Yu Huaiyi said: "The forgotten scroll is like a moth's eyebrows swept by the country, and the sub-painting is like a jade ring with rich and fat bones, which is really beautiful and beautiful." [24] Wu Shensi gave Shiyun: "Mr. Forgetting An is good at sketching, and the changes in the state of matter are all in love." [25] In addition to seeing the inheritance of Wang Wu's paintings, it can also be seen that Wang Wu and Yun Shouping's painting styles are different. In addition, Guizhuang's "Spectrum of the Crane" says: "Yu Lanzhi not only appreciates his painting work, but also laments his whimsical and superb." [26] Feng Jinbo's "Painting Knowledge of the National Dynasty" records: "Wang Chushiwu rendered pictures with ink and ink, which won the innocence. [27] In Qing Weixi's "Outer Chapters of Wei Shuzi's Collected Writings and Painting Cats", it is recorded that Wang Dingzhong praised Wang Wu's paintings: "The irony is deeply carved, the text is more twisted and untraceable, and the pen strength is the highest." ”
Wang Qiansun's "Complete Collection of Yuanyatang" said: "My family has forgotten the name of the painting for a long time, and the legacy of the Fa is passed on in the hands of the king." "On the whole, the famous artists at that time gave a high evaluation to Wang Wu's paintings. Only Qin Zuyong praised and depreciated him, and the Tong Yin Treatise on Painting recorded: "Wang Wu Nengpin, Wang Forgetful Anwu was stable in position, endowed with bright colors, and was quite famous at that time." This old skill is extremely deep, slightly suspicious of plank wood, and the floral feathers made are particularly lacking in ultra-vivid rhyme... Forgetting the temple paintings are almost a waste. At the same time, there are also some records that can make us realize the status of Wang Wu's painting at that time. Cao Yu's "Embroidered Tiger Xuan Ruler" records: "Zi Qi is a famous painter today, the landscape is the first to promote Wang Shigu, the characters are Yunchen, the flowers and birds are Wang Qinzhong, and Nian Weng knows it." Lu Tingcan's "Nancun Essay" records: "The King of Wumen forgot Ton Wu, and the Changzhou Yun Nantian Shouping, the two painted flowers and feathers. Qing He Zhuo's "Yimen Mr. Collection, Wang Forgetful An Ink Flower Scroll" records: "The ink flower of The Second Zhang of an Erzhang can rhyme with the Baiyang Mountain people, and those who are in the world with Xu Huanggao's position may not be able to reach it." Qing Duanfang's "Records of the Elimination of Summer" said: "Modern sketches push Nantian and Forget An two high priests." The "Biography of Li Ping" records: "In the Qing Dynasty, the group pushed Nantian (恽格, Zi Shouping, number Nantian), and did not know that the forgotten nunnery (Wang Wu, the number forgotten an) was actually above the nantian." [28] Wang Wan's "Biography of Mr. Wang of forgetting the Temple" said: "And the paintings he painted were beneficial to the work, and the good deeds commented on Mr. Wang's paintings, although the predecessors Chen Shan Renfu and Lu Shushi Shuping could not pass by." [29] Overall, Wang Wu's paintings were highly regarded at the time and of great status. This further demonstrates the value of a case study of Wang Wu.
Regarding the influence of Wang Wu on later generations, the records in the historical materials are not very rich, generally limited to Wang Wu's disciples, and only a simple introduction, and the circulation of paintings about the disciples is also very rare. For example, Feng Jinbo's "Painting Knowledge of the National Dynasty" records: "Tang Guangqi character style nine, Gao Shi, Wang Wu disciples also ... Wang Wugong paints flowers and birds, and has many yi pens. Disciple Zhang Huazi Wenshi, Yanshan, Changzhou ren; Zhou Lizi Lingyi, Tongli ren. Qing Peng Yuncan's "Biography of the History of Painting in Past Dynasties" records: "Jiang Tinghan, Zi Qiji, Shanyin people, "Tuhua Baojian Continuation" as Yu Yaoren, Wang Wu's disciple, in addition to the landscape and water, especially fine sketching, more good at flowers and birds, poetry and articles are all at the peak." "In general, Wang Wu's influence on later generations was not very far-reaching, and the painting achievements of his disciples were not very high, perhaps this is a major reason why Wang Wu later became a abolitionist.
(3) Inscriptions, poems and seals
Among the inscriptions of Wang Wu's paintings, they mainly include friends, collectors, connoisseurs and Wang Wu's self-treks. The content of the sayings not only involves the evaluation of Wang Wu's paintings and the context of the law, but also his personality, life, social travel, painting techniques, and artistic concepts. For example, in praising his paintings, the "Records of Paintings and Calligraphy of Ai Ri Yinlu" records that the title "Wang Wu WuTong Autumn Color Chart Axis" said that his paintings were "suddenly double hooked, suddenly inked, suddenly enlarged, suddenly shrunk, and true Yi pin also". Qing Xufang's "Juyitang Collection" titled Wang Qin's small frame: "Zhao Chang is not as good as Xu Chongsi, mostly among the hook flowers and leaves." Who knows Eastern Wu Xiangmenzi, writing Huahun is writing Qiushan. In terms of praising Wang Wu's character, Qing Shi Xiaoqing's "Gao Yuntang Poetry Collection" is titled Forgetting An Painting Ju, and the poem mainly praises Wang Wu's painting and his character. In terms of family life, Qing Shen Qinhan's "Poetry Manuscript for Kindergartens" said: "Wang Qinzhong painted the crane book, Qinzhong raised two cranes, sold one of them poorly, and the one who remained died, because of his regret to paint this book, all ten paintings of the Shen clan exist today." The dance suddenly became a lonely shadow, and Gao Qiu broke the frost. I can't bear to sell cranes in poverty, and sure enough, the king of heaven and earth. Shao Hulu gave birth to human blood, and passed on Xue Shaobao's ancestral style. Whoever wants to lean on the pool is not as good as the Sky sky. It can be seen that Wang Wu's life is poor, which also reflects the decline of the Wang family.
In terms of taking the context of the law, Qing Weng Fanggang's "Fuchu Zhai Poetry Collection" has Wang Wu's self-titled poem, which reflects Wang Wu's love and obsession with Xu Xi's painting: "Fans are late in receiving medicine, but they want Xu Xi to fall ink." The inscription of the "Wang Forgetful Temple Narcissus Diagram Axis" mentions: "Seeing Zhao Zigu painting the daffodil scroll, the length of the two zhangyu, the thousands of flowers and leaves pitched to the fullest, the self-titled cloud three years is the success, then I know that the ancients intended it this way." Wang Wu's "Imitation of the Yuanren Xiting jutu" painting Zhiyun: "Yu is not familiar with landscapes and waters, suitable for carrying the real works of the Yuanren, asking for a three-day play, imitating its shape to the pen and ink spirit of ten unattainable." Yun Shouping praised Wang Wu's painting: "True to the will of the Yuan people, when driven alongside the Duke of Baiyang." [30] Wang Wang'an's "Thirty-Six Palaces Picture Scroll" is inscribed: "In the mid-autumn of the city, the monk Shede guan Xu Xi's "Thirty-six Palace Map", and imitated his intention to do this, shocking Wang Wu. Yang Zhongxi's "Xueqiao Poetry Collection" mentions: "Wang Qinzhong is the sixth grandson of Ming Taifu Jun, who is good at painting, and teaches Chen Daofu and Lu Shuping. Wang Wan's "Biography of Mr. Wang Of forgotten Nunnery" mentions that Wang Wu "is a good appreciation, when the Wang family is at its peak, the relics of his ancestors and the usual buyers, leading many Song Yuanming and ming famous deeds, often followed by their hearts, to ensure their will." [31] Lu Gaoyi's "Six Great Painters of the Early Qing Dynasty" in chief said: "The Xu's boneless school, the king of the early Qing Dynasty, Forgotten Nunnery, can be described as the backbone of this school, and his work is stable and beautiful, which is quite admired by people. "The Palace Museum's Tibetan Wang Wu's "Ten Open Flower Books", the first ink painting peony, the model imitates baiyang brushwork.
The eighth goji berry, the inscription is "Prince Yuan pen ink is ancient, nowadays it is not worked, Yu may wish to follow suit." Let the world go to take the koya. The palace museum collects the sixth picture of Wang Wu's "Twelve Frames of Ancient Flowers" wang wu ziba "Huang Tsuen ancient wood cold bird picture, back to a corner to hou xieren". The second piece of Wang Wu's "Eight Openings of Miscellaneous Paintings" in the Shanghai Museum has Wang Wu's inscription, which says: "The brushwork is thin and strong, and the flowers and leaves are slightly like Bao Shan." It can be seen that Wang Wu has a wide range of methods, chasing huang quan, Xu Xi, Zhao Mengjian's pen and ink, and closely learning Shen Zhou, Chen Chun and other Wumen schools of painting. In terms of artistic concept, the Hubei Provincial Museum's Tibetan Wang Wu's "Ten Flowers, Birds, Landscapes and Waters" said: "Baiyang uses the pen to muddy, so the letter is beautiful, and there is no trace of his pen and ink, and the true generation of gods is also." The eighth piece has a "imitation of Mr. Ishida's ink method, and the strength of his pen is thick, but it has not obtained one or two." From the inscriptions in the above historical materials and image materials, we can see that Wang Wuxue is extremely profound, has a deep understanding and practice of the five generations of Song Yuanming and other academy painters, and at the same time has an in-depth discussion of the pen and ink interest of the Wumen School.
In terms of poetry compilation, Huang Zhijun's "Preface to the Remains of Wang Forgotten Nunnery" Yun: "Mr. Ji Zi Shizhen carved several volumes of his remains. According to this, it is known that its collection was engraved in the early years of Qianlong. Guangxu's "Chronicle of Suzhou Province" contains Huang Zhijun's preface "Forgetting Anshi Banknote" immediately referring to this, and now it is compiled and not transmitted. In the twenty-first year of Jiaqing, Wu Xiqi copied a volume of "Snow Saving Manuscript" from the Qingpu Wang Clan, with more than 200 poems, and the Library of Taiwan Normal University collected Jiaqingjian movable type imitation Song prints. The Shanghai Library holds its banknotes. In the sixth year of the Republic of China, Ding Ren collected this lead print according to Yao Jingying, compiled into two volumes, and was collected by the National Library of China. Wang Jilie, the eighth grandson of Wang Wu, thought that there were many fake works in the "Snow Upside Down Manuscript", which was composed of the collection of others, and compiled more than 40 poems by himself, compiled into a volume of "Forgotten Poetry Collection" and a volume of "Continuation" engraved in the eighteenth year of the Republic of China, and was collected by the Library of the Chinese Academy of Sciences. At present, the "Compilation of Collected Poems of the Qing Dynasty" only contains one volume of the "Collection of Forgotten Poems", which is consistent with Wang Jilieben. The above poems are basically referenced to each other, and the content of them needs to be examined later to ensure the authenticity and reliability of the literature. However, Wang Wu's poems are still quite lost, such as the "Compilation of Poetry Collections of the Qing Dynasty", the "Series of General Collections of Qing Poems", and the "Siku Quanshu Bibliography Series", etc., and a large number of Wang Wu poems have not been included. In addition, among Wang Wu's calligraphy and paintings and the inscriptions made by his friends, there are also many inscriptions and poems, which are included in Gu Wenbin and others' "Records of Paintings and Calligraphy in Guoyunlou", Yuan Xingyun's "Narrative of qingren poetry collections", and Chu Ren's "Jianhuan Collection". In addition, when the author sorted out Wang Wu's paintings, he also found that some of Wang Wu's poems and friendly inscriptions could make certain supplements to Wang Wu's poems and verify the correctness and error of the above-mentioned written poems. On the basis of ensuring that Wang Wu's poetry materials are comprehensive, they must be true and correct.
At the same time, for Wang Wu's seal, "Chinese Calligraphers and Painters Seal Collection" has made a very comprehensive arrangement, basically showing the seals used in various periods of Wang Wu's paintings and calligraphy works, for us to study the evolution of Wang Wu's painting styles in various stages, the emergence of Wang Wuzhai and its use in painting, and the authenticity of Wang Wu's paintings have a great complementary role. At the same time, the author has also sorted out the relevant identification seals in Wang Wu's paintings, and can know the circulation and collection of Wang Wu's paintings, and has a more comprehensive understanding of our research on Wang Wu's paintings.
Second, the sorting out of relevant research results
(1) Family lineage, life and social travel
The introduction of the Wang family in contemporary treatises, although not as specific as the introduction of each character in the family tree, is still very helpful for a general understanding of the family. The most comprehensive study is Yang Weizhong, who has three books that narrate the Wang Wu family. For example, "Dongshan Mingyan Suzhou Dongshan Historical Character Biography" mainly starts from the perspective of character biography, and the introduction of Wang Wu family figures mainly focuses on the interesting stories of Wang Jun, Wang Yanzhe, Wang Yansu, Wang Yusheng, Wang Wu and so on. When introducing the year of Wang Wusheng's death, he said that Wang Wu died in 1691, which is inconsistent with most painting histories and related books that record his death year as 1690, such as Ye Shangqing's "History of Chinese Flower and Bird Painting", so this point needs to be further verified. Another book, "Biography of the Moli Wang Clan and Elite Selection of the Wang Jun Family", is consistent with the "Biography of Dongshan Mingyan and Suzhou Dongshan Dynasties" in terms of writing, but it is relatively comprehensive and basically covers all important members of the Wang Wu family. Finally, he and Xue Lihua edited the "Dongshan Clan", the writing angle is obviously different from the first two, the twelfth full article of the book from the imperial examination, literature, book collection, calligraphy and painting art and other aspects to introduce the Wang family, in addition to the narrative characters There is also a certain academic discussion, which is relatively more valuable than the previous two. In addition, Zhang Xuequn and other works "Suzhou Famous Gate And Noble Family" are basically the same as "Dongshan Family" in terms of system, and there is no new conclusion, but the discussion of each subsection is relatively detailed. And Lu Lin's "Exploring the Relationship between Jin Shengsi and Wang Jun's Descendants" gives the author a refreshing feeling, in which the author explores the relationship between Wang Jun's descendants and Jin Shengsi with the help of the Wang family tree, reflecting the life and spiritual pursuit of Wang Jun's fifth and sixth grandsons from the literary aspect, providing a new perspective for us to understand Wang Wu's family lineage. At the same time, the author also made an argument for the first time in the text from the perspective of literary exchanges between Wang Wu and Jin Shengsi, affirmed the achievements of Wang Wu's poetry and painting, and made a preliminary discussion of Wang Wu's other name, Wang Xianwu.
Regarding the research on Wang Wuqiren and his life, most of the contemporary research documents cite Wang Wan's "Biography of Mr. Wang Of forgetting", such as Pan Tianshou's "History of Chinese Painting", Fu Baoshi's "Outline of the History of Chinese Painting", and Chen Shizeng's "History of Chinese Painting". Looking at the existing literature, only Lu Lin's "Exploring the Relationship between Jin Shengsi and Wang Jun's Descendants" has certain reference significance, but the discussion is relatively thin and incomplete. In general, there is a relative lack of research on Wang Wu's life, and there are many questions worth examining, such as Wang Wu's birth and death years and Wang Wu's experience reflected in the poem inscription.
Most of the records of Wang Wu's exchanges are in his prime. Wang Wu gave up his usual hobby, "DuMen does not come out, nourishing sexual fidelity"[32], and often talks and laughs with the rioters, inkers, high monks, and Yishi in his own residence (the former Wang Jun's hometown, next to the Yi Old Garden). It can be said that this is a turning point in Wang Wu's life course. Later in his life, Wang Wu devoted a great deal of time to socializing, chanting, and painting. During this time, Wang Wu became acquainted with many celebrities. In the sixteenth year of Shunzhi (1659), Wang Wu and Jin Shengsi[33] discussed poetry, showing Wang Wu's unique views on poetry. In the 10th year of the Kangxi Dynasty (1671), he painted a portrait of Zhou Maolan [34] by Shu Shizhen and inscribed a poem in praise: "Confucian clothes Confucian crown, Mr. An." A wood and a stone, sir is a pong. The aura of the present, the relics of the past. [35] In June of the same year, Wei Xi [36] was asked to compose "The Book of Painting Cats". In the eleventh year of the Kangxi Dynasty (1672), Guizhuang met with Wang Wu at Wumen, Guizhuang and Wang Wu were friends with each other, and since childhood poetry, calligraphy and painting had asked each other questions and answers, after the death of Ming, Guizhuang swore not to eat "Zhou Su", Wang Wu was the same as his life, his feelings were the same, and he also regarded himself as a widow. At the same time, Guizhuang composed his paintings "The Spectrum of the Crane", "Bamboo Scrolls for Wang Qinzhong's Inscription", and "The Record of Xie Ou Caotang" for his other residences. In the summer of the sixteenth year of the Kangxi Dynasty (1677), Wang Huan visited Wang Qinzhong in the Yi Old Garden and left a poem, which was recorded in the second volume of the "Continuation of the Blunt Weng". After Wang Wu's death, Wang Huan composed "The Biography of Mr. Wang of Forgetting An". Song Ji [37] was the governor of Jiangsu at the time, had contacts with Wang Wu, and had painted poems for Wang Wu, kangxi twenty-seven years (1688) wrote "Summer with Cai Jiuxia, Wang Qinzhong, Jiang Xuezai, Erzhi Youzhi, Huashan, with the Yuan Relic Mountain Tianya Mountain Rhyme", and then after the death of the old painters Wang Wan, Wang Wu, Yun Shoupingren, painfully wrote the poem "Over the Past Few Months, Wang Qinzhong, Yun Zhengshu, Liu Shanwei Successively Passed Away, Spilling Tears to Pay Comparison" to commemorate his old friend. From the above exchanges, we can see that they and Wang Wu established a deep friendship and often communicated with him, which reflected Wang Wu's cultural cultivation level and living environment at that time, as well as Wang Wu's mental state of being a relict.
(2) Painting research
Contemporary discussions of Wang Wu's paintings generally involve Yun Shouping, and for the two families who are better, it can be said that each has its own reasoning, which can be roughly divided into three types. The first view is that the paintings of Wang Wu and Yun Shouping have their own advantages, but they implicitly point out that Wang Wu is slightly inferior to Yun. Among them, there are three treatises with constructive discussion: First, Wang Chaowen is the chief editor-in-chief, and Xue Yongnian and Cai Xingyi are the editors-in-chief of "Chinese Art History: Qing Dynasty Volumes", which first discusses Wang Wu's early study of landscapes and rivers, and then learns flowers and birds, and then affirms that Wang Wu and Yun Shouping have made certain contributions to the creation of flower and bird paintings according to iconography. Wang Wu and Yun Shouping have their own strengths in painting, but Wang Wu cannot avoid retouching and depicting, appearing dignified and magnificent but not brilliant. In addition, Wang Wu had a certain influence on Hua Yao painting. Second, Lu Fusheng edited the "General Guide to Chinese Flower and Bird Painting", and when discussing the authenticity of sketching, he proposed that Wang Wu's painting was influenced by Shen Zhou and Chen Chun of the Wumen School of Painting, and was similar to Yun in terms of painting methods and influenced each other. Wang Wu mainly uses part-time work to write with a pen and pursues a simple style of ink painting, but Wang Wu is not as familiar with the details and natural observation as Yun Shouping.
Third, Pan Yaochang edited the "Appreciation Dictionary of Masterpieces of Chinese Art", in which Mao Jianbo made a simple analysis of Wang Wu's "Flower and Bird Painting" in terms of composition with a pen, and pointed out that Wang Wu was good at hooking flowers and dotting leaves, but he had developed in point painting, and was slightly inferior to Yun Shouping in pen and ink. The above three expositions all point out the strengths of Wang Wu and Yun Shouping, and indirectly point out Wang Wu's shortcomings, and the angles of discourse are different, allowing us to more fully understand Wang Wu's paintings. At the same time, the above three treatises also have a certain role in promoting the study of Wang Wu's painting, and they all select different materials for discussion, and make certain contributions to the excavation and use of Wang Wu's materials. The author very much agrees with this point of view, although Wang Wu did not have a profound influence on future generations, but at that time it can be said that the two have their own advantages, Wang Wu's painting work is stable and fluent, Yi pen embellishment, Yun Shouping qingxiu elegant. However, there are also many scholars who do not think so, so a second view has emerged, that Wang Wu's painting is inferior to Yun Shouping.com. Among them, the most distinctive discussion is Chen Zhenlian's "Taste Classics - Chen Zhenlian on the History of Chinese Painting 4 (Ming and Qing)", which takes "Baitou SanyouTu" as an example, saying that Wang Wu is actually difficult to match under the fame, and using a critical logical thinking to point out that Wang Wu's paintings are neat and meticulous, not yi brushwork, and have a painting school atmosphere, which is slightly inferior to Yun Shouping; and points out that Wang Wu is highly respected, first, because he is a Su Wu family, and he is also a brother and a famous painter, and the other is his disciples Zhang Hua and Zhou Li to support his façade. In addition, Zheng Wei's "History of Chinese Painting" made an example analysis of Wang Wu's evaluation of Yun Shouping's "can paint, but thin ears", and believes that Wang Wu's painting is inferior to Yun Shouping.
Feng Kecheng's "History of Painting in the Qing Dynasty (Part I)" also holds the same view, analyzing the character and painting style of the two from two aspects. Kong Liuqing's "The Way of Painting - The Interaction of Creation and Scholarship" believes that the paintings of Wang Wu and Yun Shouping cannot be compared, and that Wang Wu lacks talent, does not have a certain theory of painting, and lacks innovation in painting. Treatises such as these directly or indirectly comment on Wang Wu's shortcomings in painting from different aspects. However, the author believes that although his paintings are insufficient, the above comments are still relatively one-sided, and it is necessary to put Wang Wu into history and make a more comprehensive analysis of him in order to give Wang Wu a fair evaluation. Some scholars have a third view, that is, they have great respect for Wang Wu's paintings. Han Wei's "Chinese Flower and Bird Painting" pointed out: "At a time when the Changzhou school was almost unified in the painting world, Wang Wuneng was praised for a while, and his achievements were not under the Yun clan. In Feng Shaoting's "Biography of Li Pingshu", Li Pingshu greatly praised Wang Wu's paintings, pointing out that the Qing Dynasty sketching group pushed Nantian, and did not forget to forget the nantian.
Written by Nakamura and Xiaolu Qingyun in Japan, Liu Yong'an compiled the "History of Chinese Painting" and pointed out that the pure boneless body of the Qing Dynasty was based on xu Xi body to integrate various schools, and in such pure boneless families, they first went to their time to learn, and gradually became the representative of this school, wang Wu of the Wu people, and had a far-reaching influence, and greatly appreciated it. In addition, there are some treatises that only make a brief summary of Wang Wu's painting techniques and style. The book "Jianghuai Culture Series" makes a detailed analysis of Wang Wu's "Peach Willow Mandarin Duck Diagram" from the composition pen and ink, and also points out that "Wang Wu's flower and bird paintings are bright and bright, and they win with the loose and flowing wind, while the delicate and soft beauty of the Wuyun school has an impact on the later Haipai flower and bird painters." The book "Appreciation of Flower and Bird Painting in the Qing Dynasty" points out that Wang Wu "naturally and harmoniously blended bonelessness with outlining color and ink in technique, resulting in the artistic effect of 'color does not hinder ink, ink does not hinder color, color has ink, and ink has color'" in technique. [38] Shao Luoyang, editor-in-chief of the Appreciation Dictionary of Chinese Famous Paintings (New Edition), states in the second volume that Wang Wu's paintings are "stable in position, flat but not plated, bright in color, brilliant in color and not vulgar",[39] and analyze the "Flower and Bird Paintings" from the technique and composition. Yao Shunxi edited the "Introduction to Chinese Flower and Bird Painting", saying: "Wang Wu's early paintings belonged to the style of fine painting, and after the middle and late years, they were more sparse. "In general, contemporary research on Wang Wu's painting can be said to be rare, although some comments have been made from the aspects of painting techniques, styles, artistic pursuits and deficiencies, but the author believes that the understanding of his people and painting is still not comprehensive and three-dimensional, and has not comprehensively sorted out them and further studied his painting concepts; when compared with Yun Shouping, the two have not been put into a comprehensive analysis in the historical environment, but only through the perspective of painting language and other aspects. It is worth mentioning that in Yang Danxia's book "Identification of the Authenticity of Chinese Painting and Calligraphy", it is pointed out that after the death of the Qing Dynasty painter Wang Wu, his great-grandson Shisheng and his great-grandson Shiyong used his seal to impersonate Wang Wu's works in his forged paintings, which shows that there are still a large number of doubtful works in Wang Wu's paintings that need further examination.
In the modern and contemporary research on the origin of Wang Wu's painting and its influence on later generations, scholars have basically continued to make some summaries and arrangements of the ancients, and there is no relevant argument. For example, Wang Chaowen's "History of Chinese Art: Qing Dynasty Volume (Part I)" mentions: "His disciples include Zhang Hua, Zhou Li, Tang Guangqi, etc., and those influenced by his painting style are Wang Zhongchun, Wang Bingji, Jiang Tinggan, Zhang Xuedian, Hua Haichu, Qian Yao, Ge Tang, etc." Zhuang Tianming and Zhao Qibin wrote "The Great Provinces of Fine Arts: A Study of Painting Schools in Jiangsu Dynasty": "Wang Wu flower and bird painters Fa Zhou Zhimian, Chen Chun, Lu Zhi and so on. There are many other similar simple elaborations. In addition, when sorting out Wang Wu's paintings, the author found that many painters copied or studied Wang Wu's paintings, such as Liu Deliu[40] in "Fruit Worm Fan" inscribed "Imitation of forgetting the old man's pen in the Golden Su Xiangguan"[41]; Zhao Zhiqian's "Four Screens of Flowers" with the fourth inscription "Wang Forgotten An's Brushwork"; Tang Shishu's "Qiju Yannian Drawing Fan" titled "Imitation of forgetting the Old Man's Intention"[42]; Sha Fu's "Qiu Ju Shuangyan Tu" "Imitation of the Old Man's Autumn Steps Yanhui Small" [43]; Fan Haolin's "Rich and Noble Autumn Wind Chart Axis" "Jin Gui Furong Flower and Bird Diagram" "Imitation of the Old Man's Penmanship of jingui Furong", "Imitation of the Penmanship of the Old Man of the Forgotten Temple, Dream Lu YiShi Zhu Claimed to Be Remembered in the Sea Guest's Apartment"[45]; Zhang Zhining's "Imitation of Wang Wu Lao Song's Little Bird Diagram" "Imitation of the Old Man's PenManship"[46]; Wu Zhao's "All the Way to Glory" "Qiu Lu Imitation of forgetting the Old Man's Method"[47]; Liu Zhao's "Song Ju Tu" "Imitation of the Forgotten Old Man's Song Ju In the Tanying Mountain House"[48]; Zhang Xiong's "Four Seasons Flower Picture Screen" "The Old Man of the Forgotten Nunnery in the Shenjiang Guest House"[49]; Yuan Siweibi's "Imitation of the Forgotten Old Man in the Shenjiang Guest House"[49]; Yuan Siweibi's "Imitation of the Forgotten Old Man in the Shenjiang Guest House"[49]; Yuan Siweibi's "Imitation of forgetting the Old Man's Old Man in Shenjiang Guest House"[49]; Colored lotus flower dough fan noodles" "Intend to forget the old man's will" [50] and so on. There is also He Qi's "participation in Yun Nantian, Wang Forgetful'an, etc." [51]. These supporting evidences can be seen that Wang Wu still had a certain influence on the painting world at that time, and the reasons why he was not recognized by later generations still need to be further explored, which is also an important reason why the author regards it as a case study.
The master's and doctoral papers on Wang Wu are still lacking, and only a few journal papers have made some analysis of Wang Wu's paintings, techniques and compositions. Wang Wu 'Flower and Bamboo Perch Bird Diagram][52] reads the image inscription and analyzes the picture through technique. Guo Xiaoling's "Wang Wu and the Apricot Blossom Flying Swallow Figure"[53] interprets the work from the composition of pen and ink color. Zheng Wei described the contents of the paintings in Wang Wu's Hundred Flowers Scrolls and Others[54] and made a brief comparison with the techniques of Yun Shouping's paintings. The "Reading of Wang Wu's Flower Book"[55] only identifies the picture style. Compared with the above, there are several master's and doctoral papers related to Wang Wu that have relatively certain value, which broadens the angle and thinking of scholars in the later period to study Wang Wu. Wang Yiheng's article "Research on the Painting Ideology of "Borrowing the Ancient to Open the Present" in yun shouping flower and bird paintings"[56] When discussing the influence of boneless painters in the Ming and Qing dynasties on Yun Shouping's painting ideas, wang Wu's influence on Yun Shouping in flower and bird painting was briefly discussed through two references recorded in the "Nantian Painting", but it was not further expanded. Fu Yuanqiong's "Vegetable Lotus Hoe Diagram and Its Inscription"[57], the "Vegetable Lotus Hoe Diagram" discussed in the text is a testimony to the adherence of the remnants of the Ming Dynasty in the early Qing Dynasty, and the author speculates about the relationship between Wang Wu and this figure from Wang Wu's inscription. Lu Beirong's "Collection, Travel, and Image of Song Jie and His Friends:The Literati of the Upper Class During the Kangxi Dynasty"[58]only mentions that Wang Wu is included in Song Xi's collection list, and briefly introduces him. In the book research literature, Liu Jinku's "Southern Painting of Beidu" is more detailed than Lu Beirong's description of Song Ying and Wang Wu, mentioning that Song Jing's interaction with Wang Wu was roughly when Song Xi was serving as the governor of Jiangsu and inscribed the poem "Inscription Wang Qinzhong Liutang Gathering Poultry Map", Kangxi twenty-seven years wrote "Summer with Cai Jiuxia, Wang Qinzhong, Jiang Xuezai, Erzhi Youzhi Zhiqi, Huashan, with the Yuan Relic Mountain Tianya Mountain Rhyme", after the death of his old friends Wang Huan, Wang Wu, yun Shouping, wrote "Over the past few months, Wang Qinzhong, Yun Zhengshu, Liu Shanwei have died one after another, sprinkling tears and ratios". In addition, the Taizhou Municipal CPPCC Literature and History Materials Research Committee and other editors of the "Taizhou Literature and History Materials" with "Huhai Ji Wang Qinzhong Gift Fan Painting Peach Blossom Swallow" proves that Wang Wu and Kong Shangren both have a sense of rise and fall. Wu Zhenglan's "Commentary on the Commentary on Jin Sheng", in addition to explaining Wang Wu's deeds, also pointed out that Wang Wu and Guizhuang were shijiao, and that the fourth and sixth volumes of the Guizhuang Collection had "Bamboo Scrolls for Wang Qinzhong's Inscriptions", "Records of Xie Ou Caotang", and "The Spectrum of the Cranes". When the Shanghai Municipal Historical Society's "Collection of Chinese History" discussed the demise of the Ming Dynasty, he was still unswerving, adhered to the national integrity, and preferred to die rather than die, taking Wuzhong Wang Qinzhong as an example, saying that he had a typical career as a relic. Wu Tiaogong and Wang Kai's book "Freedom, Self-Entertainment, Self-Renewal, Self-Confession - The Mentality of the Late Ming Dynasty Literati" mentions the names of the Ming Dynasty remnants and uses Wang Wu's "forgetting the temple" as an example to express the deep resentment of the Ming Dynasty remnants. It can be seen that Wang Wu presented himself as a relict after the demise of the Ming Dynasty and unswervingly adhered to the national integrity. In general, in modern papers and book research literature, the study of Wang Wu's paintings is basically based on techniques and image analysis, and Wang Wu's social travels and the identity of the remnants are basically only cited as examples, and there is not much discussion. Although the existing research on Wang Wu is not comprehensive, it also involves many aspects related to Wang Wu, which has a certain guiding effect on the future study of Wang Wu.
Figure 1 Flower bamboo perched bird figure ˉ Vertical axis ˉ Color on paper 79.8cmx 40.4cm ˉ Wang Wu ˉ Qing ˉ Ding Wei 1677 ˉ Collection of the Palace Museum
(3) Bibliographies and poems
The catalogue of contemporary paintings about Wang Wu is still relatively rich, mainly including "Catalogue of Ancient Chinese Paintings and Calligraphy", which contains about 100 works, the images are not clear, and the authenticity of the works needs further examination; "Chinese Flower and Bird Paintings • Qing Dynasty Volumes" records 8 pieces, no stamps, the pictures are not clear; "The Complete Collection of Chinese Flower and Bird Paintings" records 4 pieces; "The Complete Collection of Chinese Art" records 3 pieces, no stamps, the pictures are not clear; "Overseas Treasures of Chinese Famous Paintings" records 1 piece, no stamp, the picture is clear; "The General Catalogue of Chinese Paintings • Continuation" There were 6 entries. In addition, the "Catalogue of Calligraphy and Paintings of the Forbidden City" records about 15 paintings, including 5 of the "Shiqu Baodi" bibliography, there are maps and prints, there is a creation time, and its considerable and recognizable is more beneficial to the research and research than the above bibliography. Mr. Liu Jiu'an has made great contributions to the chronology of some of Wang Wu's works, and has sorted out in the "Chronology of the Works of Calligraphers and Painters of the Song, Yuan, Ming, and Qing Dynasties", but one or two of the works have obvious chronological errors, and the authenticity of some works needs further analysis. In general, after sorting out Wang Wu's paintings, the author found that in order to provide more favorable literature for Wang Wu's various studies, there are mainly the following problems that need to be further solved: first, contact the physical objects as much as possible to distinguish the authenticity of the paintings; second, make a comprehensive and accurate combing of the chronology of his works, so as to make reasonable staging of Wang Wu's paintings in various periods and further compare the styles of his paintings; the third is to identify valuable models and inscriptions in paintings The fourth is to identify the seals in the painting works (collection seals, etc.). The author believes that only by solving the above four problems can we have a deeper and more comprehensive understanding of Wang Wu's paintings, and only then can we obtain more valuable information about Wang Wu's travels through inscriptions and knowledge.
Most of Wang Wu's poems are quoted at present, and the content is basically a description of flowers and lyricism, and there is no work to do in-depth analysis and research on Wang Wu's poems. Examples of citing Wang Wu's poems, such as Lei Yinwei and Lei Rijun's compilation of "Selected Poems of Hundred Flowers in Chinese Dynasties" quoting "Bai Ju", Hong Pimo's selected annotations "Selected Poems on Inscriptions and Paintings of Past Dynasties" quoting "Jiang Yue You bird diagram", Chen Bin's "Compilation of Zhou Shunchang Research Materials" quoting "Zhou Maolan Portrait Praise", Wang Jia sentence selection "Wuzhong Lexicon" quoting "Jiangnan Chun Chai and Ni Yunlin Original Rhyme", Zhou Jiyin and Shi Jincheng's "Selected Notes on Chinese Dynasties Inscription Poems" quoting "Wutong Autumn Color Chart Axis", Zhao Suna's "Palace Museum Collection of Painting Inscription Poems" Cite 15 poems inscribed by Wang Wu and so on.
3. Achievements and problems
Based on the foregoing, it is not difficult to see that the research results of recent scholars are not much more beneficial than those of their predecessors, but they have only expanded slightly in terms of research, but have not carried out detailed arguments. The author believes that this is most likely related to the incomplete understanding of Wang Wu and his historical status by scholars today.
Although the research results for Wang Wu at this stage are not very substantial and comprehensive, if we talk about the specific research direction of Wang Wu's research, it still has a certain guiding effect, at least in two aspects. First, Wang Wu was the sixth grandson of Wang Jun, so the first thing to consider when studying Wang Wu was Wang Wu's family background. Due to the prominent position of its entire family in history, researchers of ancient and modern times have a great interest in its family, and the study of various aspects of other family members is relatively informative. Of course, some family members also had a certain influence on wang wu in all aspects, such as Wang Wu's painting was influenced by his brother, first learned landscapes, and then turned to flower and bird painting, and mainly inherited the Wumen school; and then under the influence of his father and others, after the fall of the Ming Dynasty, Wang Wu has always regarded himself as a relic, and he is also a like-minded person in terms of social travel; and so on. Thanks to the prominent social status of the Wang family, scholars continue to discuss Wang Wu's paintings, poems, personality, abilities, etc. from his family perspective, and involve changes in his name. Second, since the flower and bird paintings of Wang Wu and Yun Shouping have become public, scholars will also mention Wang Wu to a greater or lesser extent when studying Yun Shou, and compare and analyze wang Wu's painting techniques and contents. Although no scholar has yet conducted systematic and comprehensive case studies, some scholars still cite some relevant literature to illustrate it. This provides many different perspectives for future generations of research.
At the same time, with the continuous advancement of academic research, the more mature humanities such as history, philosophy, literature and sociology have become an important part of the study of painting history, and some not very famous painters have been continuously discovered under the influence of the historical environment. A case study of Wang Wu is of great benefit to clarifying the context of the history of painting in the early Qing Dynasty, so it should lead to in-depth discussion of Wang Wu or other painters of similar status in the academic community. Based on the above discussion, the author believes that Wang Wu's research should be reflected and expanded from the following aspects. First, regarding the Wang family, although the relevant information is rich, it lacks combing, and rarely sets up problems to study and excavate in depth. Wang Wu was deeply influenced by his family, so it was necessary to constantly strip out valuable documents to more intuitively show Wang Wu's relationship with his family and the influence of the family on him. Second, regarding Wang Wu's life, although the relevant literature is more intuitive, its content still needs to be examined. Today, most scholars still cite it directly, so there are many citation errors. In addition, its life structure needs more information, and it is more and more perfect from all aspects and relevant content. Third, regarding Wang Wu's travels, the relevant literature is relatively scattered and not intuitive enough, and there are still many written materials to be identified and sorted out in his paintings, such as inscriptions and collection seals. On the basis of sufficient information, we should try to build a circle of friends at that time for Wang Wu, thus reflecting the influence of this circle on Wang Wu's life, painting and other aspects. Fourth, regarding his paintings, in the later research, while collecting a large number of his paintings, they should constantly distinguish the authenticity and disambiguation, and catalog them chronologically, so that their paintings can be more systematic, intuitive and comprehensively displayed in the history of painting. Fifth, regarding the knowledge and inscriptions in his paintings, at this stage, there have been some misreadings, and the recognition of the paragraphs and inscriptions is relatively small, which hinders the research process of Wang Wu's paintings to a certain extent, and also causes harm to the research of his life, travel, artistic concepts and other aspects. Sixth, regarding his poetry, the works are relatively rich, but some of them are not written by Wang Wu, and scholars should identify them and sort them out, summarize and classify them, so as to form a more comprehensive and vivid understanding of Wang Wu.
As mentioned in this article, on the whole, Wang Wu not only has many paintings passed down, but also has a large number of relevant documents to be discovered. There are still many shortcomings in contemporary research on Wang Wu, and most of them are continuing the statements of predecessors, such as the in-depth and comprehensive research literature on Wang Wu's life, family lineage, paintings, and social status. Wang Wu has a certain importance in the early Qing Dynasty painting circle, and the systematic special study of it has certain value and significance for clarifying the overall state of the early Qing Dynasty painting world, especially the context system of flower and bird painting.
(Author: Yu Hyatt, School of Chinese Painting and Calligraphy Art, China Academy of Art.) ）