Many of Xu Wei's works have been handed down to this day. His works include: "Four-Voice Ape", "Nanci Narrative", "Xu Wenchang's Lost Manuscripts", "Xu Wenchang's Complete Works", etc.; famous works handed down include "Ink Grape Pictures" "Scale, "Landscapes, Figures, Flowers and Birds" (both collected in the Palace Museum), "Peony, Banana and Stone Pictures" scroll, and the nine-section scroll "Ink Flowers" written in his later years (now in the Palace Museum), etc. The contrast between Xu Wei's calligraphy and the dull atmosphere of the calligraphy world in the early Ming Dynasty is particularly striking. He is best at majestic cursive calligraphy, but it is difficult for ordinary people to understand and his brushwork is messy. He is very fond of his calligraphy. He believes that "calligraphy ranks first. Poetry is second, writing is third, and painting is fourth.” Splash-ink freehand painting
During the Ming Dynasty (AD 1368-AD 1644) in China, art was in a special stage where the two consciousnesses of learning from the ancients and innovation collided. Ink freehand painting developed rapidly. Splash-ink freehand painting represented by Xu Wei was very popular. There were many famous artists and their techniques were constantly updated. Xu Wei relied on his unique talent to become the most accomplished freehand painting master at that time.
Xu Wei was wild and unruly by nature, but he achieved great success in calligraphy, painting, poetry, opera, etc. His freehand ink flower and bird paintings are bold and unrestrained, informal and concise, using mostly splash ink and little coloring. They have clear layers, a mixture of virtual and real, dripping ink and extremely vivid. He also integrated vigorous brushwork into his paintings, and the calligraphy and painting complemented each other, giving people rich imagination.
Between similarity and dissimilarity
Xu Wei’s splash-ink freehand flower and bird paintings are unique and unique. His flower-and-bird paintings incorporate the strengths of various styles without being limited by them, making bold changes and being extremely creative. His freehand paintings, whether they are flowers or flowers and birds, are all done in one stroke. Everything is between similarity and dissimilarity. For the flowers and trees of the four seasons in the brush, the painter uses various ink forms such as hooks, dots, splashes, and chaffing to depict peonies. The gracefulness of the crape myrtle, the sparseness of the bamboos, the aloofness of the frost chrysanthemums, and the neatness of the winter plums are depicted in three parts of the wood. The sycamores and plantains stretch nine feet and five feet respectively, straight out of the painting, without the beginning or end, and are as dense as The grapes in the shower and the vines as winding as dragons create a huge tension. The vertical and horizontal spirit and boldness that permeate the painting are unprecedented. His ink paintings of grapes, with clusters of fruits hanging upside down on branches, fresh and tender, vivid images, and lush leaves made of large ink dots, are sparse in style and do not seek similar shapes, representing Xu Wei's freehand flower style. The rich movement trajectories and the different strokes and ink rhymes of different shades, speeds, sizes, dryness and wetness, and density all possess the spontaneity and non-repeatability of rushing to write, presenting the strongest abstract expression in Chinese painting. ism. This is not an ordinary description of an object, but an artistic process that makes it contain a certain inner temperament and spirit. This temperament and spirit make the viewer feel as if they are actually there. Xu Wei's paintings of pumpkins and chrysanthemums are completed in one go. The ink is like clouds, and the momentum is compelling. At the same time, he controls the pen and ink appropriately, with great changes in weight, shade, density, dryness and wetness. The ink technique shows both halo of ink that penetrates randomly and well-controlled shades. Although Xu Wei calls himself "playing", he still vividly conveys the different temperaments and charms of flowers and fruits in his freehand brushwork. The image of the sycamore tree is only a small part of it painted with splashed ink, but it reminds people of the upright and towering sycamore tree. As Weng Fanggang said: "There is only one foot of paper and one hundred feet of tree, so why should I write this green forest house? I am afraid that I will be so upright that I will be booed by wine and songs in the middle of the night." ("Fu Chu Zhai Poetry Collection") Xu Wei, with his exquisite brushwork, wrote in Between similarity and dissimilarity, a broad aesthetic world is created for the viewer.
There are paintings in the books, and there are books in the paintings
Xu Wei is a calligrapher. In his paintings, he integrates his calligraphy skills and brushwork into the paintings, making people feel that he The splash-ink freehand painting is simply a piece of generous and vigorous calligraphy. Just as Zhang Dai said: "Today I see the paintings of Ivy, which are bizarre and transcendent, with graceful and vigorous postures, which are similar to the wonders of their calligraphy. In the past, people called Mojie's poems, and there are paintings in the poems, and Mojie's paintings, in the paintings. There are poems; I said that there are paintings in the books of Ivy, and there are books in the paintings of Ivy." ("Tao'an Mengmei") In his "Picture of Grapes in Ink", the shades of ink show the texture of the leaves. , the font structure and line spacing of the poem are irregular, extending freely in the air like grape vines, and the calligraphy and painting are integrated. Xu Wei's calligraphy attainments are very high, and his ups and downs of brushwork contribute to ingenious changes in the art of painting, such as painting ink lotus and grapes, bold strokes, and galloping vertically and horizontally. It is difficult to achieve without profound calligraphy skills. Xu Wei once made a "Picture of Plum Blossoms and Banana Leaves", which placed plum blossoms and bananas together, and wrote on the painting: "Plum blossoms with bananas, this is a painting by Wang Wei", which shows that Xu Wei and Wang Wei had some differences in composition. origin relationship. Of course, Wang Wei's painting of bananas in the snow highlights a kind of Zen meaning, that is, the coldness of the snow and the emptiness of the bananas constitute the religious heritage of the picture. In this combination of pictures, Xu Wei highlights a kind of subjective liberation that transcends time and space. sex. Xu Wei is extremely skilled in both calligraphy and painting, with profound skills. His inscriptions, like his freehand splash-ink paintings, are unruly and eloquent; his freehand splash-ink paintings, which incorporate skilled brushwork, are full of interest and full of charm.
The painting is like the person
Xu Wei usually lived a wild life and was not charming to power. In those days, people who came to ask for paintings must be in the period when Xu Wei was financially poor. At this time, if someone came to ask for a painting If someone throws money and silk into him, he can get it in an instant; if there is no shortage of money in his pocket, then no matter how much you give him, you will never get a painting - he is really a man of temperament.
Xu Wei's loneliness can really be summed up by his own "Poetry on Grapes":
Having been down and out for half his life, he has become an old man, and his independent study is howling in the evening breeze.
There is nowhere to sell the pearls under the pen, just throw them into the wild vines.
Xu Weiyi's life was full of hardships and ups and downs, and his later years were miserable and desolate. He integrated his grief and anger and the feeling of underappreciated talent into his pen, creating one after another shocking famous ink paintings. The ink bamboo in his works has light branches and thick leaves, and the brushwork is hasty. The bamboo branches are strong and vigorous, and the bamboo leaves are drooping and affectionate. Although they are bamboo branches, they still have a noble and refreshing atmosphere. This is a glorious portrayal of the painter who is in the lower class and whose talents are not recognized, but has a noble character and a peerless independent personality. His splash-ink peonies are not limited to the rich and elegant characteristics of peonies and are gorgeous in color, but he often paints them with ink and wash, deliberately changing their nature. The purpose is to give peonies an elegant and refined style and charm. As the saying goes, "National colors have never been decorated. "Kitsch with rouge in the sky"
Zhu Da's paintings are highly praised in the East, especially in Japan, and have caused great repercussions in the world of painting, such as: "Peacock Bamboo and Stone Pictures" and "Lone Bird". Pictures", "Sleeping Duck Pictures", "Cat and Stone Pictures of Miscellaneous Flowers", as well as "Pictures of Birds Playing in Lotus Pond", "Pictures of Flowers on the River", "Pictures of Fish and Ducks", "Pictures of Lotus and Fish Music", "Pictures of Miscellaneous Flowers" "Flower Scroll", "Willow Bathing Bird Scroll", "Hibiscus Reed and Wild Goose Scroll", "Big Stone Fish Scroll", "Double Eagle Scroll", "Ancient Plum Scroll", "Moss Pine Scroll", "Autumn Scroll" There are many banners including Lotus Picture Scroll, Banana Bamboo and Stone Picture Scroll, Chun Deer Picture Scroll, Quick Snow and Sunny Picture Scroll, Boating on the Stream, Four Frames of Silk Light Crimson Landscape Screen, etc. , there are flowers, birds, fish, ducks, landscapes, trees and rocks in the album. In terms of calligraphy, there are "Linlan Pavilion Preface Scroll", "Linhe Narrative Four Screens", as well as various masters' dharma calligraphy and cursive poetry scrolls, etc., which are all collected in museums and courtyards at home and abroad. Bada Shanren’s calligraphy, painting, and novels, poems, and literary works are no longer available.
The auction situation of some Bada Shanren works in the art investment market in recent years:
"Geshan Miscellaneous Picture Album", 2008, Xiling Seal Society Auction House, with a transaction price of 23.52 million yuan. Style characteristics Part of "Flowers on the River"
Bada Shanren focuses on painting, and also has high attainments in calligraphy, poetry, postscripts, and seal cutting. In painting, he is famous for his large-scale freehand ink paintings and is good at splashing ink. He is especially famous for his flower and bird paintings.
In his creation, he adopted a natural approach, with concise pen and ink, majestic and unique ideas, creating a high and vertical style. Over the past three hundred years, all major freehand painting schools have been more or less influenced by him. Zhang Geng in the Qing Dynasty commented that his paintings had reached the realm of "clumsiness in the rules of the square and circle, and despicable study in color painting". He advocates "sparing" in painting. Sometimes he only paints a bird or a stone on a large paper, with a few strokes and a unique expression. His calligraphy has a vigorous and graceful style. The seal carving has a simple shape and a unique pattern.
In the process of developing his own style, Zhu Da inherited the fine traditions of the previous generation and found his own path. His flower and bird paintings, the wild style of Xu Xi of the Five Dynasties of the distant dynasty, and the orchid, bamboo, ink and plum blossoms of the literati painters of the Song Dynasty were also influenced by the techniques of Linliang, Lu Ji and Lu Zhi of the Ming Dynasty, and he especially paid tribute to the extensive painting style of Qingteng Baiyang. His landscape paintings were as far back as Zong Bing of the Southern Dynasty, and he also learned from the Jiangnan landscapes of Dong, Ju, Mi Fu, Ni, Huang and even Dong Qichang. In terms of calligraphy, he studied stone drum inscriptions carefully and deliberately copied the dharma calligraphy of various schools since the Han, Wei, Jin and Tang Dynasties, especially those of Wang Xizhi.
"Sleeping Duck"
Generally speaking, the characteristics of Zhu Da's painting art are that he uses form to express emotions, and deforms to capture the spirit; the ink is simple and light, and the brushstrokes are unrestrained; the layout is sparse and the artistic conception is empty ; Energetic and majestic. His form and technique are the best expression of his true feelings. The writing style is unrestrained and does not constitute a method. It is vigorous, round and elegant, and the composition is complete without seeking completeness. His flowers and birds are not calculated in terms of number or size, but focus on the status and momentum of the arrangement. And whether it is used at the right time, surprisingly and skillfully. This is his three-way method of winning. If he finds any shortcomings in the layout of the painting, he sometimes uses calligraphy to make up for it. Bada Shanren is good at poetry and has exquisite calligraphy, so even if his paintings are not many, the artistic conception is sufficient with his poems. His paintings make people feel that they are small but not many. This is the ingenuity of art.
His landscape paintings are mostly ink, drawing on the patriarchal style of Dong Qichang and Huang Gongwang. Ni Zan and others used Dong Qichang's brushwork to paint landscapes, but they did not have a graceful, peaceful, clear and elegant style, but a dry style. It is cold and lonely, full of desolation, and reveals a strong and simple atmosphere in the desolate state, reflecting his lonely and angry mood and perseverance personality. His use of ink is different from Dong Qichang's. Dong Qichang's ink can be moisturized and clear with a light brush, while Bada Shanren's dry ink can be moisturized and clear. Therefore, the paintings are both "unrestrained", but Bada Shanren and others are different from others. They are both "moisturized", but Bada Shanren and others are moisturized differently. A painter's artistic expression can be different from his predecessors and unmatched by others at the time. His flower-and-bird paintings are particularly outstanding and unique. Most of his paintings are lyrical based on objects, using symbolic techniques to express meanings, personifying objects and expressing his own feelings. In the confrontation between innovation and conservatism in the painting world of the early Qing Dynasty, Bada Shanren played a prominent role among the "Four Great Painting Monks" of the reformist group. [Edit this paragraph] Achievements influence "Heron and Stone Picture"
There is a poem inscribed on the Eighth National Congress of the Communist Party of China: "There are not many ink dots and many teardrops, the mountains and rivers are still the same as before. In the troubled times, the branches of coconut trees have remained. Wen Lin copied it carefully.
"This first sentence, "There are not many ink dots and there are too many tears," Master said to himself. It expresses the artistic characteristics of his painting and the thoughts and emotions contained in it in the most concise and concise manner. Only by following this clue he hinted can we truly understand and express the true meaning of painting. Appreciate this painter's great works of art.
There is pain hidden in the weirdness and obscurity
Due to his special life experience and the background of the times, Bada's paintings cannot be likened to others. Other painters express their feelings directly, but express them through his obscure painting poems and strange deformation paintings. For example, the fish and birds he painted are either elongated or contracted in a few strokes. Especially the pair of eyes, which are sometimes oval in shape, are not the eyes of the fish and birds we see in life. The eyes of fish and birds in life are all round, and the eyeballs are in the center. They can't move. The eyes of Bada's fish and birds can move, and sometimes they will roll their eyes and stare at people. The mountains and rocks he painted are not like ordinary painters, round, big at the top, small at the bottom, top-heavy, he thought. It stays wherever it is placed, regardless of whether it is stable or not. The trees he painted have old dry branches and only a few coconut branches and a few leaves. There are tens of thousands of trees in the forest that cannot be picked out. Such a tree. The landscapes, mountains, and bare trees he painted are swaying and desolate. If there is such a place, I don’t think anyone would want to settle here.
Also, The poems, signatures and seals on his paintings are also strange. For example, he called himself "Bada Shanren", which has been interpreted by many people. There are still different opinions among scholars about his seal and the inscription. It is said that it is composed of the four characters "Bada Shanren", while some people are cautious and call it "a clog-shaped seal" because it is shaped like a clog. As for the poems on his paintings, many of the sentences are even more similar. It's hard to understand.
However, Bada clearly told us: "In the turbulent times, wen Lin is left to study carefully." People can understand the meaning of his paintings. Therefore, many scholars have carefully studied and found out a lot of true information from the meaning of his paintings and words. For example, he has a painting inscription, which people have been calling for a long time. The turtle-shaped inscription, because its shape particularly resembles a turtle, turned out to be a deformation of the words "March 19", which happened to be the day when the last emperor of the Ming Dynasty, Chongzhen, committed suicide, marking the Ming Dynasty. The fall of the dynasty. Then this painting also represents the commemoration of the fall of the country.
"Lotus and Fish Joy"
In the 21st year of Kangxi, he once painted "Ancient Plum Blossoms". "Picture", the main trunk of the tree has been hollowed out, the roots are exposed, a few bare branches of coconut trees, and a few flowers are dotted, as if they have survived the wind, frost, thunder and lightning. There are three poems on it, the first of which is written. : "Distribute plum blossoms to Taoist Wu, and you will not go on a blind date with Zhai Zhai. From the north to the south of the Nanshan Mountains, you have to burn fish and sweep away the dust. "Plum Blossom Wu Daoren" refers to the painter Wu Zhen of the Yuan Dynasty, who called himself "Plum Blossom Taoist". The words in the box were obviously intentionally gouged out by collectors at that time or later to avoid the disaster of writing jail. It is not difficult to guess, This word is either "Hu" or "Li". The first ruler of the Qing Dynasty used the Manchu people to dominate the Central Plains, and these two words were the most taboo. The people of Bada Mountain were very concerned about eradicating "Hu dust" from the "north and south of the mountains". The second poem clearly expresses his thoughts of resisting the Qing Dynasty and restoring the country: "It is not the end of time when we have gained our roots. There was no time when we were thin and fat." In the plum blossom painting, I think about the figures, just like the monk picking up the weeds. "There are two allusions used in the poem. One is Zheng Sixiao, a painter who was a survivor in the early Yuan Dynasty. After the fall of the Southern Song Dynasty, he lived in seclusion under Wu. He painted orchids and dew roots but not the slopes. When people asked why, he replied: "The land has been robbed. , don’t you know? "Secondly, after the Yin Dynasty was destroyed by the Yin Dynasty, Boyi and Shuqi, the remnants of the Yin Dynasty, were too ashamed to eat Zhou millet. They lived in seclusion in Shouyang Mountain to pick weeds and eat until they starved to death. It turns out that in the "Ancient Plum Blossom Picture" of the Eighth Congress, the roots of the Qiu are exposed and there is no slope. The word "earth" is modeled after Zheng Sixiao's painting of orchid, implying that the land was robbed by the Qing Dynasty. The reason why he, a descendant of the Ming Dynasty clan, became a monk was because he, like Boyi and Shuqi Caiwei Shouyang Mountain, refused to surrender to the new dynasty. The death of his family and the hopelessness of restoring his country forced him to "cry a thousand tears".
The eight major paintings and poems are the key to unlocking the meaning of his paintings, but they are mysterious and difficult to understand. Many scholars have made great efforts to explain fog. For example, "Jiazi Flowers and Birds" written in the 23rd year of Emperor Kangxi's reign (now in the collection of Princeton University Museum in the United States), on the seventh page, there is a picture of a starling standing on a dead branch, with the title The poem says: "The Kingfisher calls out to Brother, and says that Brother Yuan has changed." The starlings talk about three Guo, and there are few partridges flying south. Professor Jao Tsung-i of the Chinese University of Hong Kong concluded that after the death of Guo (specified), loyal ministers were as ambitious as partridges to embrace the south, which is rare. "That is to say, in addition to the general emotional expression of the destruction of the country and the family, Bada's works sometimes also have specific references. "Gua Yue Tu" is also a work with references. After inscribing the poem, he recorded: : "What I gained from the painting on the 15th night of August." Facing the full moon in the sky and eating moon cakes with every household in the world, his heart was touched. So what was his "gain"? The poem inscribed on the painting said: "Vision?" One side of the pancake, the full moon and the watermelon are served. All of them pointed to the mooncakes, the time when the melons are ripe in the Year of the Donkey. "Some people say that the custom of eating mooncakes comes from the folk story of anti-Qing rebels passing on uprising signals, saying that the Eighth National Congress is looking forward to this day. But what year (the year of the donkey) will it have to wait for? "The year of the donkey, the year of the horse" is a common saying , indicating that there is no timetable. If this is the case, the Bada's intention is not just the pain of the country's demise.
When Wu Changshuo was a boy, he was fond of writing and engraving books because he was influenced by his father. He first studied regular script from Yan Lugong and continued from Zhong Yuanchang; he studied official script from Han stone carvings; he studied stone drum inscriptions from seal script. His writing method was initially influenced by Deng Shiru, Zhao Zhiqian and others, and he later integrated and adapted it in his later writing of "Shigu" . Sha Menghai's comment: Mr. Wu tried his best to avoid the state of "taking advantage of others" and "taking advantage of others", and mixed the three styles of writing on Zhongding pottery, so he is much better than Zhao Zhiqian. Wu Changshuo's running script is influenced by the writing style of Huang Tingjian and Wang Duo, and the composition of Huang Daozhou. It is also influenced by the calligraphy style of Beibei and the writing style of seal script. It has great ups and downs, and is smooth and dangerous.
His seal cutting started from the "Zhejiang School" and later specialized in Han seals. He was also influenced by Deng Shiru, Wu Rangzhi, Zhao Zhiqian and others. Become a great master. His paintings are ups and downs. He is good at leaving blank spaces or diagonally tilting them. His paintings are majestic and his compositions have a strong sense of volume. His seal script has a strong personality, the characters in the seal are full of brushwork, and the knife blends into the pen. Therefore, his seal cutting often shows the characteristics of majestic yet charming, clumsy yet simple, ugly yet beautiful, ancient and modern, changing and righteous. In terms of seal cutting, Wu Changshuo learned from Ding Yi and Qin and Han Dynasties. He creatively used a cutting knife with an "edged edge and an obtuse angle" to combine Qian Song's and Wu's cutting and punching knife techniques to make seals. Therefore, his seal cutting works can show vigor in the beauty, magnolia in the smoothness, and skill can often be seen inadvertently.
▲Seal cutting works
"The cleverly carved lion buttons in the old pit of Shoushan", "Have done things in the world", "Reading books through the ages", "Studying is a blessing", "Black "Qingtian", "January Andong Order", "Anji County, Huzhou", "Remnant Stone Tower in Mount Tai", "The Gardener was born in Plum Cave and grew up in Bamboo Cave", "Bad Books", "Qianxun Bamboo Studio", "Qianxun" "Bamboo Studio" 3 carvings, "Wu Junqing's Letter of Prosperity and Longevity", "Anji Wu Junzhang", "Lei Jun", "Fresh Chrysanthemums in Frost", "Gui Renli Min" [Edit this paragraph] Wu Changshuo is the best at painting career Freehand flowers were most influenced by Xu Wei and Bada Shanren. Due to his profound skills in calligraphy and seal cutting, he integrated calligraphy and seal cutting brushwork, knife movement, composition, and posture into painting, forming a unique painting style rich in epigraphy. He said: "My greatest strength in life is that I can paint in the same way as calligraphy." He often used seal script to write plum blossoms and wild cursives to make grapes. The paintings of flowers, wood and rocks are made with strong brushstrokes that penetrate the back of the paper. They are unbridled vertically and horizontally, powerful and powerful, with novel layouts. The compositions are also close to the calligraphy and painting techniques of calligraphy and seals. They like to use the pattern of the character "Zi" and "女", or make diagonal movements, and the virtual and the real are intertwined. , the subject stands out. The use of color is similar to that of Zhao Zhiqian, who likes to use rich and contrasting colors, and is especially good at using magenta, which is a strong and bright color. Ren Bonian, a famous painter at the time, was impressed by Wu Changshuo's use of stone drum script in seal writing and predicted that he would become a mainstay in the painting world. Wu Changshuo uses "cursive seal script" to paint and incorporates calligraphy into his paintings; his line skills are extremely profound. Although the texture of his lines seems not rich and practical enough from the perspective of drawing shapes, it is precisely by abandoning the fetters of shape that Wu Changshuo's paintings have entered the hall of "meaning", thus forming an influence on the modern Chinese painting world. Express your mind directly and heartily with the expressive form of "big freehand brushwork".
The themes of Wu Changshuo's paintings are mainly flowers. He learned painting late and showed his paintings to others after the age of 40. In the early stage, he received guidance from Ren Yi, and later he used Zhao Zhiqian's painting techniques. He also learned from the painting skills of Xu Wei, Zhu Da, and the Eight Eccentrics of Yangzhou, from whom he benefited a lot. He loves plum blossoms and often uses plum blossoms in his paintings. He uses seal script and cursive calligraphy to paint them. He has both black plum blossoms and red plum blossoms. The moisture and color of the red plum blossoms in the paintings are just right, red and purple, and the brushwork is smooth and full of interest. He once had "bitter plum blossoms" The poem “Railway people have plum blossoms as confidants” expresses the cynical mood through plum blossoms. He also likes to paint orchids. In order to highlight the clean and solitary character of orchids, he likes to use thick or light ink colors and seal script brushwork when painting, which makes them look strong and powerful. The bamboo poles are painted lightly with light ink, and the leaves are highlighted with thick ink, alternating between dense and dense, full of variety, or accompanied by pine, plum, stone, etc., forming a "double clear" or "three friends" to express feelings. Chrysanthemums are also a common theme in his paintings. He painted chrysanthemums either with rocks or with tall, thin ancient vases, which contrasted with the mood of the chrysanthemums. Chrysanthemums are mostly produced in yellow color, or as black chrysanthemum and red chrysanthemum. The ink chrysanthemum is drawn with burnt ink, and the chrysanthemum leaves are splashed with a large brush, with alternating shades and distinct layers. In his later years, he painted more peonies. The flowers are in full bloom, and they are painted with bright carmine, which contains more water. The dense branches and leaves contrast with each other, making them appear full of vitality. Lotus, narcissus, pines and cypresses are also common subjects in paintings. Vegetables and fruits such as bamboo shoots, green vegetables, gourds, pumpkins, peaches, loquats, pomegranates, etc. are also included in the painting, which is full of life. The work uses both color and ink, which is vigorous and vigorous, coupled with the interesting poems and free and extraordinary calligraphy inscribed on the painting, and is stamped with a simple seal, which makes the poetry, calligraphy and painting seals merge into one, and has a profound influence on modern flower and bird paintings. Great influence (see the color picture "Pictures provided by the Sui Dynasty to the Qing Dynasty" (Qing Dynasty)).
▲Painting works
"Tianzhu Flowers", "Wisteria Picture", "Mohe Picture", "Almond Blossom Picture", "Twelve Screens of Flowers", "Plum Blossom", "Four Screens of Flowers", "Peony", "Blue Stone Picture", "Turquoise Picture", 2 "Flowers", "Wisteria Picture", "Miscellaneous Picture Album (Part 1, 2)", "According to the Sample", "Heavenly Fragrance" "Dew Picture", "Chrysanthemum Prolongs Life", "Sketch of Devonian Chrysanthemum", "Peony Picture", "Peony Narcissus Picture", "Great Fortune", "Buddha Picture", "Wealth God Picture", "Red Plum Picture" 2 "Roses and Reeds and Oranges", "Autumn Beauty", "Three Thousand Years of Fruit", "Characters", "Three Thousand Years of Fruit", "Fairy's Luck and Longevity", "Stone Plum", "Dianthus", "Pine Plum" ", "Pictures of the cold weather", "Pictures of peach fruits", "Pictures of melons and fruits", "Viewing books under the lamp", "Pictures of Gusu Silk Painting", etc. [Edit this paragraph] Calligraphy career Wu Changshuo began to study the regular script of the Tang Dynasty (AD 618--907 AD) Yan Lugong, the official script to study the stone carvings of the Han Dynasty, the seal script to study stone drum inscriptions, and Wu Changshuo's running script to learn the styles of Huang Tingjian and Wang Duo. Many people today study Wu Changshuo's seal cutting. Japanese seal engraver Kawai Tsuenro began to seek advice from Wu Changshuo in 1898 and introduced it to the Japanese seal engraving community, which had a great influence.
Wu Changshuo’s calligraphy creations are undoubtedly based on seal script and running cursive script. However, Wu Changshuo has been studying official script for a long time. In his youth, he studied Han steles, such as "Zhang Qian Stele" and "Songshan Stone Carvings". ", "Zhang Gongfang Stele", etc. were also influenced by Deng Shiru, Wu Rangzhi, Yang Jianshan and others. The writing style is similar to that of Yang Jianshan. An official script he wrote when he was thirty-five years old was still in the style of "Zhang Qian". It is square and upright, and the pen is reserved and careful. The official script written by Wu Changshuo in his later years has become longer in structure and adopts a vertical posture. For example, in this painting "Blessings with honors and longevity, singing of elegant songs and playing the sheng", the brushwork is vigorous and full. Judging from some lines, there are traces of seal script. It can be said that this At that time, Wu Changshuo had already integrated seal script and official script into one, forming his own unique look.
Wu Changshuo's regular script can be found on Han steles such as "Han Sangong Mountain Stele", "Zhang Qian Stele", "Songshan Stone Carvings" and "Shimen Ode". After middle age, he read many original epigraphy and rubbings, and chose stone drum inscriptions as the main object of copying. Over the past decades, he has repeatedly studied and is not satisfied with deliberately imitating just the appearance. He has taken into account the style and style of Qin Quan's inscriptions, Langyatai stone carvings, Taishan stone carvings and other characters. Therefore, the stone drum inscriptions are concise and powerful, with new ideas and a unique style. . The writings written after the age of 60 are especially sophisticated, mature and powerful, combining hardness and softness. I like to write couplets from the collection of Shigu characters. In his later years, he used seal script and official script to write cursive scripts. His writing style was vigorous, powerful, and informal.
▲Calligraphy works
"Linshiguwen"
"Green Mountains, Blue Waters, Birds Singing and Flowers Fragrant", 2008, sold at Christie's for 34.26 million yuan.
"Heron and Stone", 2008, sold at the Bandung auction in Beijing, with a transaction price of 33 million.
"Chrysanthemum in a Vase", 2008, China Guardian Auction, sold for 31.36 million yuan (excluding commission).