He was Wu Changshuo, a native of Zhangwu Village, Xiaofeng County, Zhejiang Province (now Anji County, Huzhou City). Wu Changshuo is as famous as Xu Gu, Pu Hua and Ren Bonian as one of the "four outstanding figures of the Shanghai School in the late Qing Dynasty". 1844 Jiachen, 1 year old, was born on September 12 (the first day of the eighth lunar month) in Zhangwu Village, Anji County, Zhejiang Province (then part of Xiaofeng County). Wu Changshuo was a famous painter, calligrapher and seal carver in the late Qing Dynasty. He was a representative of the "Houhai School". The first president of Hangzhou Xiling Seal Society. The first name was Jun, also known as Junqing, with the courtesy name Changshuo, and also signed Cangshi, Cangshi, and many nicknames. Common ones include Cangshuo, Laocang, Laosou, Kutie, Dade, Shizunzhe, etc.
He is best at freehand flowers and is most influenced by Xu Wei and Bada Shanren. Due to his profound skills in calligraphy and seal cutting, he integrated calligraphy and seal cutting brushstrokes, knife movements, compositions, and postures into painting, forming a unique painting style rich in epigraphy. Wu Changshuo is best at freehand flowers, and was most influenced by Xu Wei and Bada Shanren. Due to his profound skills in calligraphy and seal cutting, he integrated calligraphy and seal cutting strokes, knife movements, compositions, and postures into paintings, forming a unique painting rich in epigraphy and stone. Feng, he said himself: "My greatest strength in life is that I can paint with the method of 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 "Z" and "女", or make a diagonal diagonal, and the virtual and the real complement each other. , 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, admired 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" in his paintings and incorporates calligraphy into his paintings; his line skills are extremely profound. Although the texture of his lines does not seem rich and practical enough from the perspective of drawing shapes, it is precisely by abandoning the fetters of shape that Wu Changshuo's paintings entered the hall of "meaning", thus forming a style that influenced the modern Chinese painting world. Express your mind directly and heartily with the expressive form of "big freehand brushwork".
The main themes of Wu Changshuo's paintings are 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 imbibed 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 writing is smooth and full of interest. He once had a "bitter plum blossom" 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 are set off to make 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, 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 seals of poetry, calligraphy and painting merge into one, and has a profound influence on modern flower and bird paintings. Great influence
The paintings "Tianzhu Flowers", "Wisteria Picture", "Mohe Picture", "Apricot Blossom Picture", "Twelve Screens of Flowers", "Plum Blossoms", "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 Picture", "Qi Chrysanthemum Prolongs Life", "Sketch of Devonian Chrysanthemum", "Peony Picture", "Peony Narcissus Picture", "Great Fortune", "Buddha Picture", "Wealth God Picture", "Red Plum Picture" 2 pieces, "Rose" "Reed and Orange Picture", "Autumn Beauty Picture", "Three Thousand Years of Fruit", "Characters", "Three Thousand Years of Fruitful Peach", "Fairy and Longevity", "Stone Plum", "Dianthus Picture", "Pine Plum Picture", "Sui "Hanjiao Picture", "Peach Fruit Picture", "Melon and Fruit", "Viewing Books under the Lamp", "Gusu Silk Painting Picture", etc.
In 1865, Yi Chou was 22 years old and was a scholar in the middle of the year.
In 1866, Bingyin was 23 years old and moved to Anji City with his father.
In 1869, when he was 26 years old, he went to Hangzhou and studied at the Jingshe Jingshe, where he studied primary school and poetry from the famous Confucian Yu Yue. This year it was compiled into "Pu Chao Yin Cun".
In 1872, Renshen, 29 years old, went to Shanghai and met Gao Yongzhi.
In 1873, Guiyou, 30 years old, taught Pan Zhiqi in Cong County, Anji, how to draw plum blossoms. Then he went to Hangzhou to stay at the Exegesis Jingshe. I met Wu Botao in Hangzhou.
In the autumn of Jiaxu, 1874, when he was 31 years old, he went to Jiaxing to visit Du Xiaohang (Wen Lan) in the Mandala Museum, where he learned about the Tielaojin tree and talked about poetry and the method of identifying ancient utensils.
In 1875, Jihai, 32 years old, went to try martial arts.
In 1879, when Ji Mao was 36 years old, he collected the rubbings and printed them into "Zhuan Yunxuan Seal". He took him to Hangzhou to study with Yu Yue, who highly praised him and signed an inscription for him.
In 1880, Gengchen, 37 years old, lived in Liangxuan of Wu Yun (Pingzhai) and consulted "Zhuan Yunlou Yin Cun". Wu Yun deleted it and renamed it "Qi Gu Lu Yin Cun". Get to know Wu Qiunong, Jin Xinlan, Gu Chacun, Hu Sanqiao, Fang Zixin, etc. Befriended Yang Xian (Jianshan).
In 1882, Renwu was 39 years old and lived in Suzhou. Friends recommend him as a minor official to make ends meet. Befriended Shen Shiyou in Yushan.
In 1883, Guiwei, 40 years old, went to Jingu on business and met Ren Bonian in Shanghai. I met Yang Xiangyin in Xijin (now Daxing County, Hebei Province). Returning to Shanghai from Xijin, he established diplomatic relations with Xu Gu and Ren Fuchang. Ren Bonian wrote "Small Portrait of the Turnip Pavilion". In that year, Pan Shooyangzhi introduced it to collector Pan Zuyin in Suzhou.
In 1887, Ding Hai, 44 years old, came to Shanghai, where Ren Bonian wrote "Palm Shade Enjoying Coolness".
In 1889, Ji Chou was 46 years old in Suzhou. When Bonian visited, he wrote "Portrait of Wei Suhan" and composed a poem for him. Shi Xuchen and Tan Futang wrote the preface to "Foulu Poetry".
In 1890, Gengyin was 47 years old and lived in Shanghai. Meet Wu Dacheng.
In 1891, when Xinmao was 48 years old, the Japanese calligrapher Kusakabe Minghe (named Dong, courtesy name Ziyang, from Jiangzhou, 1838--1922) came to China to make friends with his husband.
In 1892, when Renchen was 49 years old, Ren Bonian also wrote "Picture of Enjoying the Coolness in the Banana Shade".
In 1893, Guisi, 50 years old, compiled and selected poems written before Renchen in Shanghai and published them in three volumes, titled "Foulu Poems".
In 1894, when he was 51 years old, he presented poems and seals to Weng Tonghe in Beijing. When the Sino-Japanese War broke out, Wu Dacheng, the assistant commander, went to the north to fight against the Japanese.
In 1895, when Yiwei was 52 years old, Ren Bonian created the "Palm Shade Recalling the Past" and "Shanhaiguan Military Enlistment". In November, Ren Bonian died of illness in Shanghai. He wrote a poem, cried about it and wrote a couplet.
In November 1899, when Jihai was 56 years old, he was recommended by Ding Baoyuan of Tongli and appointed as the magistrate of Andong County. He resigned in January.
In 1900, Gengzi, 57 years old, became a disciple of Mr. Senro Kawai, Japan.
In 1903, Guimao, 60 years old, customized his style. The poems written by Renyin before are compiled and selected into the fourth volume of "Foulu Poetry", together with the three previous volumes and the "Bie Cun" volume, combined into one volume.
In 1904, Jiachen, 61 years old, moved to No. 19 Guihefang and named his house "Pisi Hall". Zhao Ziyun threw himself under the door.
In 1909, at the age of 66, Jiyou, together with Gao Yongzhi and Yang Dongshan, initiated the establishment of the Shanghai Yuyuan Calligraphy and Painting Society in Shanghai.
In 1912, Renzi, 69 years old, went to Hangzhou to have a banquet with friends in Xiling. This year begins with the word line.
In 1913, Guichou was 70 years old. Xiling Seal Society was established and he served as president. In autumn, Mei Lanfang came to meet me. Reorder Runge. Wang Yiting paid homage to his disciples. Moved to No. 923, Jiqingli, Beishan West Road.
In 1914, at the age of 71, Jiayin joined the Nine Elders Association. Shanghai Painting and Calligraphy Association was established and he served as president.
In 1915, Yimao, 72 years old, the Shanghai "Ti Jin Guan Calligraphy and Painting Association" elected Mr. Wang as its honorary president.
In 1920, Geng Shen, 77 years old, exhibited his paintings and calligraphy for the first time in Nagasaki, Japan. Tokyo Wenqiu Tang continued to publish "Wu Changshuo's Painting Book", and Nagasaki Shuangshui Garden published "Wu Changshuo's Painting Notes". Zhu Le Sanlie is a disciple.
In 1921, Xin You, 78 years old, went to a banquet at Lingyin Society in Hangxi.
The "Stele of the Three Elders of the Han Dynasty" was purchased by Japanese merchants. He and his colleagues in Xiling ran to appeal and sold paintings for charity, and finally raised 8,000 yuan to redeem the stele. A bronze statue of Fumio Asakura of Japan.
In 1923, when Guihai was 80 years old, Pan Tianshou was introduced to him by Zhu Wenyun and wrote a couplet as a gift. Disciple Chen Shizeng died.
In 1925, when Yichou was 82 years old, Sha Wenruo (Meng Hai) was introduced as a disciple by Wang Xian.
In 1927, Ding Mao, 84 years old, died in his residence in Shanghai on November 29.