Ask experts to introduce some knowledge about identifying Wu Changshuo's paintings and calligraphy? thank you

1) Study on Flower Painting in Wu Changshuo. So far, there have been many articles about Wu Changshuo's flower painting, and the general research has reached a certain scale, and most of them have interpreted its aesthetic style or made an impression summary. However, in all fairness, mainland scholars still lack a real in-depth and systematic study on the development and evolution of their flower painting styles. At present, Wu Changshuo's paintings are scattered at home and abroad, and researchers can further expand the study of Wu Changshuo's paintings by sorting out the data. For example, we should make a modern description of every work of Wu Changshuo, organize manpower to investigate and catalogue as much as possible from the aspects of size, texture and image analysis, so as to determine the authenticity, stop the prevalence of fakes in the market, and strengthen the research on the authenticity of Wu Changshuo's paintings. Of course, this work is extremely complicated and arduous, requiring a lot of manpower. But with the deepening of this work, the chaotic situation of Wu Changshuo's works in the market will be changed. Secondly, on this basis, a series of topics, such as the selection of Wu Changshuo's painting style and the characteristics of pen and ink, composition, color and inscription, are studied microscopically, and in-depth comparative analysis is made according to the order of creation time, and the internal evolution law of his painting style is expounded, which is very necessary for a comprehensive study of Wu Changshuo's painting style. Wu Changshuo mainly created flower paintings in his middle and old age, which recorded his life experiences in his later years. Therefore, Wu Changshuo's flower painting should still be the focus of future research. (2) The internal relationship between Wu Changshuo's painting, calligraphy and seal cutting. Wu Changshuo took the lead in combining books, paintings and seals. The predecessors have noticed that Wu Changshuo's painting is due to the perfect use of Shi Guwen's seal script, and also made a rough analysis. However, there is a lack of detailed research on the internal relationship between the three, especially on how his calligraphy and seal cutting are specifically applied to painting creation. Although the related research in Taiwan Province Province and South Korea has reached a certain level, its achievements have not had a significant impact on the mainland due to the lag of academic exchanges. The future research in this field needs to be strengthened by mainland researchers. (3) The study of landscape figure painting in Wu Changshuo. Although Wu Changshuo devoted his life to flower painting, he occasionally engaged in landscape painting and figure painting, and his style was also outstanding. There is still a lack of research in this field. As far as the information available at present is concerned, only Ding Xiyuan has published the article "A Half-Day Footprint of Life: On the Landscape Portrait of Wu Changshuo" (Master Momo No.38,1March, 993), and made a general analysis of it. In fact, Wu Changshuo's landscape paintings are very distinctive, and his artistic ideas had an inestimable influence on the Shanghai landscape painting circle in the 1930s, and stone and stone freehand brushwork became the mainstream style of landscape painting at that time. Therefore, strengthening the study of Wu Changshuo's landscape figure painting will also promote the discussion of landscape painting style in the early 20th century. (4) Wu Changshuo's study of ancient poetry. Wu Changshuo is an all-round artist with profound poetic accomplishment. His poems on paintings often strengthen the literati connotation of his paintings. Therefore, his poems occupy an important position in his overall art ... A few years ago, it was revealed that Wu Changshuo could not write poems, and poems were written by others. This erroneous view is sheer nonsense. In fact, Wu Changshuo's poetry is very skillful, and it was quite poetic at that time. [2 1] In recent years, some people have sorted out and classified Wu Changshuo's poems on paintings, and made a brief comment on them, so that people can roughly appreciate the elegance of Wu Changshuo's poems on paintings (see the introduction of Guangyi's Comments on Wu Changshuo's Poems on Paintings). ) On this basis, Zheng Xuefeng published "Powerful Self-Folding Articles" in the 5th issue of China Calligraphy and Painting in 2003. On the Artistic Style of Wu Changshuo's Poetry makes a preliminary study of Wu Changshuo's poetic style, and briefly introduces the origin and characteristics of his poetry, but it is only a rough outline. For Wu Changshuo, who wrote hundreds of poems in his life, these are obviously not enough. Therefore, it is necessary to make a comprehensive investigation of Wu Changshuo's poems and further study the role of poetry in his paintings. (5) The historical significance of Wu Changshuo's artistic heritage. Put Wu Changshuo in the historical environment of modern China for macro-research, and promote the study of modern China painting. If we analyze the relationship between Wu Changshuo and traditional literati painting, we can see the difference between modern painters and ancient painters in Wu Changshuo. Ancient literati painters paid attention to idleness, and their painting style was cold and simple. Different from their predecessors, Wu Changshuo people began to leave the countryside and enter cities. Their style is not indifferent and carefree, but must conform to some factors in emerging businesses in emerging cities. He often takes "great wealth" as the theme, never avoids vulgarity, is passionate and unrestrained, and is deeply loved by the emerging merchant class. Therefore, there are few hermit characters of China ancient painters left in Wu Changshuo. What is the gap between them? How did the two change? This is also an important topic in the study of modern painting history. (Note: See Pan Tianshou's Artistic Heritage and Its Significance, in Studies of Wu Changshuo, Qi Baishi, Huang and Pan Tianshou, pp. 378-384, Hangzhou: Zhejiang Academy of Fine Arts Press,1992165438+10. Researchers might as well take Wu Changshuo as the breakthrough point, and reveal the relationship between Wu Changshuo and traditional literati painting, a modern theme, through the analysis and research of his style choice, creative attitude and aesthetic concept. It should be said that the various artistic problems faced by literati painting have not been diluted and dispelled under the artistic background of Wu Changshuo, but developed in a more open and complicated way. For example, how to deal with the contradiction between the value attitude of "entertaining people with benevolence" and the painter's professional identity and technical model under the modern background; How to keep the logical connection between painting and poetry, literature, books and printing under the knowledge background of the gradual disappearance of traditional civilization … (6) Wu Changshuo School of Painting. Wu Changshuo is a master who has far-reaching influence on modern painting in China. Since the 20th century, many painters such as Chen Shiceng, Wang Zhen, Qi Baishi (1863- 1957), Zhao Ziyun (1874- 1955) and Chen Banding (1877-/kloc-). Wu? (1900- 1977), Lai Chusheng (1904- 1975), Zhu Lesan, etc. Are inspired by his paintings. Some people worship Wu Changshuo, but after all, they have not jumped out of Wu's fence, such as? Wu? , Zhu Lesan and others. Someone once analyzed, "Many of Wu Changshuo's paintings are rough. The original meaning of' rough' includes two things: one is' rough' and the other is' vulgar'. People who study Wu Changshuo often fall into the latter two. In fact, in the process of learning from his rudeness, they melted into the inevitable' vulgarity' and' roughness'. It's just that Wu Changshuo's kung fu is profound, and he can avoid these two things without going too far, so others won't have this ability. Like a king? People who learn from him, such as Zhu Lesan, are bound to suffer from his' legacy'. " [22] (P4) Qi Baishi's study of Wu Changshuo is not a study of appearance, but a study from the perspective of personality, which is full of interest and has taken another big step on the basis of Wu Changshuo; Pan Tianshou also made a great breakthrough in learning from Wu Changshuo, and opposed Wu's loose style in his later years, which was rigorous and cautious. It can be seen that after the death of Wu Changshuo, the painting style has undergone great differentiation. Studying the inheritance and division of Wu Changshuo's style is of great value for explaining the development of modern flower-and-bird painting. Chinese painting has always attached importance to copying, and there are many descendants of Wu Changshuo. Their choice of Wu Changshuo reflects the evaluation of his techniques and ideas, and its success or failure is of practical significance to the study of Wu Changshuo. Strengthening the research on Wu Changshuo's life art is conducive to inheriting the tradition of China's painting art and creating a new style of painting art. Therefore, the research on the influence of Wu Changshuo's painting needs to be deepened. (7) The influence of Wu Changshuo art on overseas. Wu Changshuo made an important contribution to the exchange of modern Chinese and foreign paintings. Through the efforts of his disciples, his art spread far and wide to Japan, the Korean Peninsula and Southeast Asia, which had a certain influence on the painting in this area. But what is Wu Changshuo's overseas influence, and how can overseas (especially Japanese) painters inherit and carry forward Wu's painting spirit? These problems are basically untouched. Strengthening this research will contribute to the overall development of Wu Changshuo's art research, and even promote the study of the history of modern painting communication in China. (8) The relationship between Wu Changshuo and the art market. When Wu Changshuo was alive, his works were very popular in Shanghai, and sometimes the demand was in short supply. Especially in his later years, his paintings were sold to Japan in large quantities, and the Japanese often placed orders after paying attention to a painting he had made before. In this regard, the recommendation role played by his disciple, the former Chinese manager of the Nissin Steamboat Meeting, cannot be ignored. In order to further expand its influence, Wu Changshuo also used the exhibition as a modern propaganda method to lay the foundation for the formation of its painting consumption market. It should be said that Wu Changshuo's painting trading activities can be regarded as a successful model, but how to operate the market, what role it plays in the art market, how its artistic interest is influenced by the secular, how to use the advanced means at that time to create momentum, and whether there may be an agent mechanism are all topics worthy of in-depth study. This exploration can expand the study of China's modern art and economic history, and also inspire the study of contemporary art market. (9) The relationship between Wu Changshuo and early art societies. Shanghai is the place where calligraphy and painting clubs began and flourished. Shanghai painters like to form social groups, ranging from three to five confidants to dozens or hundreds of people. Talking about books and arts stems from the traditional literati collection. Early painting and calligraphy clubs in Shanghai, such as Xiao Penglai Painting and Calligraphy Club, Pingyuan Mountain Residence, Pinghua Painting and Calligraphy Club, etc., were full of literati, mostly invited celebrities. Later, the commercialization of Shanghai painting accelerated the process of painter's professionalization, and the painter's professionalization gradually evolved into a professional organization with guild nature, which was used to exchange painting skills, contact feelings and chat for self-entertainment. The functions of painting and calligraphy clubs have been continuously improved, and some painting and calligraphy clubs integrating painting and calligraphy creation, exchange and trading have been established around the 20th century. Jinshi Calligraphy and Painting Society established in the middle of Guangxu and Yuyuan Calligraphy and Painting Society established in 1909 are the most influential of these societies. They have the functions of exchanging art, observing and collecting treasures, receiving letters on behalf of members, ordering decorations for members, etc., and provide a broader field for painters and paintings in Shanghai. Wu Changshuo also directly participated in the establishment of Xiling Printing Society. In the era after Wu Changshuo's death, there are more and more art societies in Shanghai. This is a question worthy of in-depth study in the history of modern art in China, and its background and development process can be discussed. In these early calligraphy and painting groups, Wu Changshuo played an important role. What role did he play and what role did the association play in promoting the painting atmosphere? Wait, you can do in-depth research. Through this valuable research topic, it will also promote a comprehensive understanding of the development of modern art. The above is the author's comprehensive investigation of Wu Changshuo's research in recent years, and combined with his own experience, he roughly talked about several issues that need further development in the future, especially the latter three are beyond the scope of Wu Changshuo's own research and can be included in the study of cultural history. Academic research covers a wide range. We should evaluate the research value of Wu Changshuo's art history not only in the historical sense, but also in the realistic choice sense, so as to further promote the in-depth development of Wu Changshuo studies. I wish you happiness