Personality achievement
seal cutting
When he was a teenager, influenced by his father, he liked writing books and printing. Regular script began to learn strictly, and then Zhong Yuanchang; Li Shu studied China stone carvings; The study of seal script was initially influenced by Deng, Zhao and others, and later it was integrated in the writing of Shigu. The writing styles of Huang Tingjian, Wang Duo and Huang Daozhou were greatly influenced by Beibei's writing style and printing, with ups and downs.
Wu Changshuo seal cutting started from "Zhejiang School", and then specialized in Chinese and Indian. Influenced by Deng, Zhao and others, he is good at leaving blank, or inclined to leave blank, with brilliant weather and strong sense of volume in composition. Knife melts pen, seal cutting is masculine and charming, simple and ugly, ancient and modern, and becomes correct. With rockett as the upper position and Qin and Han dynasties as the lower position, combined with the cutting method of Song Qian and Five Blessingg, the printing was processed with an obtuse angle carving knife.
On the basis of inheriting the outstanding achievements of predecessors' punching methods, Wu Changshuo integrated the strengths of many experts, constantly explored in a large number of seal cutting creation practices, and combined punching methods to form his own cutting method. This kind of knife method is flexible and changeable, or punching and cutting, or cutting and cutting, or even cutting and cutting ... This kind of changeable knife method combines the fierceness, rigidity and frankness of punching with the exquisiteness and simplicity of knife method, and shows the meaning of book and knife method incisively and vividly, highlighting the personalized characteristics of his seal cutting method, bold and simple.
Incomplete knife technique is a common technique in Wu Changshuo's seal cutting creation. As we know, the ancient seals of Qin and Han dynasties were mostly incomplete due to age, soil erosion and natural weathering, and lost the original smoothness of seals and lines. It is these imperfections that give us special aesthetic effects such as simplicity, implication, richness and stupidity, which are all caused by nature. Wu Changshuo is good at wonderful workmanship. On the basis of traditional punching and cutting methods, he supplemented by knocking, beating, chiseling, grinding or borrowing sandstone, soles and nails, which greatly enriched the expression techniques of seal cutting and creatively promoted the stone flavor produced by the knife stone effect of seal cutting to a new aesthetic realm of incomplete beauty.
Main seal cutting works: skillfully carving lion buttons in the old pit of Shoushan, doing things in the world, studying through the ages, learning Fubao, HeiQingtian, January Mausoleum, Anji County, Huzhou, Taishan Residual Stone Building, Mei Dongsheng, gardener, bamboo cave chief, storm book, martial arts and martial arts.
draw
content
The theme of painting is mainly flowers, and occasionally there are landscapes. In the early stage, he studied under Ren Yi, and later under Zhao's painting method, drawing on the strengths of Xu Wei, Bada, Shi Tao and Yangzhou Eight Eccentrics. He also painted with seal script, official script and weeds, which was full of vigor and innovation in Gu Zhuo. His works pay attention to the whole and are magnificent. He thinks that "the bold and unconstrained part can not be separated from the statutes, and the implicit part takes care of the charm", which is full of stone spirit. Pay attention to the density of pen, ink, color, inscription and seal, and cooperate properly. Wu Changshuo said to himself, "The strength of my life lies in my ability to paint as a book."
He writes Mei Lan with a brush and grapes with weeds. The brushwork of flowers and trees is vigorous, magnificent, novel in layout and almost sketchy in composition. They like "zhi" and "female" or diagonal patterns. I like Zhao in color, and I like to use rich contrast colors, especially rich western red.
Because Wu Changshuo painted with "Cao Zhuan" and didn't want to be realistic, he formed a "freehand brushwork" brush and ink form that influenced the painting circles in modern China.
He loves plum blossoms and writes cursive script of big seal script. He has both ink plum and red plum. The water and color of red plum's paintings are just right, red and purple alternate with each other, and the pen and ink are smooth. I also like to make orchids, and I like to draw with thick and light ink and seal script brushwork, which is strong and strong. Draw bamboo poles with light ink, and draw leaves with thick ink, with varied density, or with pine, plum, stone and so on. Being a "double-clear" or "three friends" chrysanthemum is also the theme he often paints, with rocks or tall ancient bottles, which set each other off with chrysanthemums. Chrysanthemums are mostly yellow, or black chrysanthemums and red chrysanthemums. The ink chrysanthemum is painted by Jiao Mo, and the chrysanthemum leaves splash a lot, alternating shades.
In his later years, he painted more peonies, painted them with bright carmine, and contained more water. Compared with the dense branches and leaves, he was full of vitality. Lotus, daffodils, conifers and cypresses are also often painted themes.
Bamboo shoots, vegetables, gourds, pumpkins, peaches, loquats, pomegranates and other fruits and vegetables are also painted one by one, full of life. Zhou Xian's fruit and vegetable styles are highly respected, and his works are full of colors, which have a far-reaching influence on modern flower-and-bird painting.
Main paintings: Tianzhu Flower, Wisteria, Mo Hetu, Loquat in May, Apricot Flower, Twelve Screen Flowers, Plum Blossom, Four Screen Flowers, Peony, Shi Lan, Turquoise, Flowers and Miscellaneous Paintings (top and bottom). , Tian Tu, Qi Ju Yan Nian, clay potted chrysanthemum sketch, peony painting, peony narcissus painting, great god of wealth, Buddha painting, rich fairy painting, red plum painting, two roses, Lu Ju painting, autumn flower painting, three thousand years of fruit hanging, people, three thousand years of fruit hanging, etc.
trait
① Stone flavor: The first characteristic of Wu Changshuo's painting art is stone flavor. The so-called stone spirit refers to the smell of inscriptions cast on Zhong Ding and words carved on stone tablets. People often say that someone's paintings have a golden stone flavor. In fact, this criticism standard only appeared after the appearance of Wu Changshuo's painting style. For example, when people are talking about Xu Qingteng and Badashan people, they have never heard of identifying their paintings as epigraphy.
② vigorous brushwork: The second major feature of Wu Changshuo's painting art is vigorous brushwork. The so-called bold brushwork means that the brushwork in his paintings is unpretentious, vast and old-fashioned, with a strong sense of strength. People often say that Wu Changshuo's paintings are heavy. According to people in the calligraphy and painting circle, this pen is very big. The so-called "pen" is very big, not that the brush he uses is very big, but that the atmosphere in his pen is very rich, rich in connotation and colorful.
③ Rich colors: The third major feature of Wu Changshuo's painting art is rich colors. It used to be said that Chinese painting can't have so many colors, and using too many colors is easy to be tacky. However, Zhang pointed out that Wu Changshuo's paintings are particularly thick in ink, bold in color, bright and rich in color. For example, Wu Changshuo painted a lot of peony flowers, many of which are very popular, but they don't make people feel tacky and very literati. Therefore, Zhang believes that the key to color in Chinese painting is not how much it is used, but who will use it and how to use it.
(4) rich in variety
The fourth characteristic of Wu Changshuo's painting art is the diversity of brushwork and ink painting. This is reflected in several aspects. For example, Zhang said that when Wu Changshuo painted chrysanthemums, he could paint a chrysanthemum very richly, whether it was frontal, lateral, static or dynamic.
calligraphy
Wu Changshuo's regular script began to learn from Yan, from the stone carvings of the Han Dynasty, and from others. Huang Tingjian, Wang Duo.
Wu Changshuo's calligraphy works are mainly seal script and cursive script. Writing official script in his later years has a long structure, vertical direction, rich and full pen, and traces of seal script, which integrates seal script and official script and forms a unique look.
Wu Changshuo's official scripts are all over the Han tablet, Songshan stone carving and Shimen ode. After middle age, I read many original and rubbings of stone carvings, and chose Shi Guwen as the main copying object. After decades of repeated research, Shi Guwen's works are concise, lively and unique in style. After the age of 60, the book is particularly refined, comprehensive and refined. I like to write couplets in the collection of Shigu characters. In his later years, he used seal script as a cursive script, which was vigorous and bold.
"Xiling Printing Society" is an inscription written by Wu Changshuo at the age of 7/kloc-0 to commemorate the establishment of Xiling Printing Society. It is the representative work of Xiao Zhuan's artistic style in ancient Wu Changshuo.
Poetry and prose
Wu Changshuo is good at writing poems and songs, and he has been sighing for decades. His poems and essays are peculiar and simple, with more allusions and less popularity. However, some quatrains are purely painted, lively and natural, close to spoken language, bright and elegant, and very similar in style to folk songs. Some quatrains are vivid and natural, close to spoken English, and sometimes contain irony, expressing real feelings about life. Paintings are profound and romantic; Comment on previous paintings and calligraphy, especially many original opinions. Some of the five ancient works he made in his early years were ironic, exposing some injustices in the dark society at that time. His prose works are few, mostly prefaces and postscripts, textual research and sketches, which are simple, simple and approachable. There are many carefully drawn pictures in prose. Expressing the true feelings of life and flogging ugly phenomena can get twice the result with half the effort; When reading it, it is vaguely opposite to the author, which is very meaningful.
Publish a work
Gone with the Wind Village was written in the ninth year of Tongzhi (1870, Wu Changshuo was 27 years old), which is a postscript. On the title page, Wu's self-titled seal script is "Pucun" and another title is "Gold Plate Printing". There are six ink marks in the five-character and eight-rhyme "Trial Poetry" written by Mr. Wang in his early years. * * * Printed on 103, all without money, bound in two volumes, unpublished.
"Cang Shi Zhai Zhuan Seal", self-titled: "In the thirteenth year of Tongzhi (1874, at the age of 3 1 year), Xu Jiachun carved Wuyuan Yiguang."
The Seal of Yun Qi Pavilion, written by Wu. 1876 (32 years old).
Seal in Yun Xuan, 1879 (36 years old). Printed in Tiehanshan Pavilion, 188 1 year (38 years old).
"Jian Mao Lu Yin Cun" has two volumes, four volumes and one volume, which is usually printed as loose-leaf Yin Gao. That's why the binding books we see today have different print runs and different contents. Written in Guangxu Guiwei 1883 (forty years old). Inscription in February of the 9th year of Guangxu in Xu Kang (1883).
Lu Shi in Yuan Gaiyu, 1885 (42 years old).
"Lu Yincun", the first set of four volumes, the title page and the notes are both woodcut editions, 1889 (46 years old). There are 63 seals with margins, inscribed by yang xian and written by Wu Ziji.
The Collection of Poems by Lu has three volumes, and there are also poems with paintings and inkstones. The date is "Not Existed", 1893 (fifty years old).
The two episodes of Luyin Village consist of four volumes, 5 1 square volume, with a stamp and Wu himself's title. 1900 (57 years old).
Wu Changshuo Shigu Linben, 1902 (59 years old), published in Shupin 1960.
The Collection of Xu in Guanzizhai consists of six volumes, with a total of 149 volumes, which were engraved by Wu Changshuo in Guangxu Renyin (1902) and Xu Shikai, among which 13 volumes were engraved by Wu Changshuo for Xu, with stamps and Xu Shikai's preface.
Wu Changshuo's Shi Guwen Ink, 1908 (sixty-five years old), namely Qian Jingming's collection and Tan Zemin's inscription. 1979 Shanghai Painting and Calligraphy Publishing House.
Wu Cangshi's printed spectrum, four volumes, 19 1 1 Zhengshu Company.
Wu Changshuo's "Shi Guwen" was carved by Qian Jingming at the age of 65 (1908) in Wu Changshuo, and Shanghai Qiugu was carved on 19 10.
Wu Changshuo's Flower Book, published by Commercial Press in 19 14 (7 1 year).
Lu Luyin Village was published by Shanghai Xiling Publishing House in 19 14 (seventy-one years old). There are inscriptions by Ge (bookmark) and Wu Yin (Shiqian). Save and print 58 square meters, with printing money. Four episodes and four volumes are the works of Wu Yin's Recently Visited or Lended Friends. Xu Yin printed 47 volumes with stamps, and Wu Yin prefaced them.
The final title of "Wu Changshuo vs. Shi Guwen" is "Jia Yin (1914,71) carved the full text of Tianyi Pavilion in June." Shanghai Dazhong Bookstore 19 14 Popular Edition, with blunt root inscription.
Xi Lingyin Collection, written by Wu Changshuo on 19 14.
Bitter iron breaks gold, four volumes, 19 15 (72 years old) published by Shanghai Xiling Publishing House. One of them is "Shi Guwen Limben".
Wu Changshuo's "Drum Ink in Shilin" is a book 19 18 (seventy-five years old), published by Shanghai People's Fine Arts Publishing House 1988.
The eight-volume book "Lu Lu Yin Cun" was engraved by Mr. Zhang Gequn Tuo. 19 19 (78 years old).
A volume of Lu Lu badminton Tuo, a pedigree given by Wu to his friends, was carved by Wu for his own use, with 36 volumes. 19 19, edited and printed, with Pan Shi's notes attached.
Collection of Xueni Sun Wu Changshuo and Zhao Ziyun, 1920 (79 years old).
Personality assessment
China Network (Wu Changshuo):
As a master figure in the late Shanghai School, Wu Changshuo is a key figure in China's modern painting and calligraphy. He deserves to be a master. His art influenced many later painters, and many modern masters of painting either came from his door or were influenced by his art, such as modern Shanghai School, Qi Baishi, Huang, Pan Tianshou, Fu Baoshi and Li Keran, all of whom were influenced by Wu Changshuo.
China people and China * * * Net: (Wu Changshuo) China was a key figure in the transition period of modern calligraphy and painting, a master of "poetry, calligraphy, painting and seal", a famous painter, calligrapher and seal engraver in China during the late Qing Dynasty and the Republic of China, and an epoch-making figure in China's calligraphy and painting circles.
Painter Qi Baishi ("Poems on White Stone"): ① The paintings of Ivy, Snow Songs and Dadizi can be painted vertically and horizontally, and I am extremely convinced. I hate not living for 300 years, or grinding ink and paper for the king. If you don't accept it, it's also a pleasure to stay hungry outside. "(2) the ivy leaves are far away from snow, and the old man has no talent. I want Jiuyuan to be a running dog and get off the wheel at three doors.
Fan Dian, curator of China Art Museum: Wu Changshuo opened a new century of Chinese painting.
Calligrapher Yu Youren: From Yuan, Ming and Qing Dynasties to the Republic of China, the romantic style occupied a hundred famous artists.