What are the characteristics of Wu Changshuo's calligraphy works?

Qing Daoguang twenty-four years (1844) August 1, born in Wucun, Xiaofeng County, Zhejiang Province. I studied with my father when I was young, and then I went to a private school in a neighboring village. 10 likes to carve seals when he is in his teens. His father gave him some advice and got started.

In the tenth year of Xianfeng (1860), the Taiping army and the Qing army fought in the west of Zhejiang, and the whole family fled to the chaos in the barren hills and valleys, and their siblings starved to death. Later, he was separated from his family, worked as a short-term laborer and handyman, and lived in exile in Hubei and Anhui for several years.

Four years of Tongzhi (1865) Jinshi. That year, Ren Xun, the famous ancestor of the sea, cooperated with Zhou Xian to paint a portrait of Wu Changshuo.

Tongzhi eight years (1869), went to Hangzhou, studied in Jingjing Jingshe, and studied under the famous Confucian Yu Yue Primary School and Zhang Ci. Weave it into "Floating Yin Chao Village".

He made friends for eleven years (1872) and met Gao in Shanghai.

In the sixth year of Guangxu (1880), Wu Yun (Pingzhai) came to consult the seal of Fengyunlou, and Wu Yun deleted it and renamed it "chop the land and seal it". Know Wu Qiunong, Jin, Gu Tea Village, Hu Third Bridge, Fang, etc. Make friends with Yang Xian (see the mountain).

Guangxu eight years (1882), living in Suzhou. My friend recommended me to be a small official to make a living. Make friends with Yu.

Guangxu nine years (1883), met Ren Bonian in Shanghai. Ren Bonian wrote The Statue of the Radish Pavilion.

In the 13th year of Guangxu (1887), he went to Shanghai and Ren Bonian to make a "Shade of Brown Shades".

Guangxu fifteen years (1889), Suzhou people. When Bernie visited, he wrote "a portrait of a sour captain" and wrote his own poem. Shi and Tan wrote a preface to Luan Ge.

Guangxu sixteen years (1890), living in Shanghai. Know Wu Dacheng.

In the 18th year of Guangxu (1892), Ren Bonian wrote a picture of the shade of banana.

In the 19th year of Guangxu (1893), three volumes of Poems of Renchen Years ago were edited and published in Shanghai, entitled Poems of Lu.

In the 20th year of Guangxu (1894), he presented poems and prints to Weng Tonghe in Beijing.

When the Sino-Japanese War broke out, he took part in the glorious curtain of Wu Dayou and went north to resist Japan. The defeat continued to be Wu Dacheng's glorious curtain. In the twenty-first year of Guangxu (1895), Ren Bonian wrote "A Picture of Memorizing the Past in a Brown Shade" and "A Picture of Shanhaiguan Joining the Army". 1 1 month, Ren Bonian died of illness in Shanghai, and he wrote poems and shed tears.

In November of the 25th year of Guangxu (1899), Ding Baoyuan was recommended as the magistrate of Anton County and resigned in January.

In the 26th year of Guangxu (1900), he devoted himself to painting and calligraphy, but Kenlang Kawai of Japan threw him out of the door.

It was customized in the 29th year of Guangxu (1903). Ren Yin's previous poems are compiled into the fourth volume of Lu Poetry with the first three volumes, and the first volume of Biecun is combined into one volume.

In the 30th year of Guangxu (1904), it moved to Guihefang 19, which was called Pisitang. Zhao Ziyun (Zhao Yunhe) cast a vote under the door.

In the thirty-fifth year of Guangxu (1909), he joined the Shanghai Yuyuan Painting and Calligraphy Association in Shanghai.

In the first year of the Republic of China (19 12), I went to Hangzhou and Xiling for a banquet. Start with a word line.

In the second year of the Republic of China (19 13), Xiling Press was established as its president. Qiu, Mei Lanfang will come. Make friends with Yi-ting Wang. Wang Yiting popularized Wu Changshuo's calligraphy and epigraphy in Shanghai business and financial circles, which made him famous.

In the third year of the Republic of China (19 14), Wang Yiting held Wu Changshuo's first solo exhibition in the Sixth and Third Hospital, which made Wu Pai art well known and admired by Japanese artists. Shanghai Calligraphy and Painting Association was established and served as its president.

In the fourth year of the Republic of China (19 15), Mr. tui was the honorary curator of Shanghai Painting and Calligraphy Museum.

In the sixth year of the Republic of China (19 17), Wu Changshuo followed Mrs. Shi and died in Shanghai.

In the 9th year of the Republic of China (1920), his paintings and calligraphy were first exhibited in Nagasaki, and then Wu Changshuo's paintings were published in Wenqiutang, Tokyo, and Wu Changshuo's paintings were published in Shuangshuyuan, Nagasaki. Zhu Lesan is listed as a disciple.

In the tenth year of the Republic of China (192 1), I went to the Lingyin Society in Hangxi for dinner. The "Han San Lao Monument" was bought by Japanese businessmen. Together with colleagues from Xiling, they went to appeal for a painting charity sale and finally raised 8000 yuan to redeem the monument. Asakura is a bronze statue of Fan.

In the 12th year of the Republic of China (1923), Pan Tianshou presented a couplet to Zhu. Disciple Chen Shiceng passed away.

In the 14th year of the Republic of China (1925), Sha Menghai was listed as a disciple by Wang Xian. He gave an introduction and title to the late teacher and friend Zhou Xian's posthumous work "Hundred Flowers Long Scroll".

In the Republic of China 16 (1927), he died in Shanghai, and 1 1 month 29.

In November of the 22nd year of the Republic of China (1933), he was moved and buried at the foot of Songmeiting on the west side of Chaoshan Baoci Temple near Tangqi, Yuhang County, Zhejiang Province.

When the characters were young, they achieved seal cutting. Influenced by their father, they liked to write books and seal cutting. 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.

Painting 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 diagram, Mo Hetu, loquat diagram in May, apricot flower diagram, twelve-screen flower, plum blossom, four-screen flower, peony, Shi Lan diagram, turquoise diagram and flowers, two wisteria diagrams and miscellaneous picture books (one of them) 2. Tian diagram, Qi Ju Yan nian, pottery potted chrysanthemum sketch, peony diagram, peony narcissus diagram, Dafu, Buddha diagram.

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 strict, learn Han Dynasty stone carvings, and learn.

Wu Changshuo's calligraphy. 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 Wu Changshuo is good at writing poetry and 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.

Published his work "Park Village" by Yu Sheng, a nine-year-old Tongzhi, at the age of 27 (1870). 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).

China Com (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 three hundred 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.

Later generations influenced Wu Changshuo, an influential master of China painting. Under the background of the integration and exchange of traditional culture, Wu Changshuo has also been influenced, and his greatest feature and advantage is tolerance and transcendence. Although the times have greatly promoted his life, his own efforts are also an important reason for his success. Different from traditional literati painters, Wu Changshuo has four unique skills: poetry, calligraphy, painting and printing. He can learn from others' strengths, accept everything, and integrate the four musts into one. In particular, he created a brand-new artistic style and atmosphere with the most traditional artistic factors and aesthetic ideals. Wu Changshuo not only realized that painting embodies the spirit of wildness and elegance, but also pushed Chinese painting to a new height, which had a far-reaching impact on modern Chinese painting.

Wu Changshuo is best at freehand brushwork flowers, and is greatly influenced by Xu Wei and Badashan people. Because of its profound knowledge of calligraphy and seal cutting, it integrates calligraphy and seal cutting, knife cutting, composition and posture into painting, forming a unique painting style full of golden stone flavor. Wu Changshuo painted Cao Zhuan Shu in calligraphy; The lines are extremely deep. Although from the perspective of object painting, the texture of its lines does not seem to be rich and practical, it is precisely because of abandoning the fetters of form that Wu Changshuo's paintings entered the temple of "meaning", thus forming a "freehand brushwork" expression that influenced modern China painting circles.

As the founder of Shanghai style painting, his art has a great and far-reaching influence on the development of modern painting in China. Since the 20th century, many outstanding painters, such as Qi Baishi, Wang Zhen, Zhao Ziyun, Chen Shi, Chen Banding, Chen Shiceng, Zhu Qizhan, Liu Haisu, Qian Shoutie, Pan Tianshou, Wu Zhi, Ge Wang and Zhu Lesan, have been influenced and inspired by Wu Changshuo's art. They are representative practitioners who study Wu Changshuo's art, and they also interpret, inherit and study Wu Changshuo's art, among which Ge Wang is Wu Changshuo. He devoted his life to inheriting Wu Changshuo's art in an all-round way, and made outstanding achievements in the fields of poetry, calligraphy, painting and printing.

Wu Changshuo is known as the Seal Saint in Japan, along with Wang Xizhi, Wu Daozi and Zhang Zhi.

"Historical Records" contains the epitaph of Wu Changshuo (master of Chinese studies Chen)

Chronology of Wu Changshuo

Grandfather: Nan Fang, born in imperial academy; Zu: Yuan, Guan Haiyan taught Chongqing;

Father: Xin Jia, juren, cut off the magistrate;

Madam: Zhang Gongren, it's hard to die. Continuing to marry a stone man and managing the family diligently can help Mr. Zuo realize his ambition. Follow Mrs. Shi;

Children: Yu, Han, Mai, female one. Yukon. After becoming a father, you can remember the things of printing and painting, and you can join your wife and daughter as seal writers and teach each other skills to take your own names;

Grandsons: Nagano and Hua Yao.

Anecdotes love plum and dog meat.

The old family is a Tangqi Wang Zu. In the early years of the Republic of China, Lao Shaolin served as a servant in the State Council, then retired to his hometown and returned to Tangqi. I heard that some wealthy families in the town, such as Wang, Yao, Wu and Lu, have a lot of contacts with Mr. Wu Changshuo, and there are many masters' paintings and calligraphy, so they also ask Wu for words and paintings. But when the master heard the old official title and refused to give an excuse, he was anxious to find out Mr. Wang's temperament and hobbies and use his head.

At the end of winter this year, after the snow, Mr. Chu Qing and Mr. Wu Changshuo went to Xun Mei in the mountains as usual. Walking to the foot of Chaoshan Mountain, I saw a new hut built by Meilin on the roadside, which was quite elegant. Besides the strong fragrance of flowers, there is also an attractive fragrance in the cold wind, so I stopped. At this time, I saw an old man strolling out of the hut, nodding his surname with Wu, and immediately invited him to sit inside. Seeing that he was polite and well-spoken, Mr. Wang went in to chat. Soon, the old man said that he happened to have game and might as well have a drink. It turned out that although it was not game, it was Mr. Wang's favorite dog meat. As a result, the two chatted over tea and had a very speculative conversation.

Two years later, the old Shaolin celebrated his birthday. Friends and relatives who came to congratulate found that many famous paintings and calligraphy works by Wu Changshuo had been hung in the hall.

Feel feelings

Wu Changshuo's first wife, surnamed Zhang, died in a mutiny shortly after her marriage. Later, at the age of 29, she was re-appointed as Mrs. Shi of Hu Ling. I have six children. Wu Changshuo's early life was full of hardships. /kloc-at the age of 0/7, he fled with his father because of the mutiny, and even had a painful experience of almost starving to death. In this period of wandering life, Wu Changshuo lost a lot of flesh and blood relatives, which made him understand the value of family, so Wu Changshuo's family life was warm and harmonious after marriage. "Ruthlessness is not necessarily a true hero. How can Reiko Kobayakawa not be a husband? " This artist, who is famous for his bold and fierce painting style, shows more affection and gentleness when facing his children.

Satire is full of wisdom.

In the early years of the Republic of China, one day, a famous Shanghai real estate developer, Ha Tong, celebrated his birthday and wanted to invite Wu Changshuo to draw a three-foot vertical painting to set off the birthday atmosphere. Unexpectedly, Wu Changshuo had long heard that Harbin started by selling opium. Moreover, he has always hated these people who are rampant in foreign exchange. So Wu Changshuo decided not to draw.

At that time, Hatton was a director of the British and French Concession Industry Department. He knew that people like Wu Changshuo were worth wooing, so on the one hand, he lured a lot of money, on the other hand, he found Wu Xingfen, Sha Fuqing and others who were slightly inferior in Shanghai painting at that time to intercede for Wu. Because of the sympathy of the same people, I made a picture of cypress. When the painting is finished, Harbin has come to pick it up himself. But when he saw that the cypress leaves were painted bigger than those in nature, he asked, "What's the point here because the cypress leaves are so big?" Wu Changshuo said, "This is a strange cypress tree, but you might as well look at it upside down." Ha Tong looked at it upside down and said, "It's grapes." At this time, Wu Changshuo said seriously, "That's what I mean." Ha Tong asked inexplicably, "Why do you want to draw backwards?" At this moment, Wu Changshuo couldn't help laughing and said, "I drew it according to your logic. You like to turn black into white, and good into bad. Of course, the picture I gave you is upside down. " Harbin laughed and said well, but he was very angry.

Title of bronze drama

Wu Changshuo was the first president of Hangzhou Xiling Printing Society. Asakura, a Japanese sculptor, loves Wu Changshuo's calligraphy and stone carvings. In the 9th year of the Republic of China (1920), he came to China and forged an unforgettable friendship with Wu Changshuo. After returning home, asakura Wen Fu created a bust of Wu Changshuo by washing, and personally sent the statue to Hangzhou. After seeing it, Wu Changshuo was amazed and wrote an inscription on the back of the bronze statue: "Non-Changli poems, chanting wooden laymen; Non-Pei cen monument, called stone son of man; Casting me with gold, I am not Fan Li, dare to ask the wise men in the capital what they mean. The heart is seventy-eight years old with the title of Changshuo in August. " Between the lines reveals the broad mind of the master of art.

Wu Changshuo posterity memorial hall

Wu Changshuo Memorial Hall was completed and opened on1September 1995 12. Huaxia Cultural Park, located near Chuansha Town, Pudong, Shanghai, covers an area of 6 mu and is built in the style of Wu Changshuo's former residence at Li Jiqing 12, Shaanxi North Road, Shanghai. It is a two-story Shikumen building with five halls: art life, works exhibition, bedroom, studio and marine painting school. After the completion of the museum, Wu Changshuo's paintings, calligraphy and seal cutting works, historical materials about his life activities, and Wu Changshuo's articles for artistic creation and daily necessities are often exhibited in rotation, which provides abundant information for researchers. It has also held many exchange activities of calligraphy, painting and seal cutting among China, Japan and South Korea.

Former residence of Wu Changshuo, Zhejiang

Wu Changshuo's former residence is located in Shang Jie, Zhenwu and wucun, Anji County, Huzhou City, Zhejiang Province. The former residence is a courtyard-style deep house compound, with the original main building, east-west hall, inverted hall, "Champion Bridge" and Banyuetan, with a total area of about 2,500 square meters. Wu Changshuo spent twenty-two spring and autumn years here.

Wu Changshuo tomb

Wu Changshuo's Tomb, located on the hillside 200 meters west of Tang Ming in Chaoshan, Yuhang District, Hangzhou, 1989 is listed as a provincial cultural relics protection unit. The tomb is 2 meters high and 3 meters in diameter. The tombstone is engraved with the words "Tomb of Mr. Anji Wu Changshuo". Height 1.4m, width 0.65m Zhu lesan's supplementary book There is a tomb table in the pavilion on the right in front of the tomb, which records his life story. On the left front of the tomb, there is a statue of Wu Changshuo.