Wu Changshuo (1844.8.1-1927.11.29). Jun, first named Chang Shuo, also known as Cang Shi and Cang Shi. His nicknames are Cangshuo, Laocang, Laoyou, Bitter Iron, Deaf, Taoist and Buddha.

Wucun, Xiaofeng County, Zhejiang Province (now Anji County, Huzhou City).

During the late Qing Dynasty and the Republic of China, China was a famous painter, calligrapher and seal engraver, a representative of "Houhai School" and the first president of Hangzhou Xiling Printing Society.

Wu Changshuo, Ren Bonian, Pu Hua and Xugu are collectively called "the four Shanghai schools in the late Qing Dynasty".

He integrates "poetry, calligraphy, painting and printing" into one, and integrates epigraphy, calligraphy and painting into one furnace. Known as "the first stone drum seal script" and "the last peak of literati painting".

He is a flag figure in painting, calligraphy and seal cutting, and has high attainments in poetry and epigraphy.

Wu Changshuo's enthusiastic support made him a junior, and Qi Baishi, Wang Yiting, Pan Tianshou, Chen Banding, Zhao Yunhe, Wang Geyi and Sha Menghai were all taught by him.

Wu Changshuo's works include Wu Changshuo's Painting Collection, Wu Changshuo's Works Collection, Bitter Iron and Broken Gold, Qian Lu's Near Ink, Wu Cangshi's Prints, Qian Lu's Prints and so on. His collection of poems includes that of Qian Lu.

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. In his later years, the official script he wrote became longer and longer, showing a vertical trend. His pen was vigorous and full, with traces of seal script. Seal script and official script were combined into one, forming a unique face of his own calligraphy.

Wu Changshuo's official script is surrounded by Han tablet, Songshan stone carving and Shimen ode.

After middle age, I saw many rubbings of stone carvings and chose Shi Guwen as the main copying object. After decades of repeated research, Shi Guwen is concise and lively, with a unique style.

After the age of 60, Shi Guwen's books are particularly refined, comprehensive and concise. 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 the artistic style of Xiao Zhuan in the old period of Wu Changshuo people's calligraphy.

Shi Guwen is the earliest stone carving in China, carved on ten drum-shaped stones, hence its name. Every stone has a four-character poem about Qin hunting, so "Shi Guwen" is also called "Hunting Code".

The original stone is about three feet high and two feet in diameter. Because it has been destroyed by fire and eroded by wind and rain, it is quite rampant. One of the stones turned white in the Song Dynasty, and the other stone did not contain a word. According to Guo Moruo's statistics, Shi Guwen has 465 characters.

Shi Guwen's lines are more even and rounder than the inscriptions on bronze, and its glyph structure is more concise, neat and slightly rectangular than that of Oracle Bone Inscriptions and inscriptions on bronze. Most of them are decorated with parallel lines. Strict and dense, the pen is round and vigorous, the pen diameter is dignified, the word spacing and row spacing are open and balanced, the words are as bright as the sun and the moon, the words are over an inch, the charm is ancient, the strength is strong, and it is simple and natural, which is highly respected by all generations. It is an excellent mode to start Dafang.

"On the Seal of Bamboo Slips in Ming Dynasty" said: "Shi Guwen is the first law in ancient and modern times".

In thousands of years of book history, Wu Changshuo is the person who has studied Shi Guwen the most, the deepest and the most unique. Generally speaking, when commenting on Wu Changshuo, we should mention his "Shi Guwen".

Shi Guwen perfected Wu Changshuo, and Wu Changshuo also enhanced Shi Guwen's artistic value.

From the perspective of performance, Wu Changshuo's Shi Guwen appears in the form of copying, but few people look at his Shi Guwen from the perspective of appreciating the temporary works. It should be said that Wu Changshuo's Shi Guwen is a well-documented creation, which embodies Wu Changshuo's unique understanding of Shi Guwen. It is better to create than to face it.

What Wu Changshuo did at the age of 75 was quite different from the original Shi Guwen, which had both classical forms and its own characteristics.

Specific performance in several aspects:

Font, from the original slightly rectangular to rectangular;

The aspect ratio is close to the golden section, which is the best structural form;

Lines, from the original smooth and solid, have become the flowing and flying interest of brushwork, and the lines are round and solid, without sloppy and greasy meaning.

The lines of the book are broken and full of stone spirit.

Structurally, from the original upright posture to the uneven trend, every word is flying and ready to come.

Space division, breaking the balance, sparse and impenetrable.

Pen, great and pale, full of Qi Li, full of bullying.

In ink, there are thick, dry and wet. This is a successful attempt by Wu Changshuo to link the past with the future.

The seal script is static, and Wu Changshuo's writing has the feeling of flying and lyrical meaning, which makes the younger generation amazed.

The beginning and end of Shi Guwen are very unique and crucial.

In Wu Changshuo's "Shi Guwen", starting and closing the pen are all natural writing and lifting the pen, and there is little deliberate action against the front, which embodies the characteristics of Wu Changshuo's natural writing.

However, there are many criticisms in Ma Zonghuo's Notes on Sai Yue Lou. He thinks that Wu Changshuo writes books by painting Chinese cabbage, and the village is full of paper. Its pen is naturally exposed.

Wu Changshuo was famous at home and abroad for his "four wonders" of poetry, calligraphy, painting and printing. He studied printing first, then poetry, calligraphy and painting, and finally integrated the four, creatively inherited the excellent tradition of China's painting and calligraphy, and independently developed his own personality and specialty. Therefore, a distinctive personal style has been formed in books, paintings and printing. It can be said that there are books and seals in the paintings, and there are books and paintings in the seals, each with its own poetry.

His artistic works all have strong artistic characteristics, namely, "vigorous and vigorous, rich in ink and heavy in color, rich in color, and smart in thickness" (Liu Jiang's Study on Wu Changshuo Seal Carving), which combines great national spirit, simple style of the times and simple personal character.

When Wu Changshuo was a teenager, he mainly copied regular script, starting with Yan Ti, and then fell in love with small script in Wei, Jin and Zhong You, and laid a solid foundation by paying attention to the meaning of pen and the simple connotation of writing. As a teenager, I studied in Hangzhou, Huzhou and Suzhou. Because he knew Yang Jianshan, he was more influenced by Zhuan Xu. First, he was guided by Yang Jianshan, then he was influenced by Yang Yisun, and then he was greatly influenced by calligraphers such as Deng He. He copied a large number of Han monuments, such as Songshan Stone Carving, Zhang Qianbei, Ode to Shimen, Monument to the Mountain, etc. In his later years, he liked to write bronze inscriptions such as plates, but what he realized repeatedly throughout his life had the greatest influence on his seal script. Wu Changshuo's early seal script has not lost its influence.