Research On Wu Changshuo’s Calligraphy Of Inscriptions And Postscripts

Based on the comprehensive collection and collation of Wu Changshuo’s inscriptions and postscripts and calligraphy literature,this paper studies Wu Changshuo’s inscriptions and postscripts,and discusses Wu Changshuo’s inscriptions and postscripts to discuss his calligraphic interaction,education thoughts,criticism and creation thoughts,as follows:The first chapter shows Wu Changshuo’s scholarly intercourse reflected in his inscriptions and postscript,which is mainly divided into three periods:Wuyuan period,traveling in the left River and living in Shanghai.During Wu Garden and his travels,Wu Changshuo got acquainted with Shi Yusheng,Pan Xitao,Wu Yun,Wu Dacheng,Pan Zuyin,etc.,and was able to see the Sanshi Plate,the Story of Marquis Qi,the Zhang Qian Stela,the Wuliang Temple stone,the ancient pottery tiles and other stone rubbings and ancient artifacts,and developed the examination and postscript about the Shanzuo Stone and so on.And through Wang Yiting and the Japanese Quan Lu Kawai,Shiraishi Rozaburo works exported to overseas,formed a great influence in the Japanese book circle;The second chapter mainly shows the calligraphy education and criticism thought contained in Wu Changshuo’s inscriptions and postscripts,and reveals the connotation of the comprehensive development of Wu Changshuo’s inscription,poem,book,painting and printing.The educational thoughts of painting,calligraphy and seal cutting contained in Wu Changshuo’s inscriptions and postscript had a deep influence on Sha Menghai,Zhu Lesan,Pan Tianshou and Ha Jing Quanlu,etc.Sha Menghai and others actively applied them to modern higher calligraphy education.In addition,Wu Changshuo’s painting,calligraphy and seal cutting was also criticized by Bai Jiao,Huang Binhong,Wang Daxin and others for their"roughness","village style" and "characters like scattered wild rattan".In response to these criticisms,Wu Changshuo expressed his ideal pursuit of adhering to the integration of steles and inscriptions and the merger of works and writings by means of the inscriptions and inscriptions;The third chapter studies the ontology of Wu Changshuo’s inscriptions and postscript script,line cursive script,seal script,mainly from three aspects of the analysis.Compared with Wu Changshuo’s large calligraphy,the inscriptions and postscripts of small calligraphy pay more attention to the fluency and sense of rhythm,and there is no lack of compact and thick.Lines of cursive inscriptions and postscripts,especially painting postscript ink is more varied,and the main part of the picture echoes.In the chapter is more attention to the block surface sense,interspersed around,dense;The fourth chapter mainly shows the value of Wu Changshuo’s inscriptions and postscripts.Firstly,Wu Changshuo’s inscriptions and postscript calligraphy were mainly influenced by Su Shi,Huang Tingjian,Wang Duo,Fu Shan and others in terms of style and thought.Its style and form to follow edition,lishan.Second,discusses the inscription calligraphy thoughts on modern shamenghai,fostered numerous eminent people like wu changshuo ZhuLeSan,pan,Wu Fuzhi,TaoBoWu et al.Finally,it presents the author’s study results on Wu Changshuo’s inscriptions and postscripts and calligraphy,and its influence on the author’s calligraphy.The appendix is the chronology of Wu Changshuo’s inscriptions and postscripts,which is produced by referring to the Fou Ou Set of Wu Changshuo,Zou Tao’s Complete Works of Wu Changshuo,Zhu Guantian’s Chronology of Wu Changshuo and other books as well as Artron and Guardian auction works,etc.,to show the course of Wu Changshuo’s inscriptions and postscripts in his life.