Page 92 - 2020 November 30 Bonhams Rev. Richard Fabian Chinese Paintings and Calligraphy Hong Kong

WU CHANGSHUO (1844-1927) 吳昌碩（1844-1927）
Birth names Jun and Junqing, he used the courtesy names 初名俊，又名俊卿，字昌碩，又署倉石，別號缶廬、苦鐵、破荷、老
Changshuo and Cangshi, with sobriquets Foulu, Kutie, Pohe, Laofou, 缶、缶道人、大聾等，七十歲後以字行。浙江安吉（今屬湖州）人。
Foudaoren, and Dalong, he was a native of Anji (now Huzhou), 書香門第，吳昌碩幼承庭訓，在其父讀書樓啟蒙，束髮受書，及兼篆
Zhejiang Province. After the age of 70, he preferred to go by his 刻。一八六〇年，太平軍攻占安吉，與家人被亂軍沖散，流浪外地達
courtesy names. Wu was born into a scholarly family, and he had 五年之久。一八六五年中秀才，但無意仕途，一心鑽研金石篆刻與書
received home education at a very young age in his father’s reading 畫。一八七二年後，吳昌碩遊學十年，往來杭州、嘉興、湖州、蘇州
room, learning classical literature and seal engraving. In 1860, when 等地，精進藝事，廣結友人。一八九九年，經同鄉丁蘭蓀推薦任江蘇
Taiping Army occupied Anji, his family dispersed and he wandered 安東縣令，因不願曲意逢迎，月餘即辭。一九一三年，西泠印社成
alone for five years. In 1865, he became a xiucai scholar, however he 立，吳昌碩被推舉為首位社長。
had no intention to pursuit officialdom, and therefore devoted himself
to the study of epigraphic seal carving, painting and calligraphy. In 缶翁詩、書、畫、印「四絕」，鍾愛石鼓，數十年臨寫不輟，用筆結
1872, Wu Changshuo travelled around Hangzhou, Jiaxing, Huzhou 體，一變前人成法，力透紙背，獨具風骨。篆刻出浙派、皖派，上溯
and Suzhou for 10 years to study art and acquaint himself with like- 秦、漢，不蹈常規，鈍刀硬入，樸茂蒼勁，被稱作「吳派」。作畫初
minded individuals, settling in Shanghai in 1887. In 1899, he was 學任伯年，後廣泛借鑒趙之謙、吳讓之、金冬心、石濤、八大、陳
recommended by his fellow townsman Ding Lansun to serve as the 淳、徐渭諸家，運書法用筆入畫，形成自己的大寫意風格。筆墨堅
county magistrate of Andong, Jiangsu Province. However, he resigned 挺，氣魄雄渾，色彩濃鬱，富金石氣。清末民初海上畫壇，多有與吳
after only a month as he refused to compromise his integrity. In 1913, 昌碩投契者，如俞曲園、任伯年、沈寐叟、楊伯潤、胡公壽、楊見
Xiling Yinshe (Xiling Seal Society) was founded, and Wu Changshuo 山、蒲作英、王一亭等，又得日本書畫界極為推崇。刊行有《樸巢印
was elected as the first president. 存》、《蒼石齋篆印》、《缶廬印存》、《缶廬詩存》、《吳昌碩石
鼓文臨本》、《吳昌碩先生花卉冊》等。
Wu was excellent at poetry, calligraphy, painting and seal engraving,
and he especially loved calligraphy inscribed on the ancient Stone
Drums which he copied countlessly throughout his lifetime. He
transformed ancient techniques with brushstrokes of unique
characteristics that seemed to penetrate the backing paper. His seal
carving techniques follow the Zhejiang and Anhui Schools, which trace
back to as early as the Qin and Han Dynasties; but yet they do not
following conventions, with blunt cuts forcibly carved into the stone
surface to create a simple yet vigorous effect, a technique that became
known as the “Wupai”. He first learnt to paint after Ren Bonian, later
he self-studied through examining works by great masters, such as
Zhao Zhiqian, Wu Rangzhi, Jin Dongxin, Shi Tao, Bada Shanren, Chen
Chun and Xu Wei. He employed calligraphic techniques in painting,
forming his signature freehand brushwork style. Strong brush and ink
with vigorous vibe that is both rich in colour and epigraphic elements.
Wu’s close circle of friends included Yu Quyuan, Ren Bonian, Shen
Meishao, Yang Borun, Hu Gongshou, Yang Jianshan, Pu Zuoying, and
Wang Yiting. He was also highly respected in the Japanese painting
and calligraphy communities. His publications include Surviving Seals
of Puchao, Seals of Cangshi Studio, Poems by Foulu, and Flower
Paintings by Master Wu Changshuo.

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