? Wu Changshuo's painter, Gao Shitu with Autumn Rhyme of Mountains and Rivers, has a paper book with vertical axis, and the paper book is mounted on silk. The core size of the painting is 34cmx 130cm, with natural yellow spots.

Since the Sui and Tang Dynasties, the Japanese have spared no effort to worship and learn China culture. What is particularly surprising is that their research is not confined to the time when China is better than Japanese, but is consistent. Even when China, the late Qing government, was poor and weak, they were still pursuing the innovation of China's calligraphy and painting, such as Wu Changshuo's painting with stones, and Qi Baishi's inheritance of Qing Teng Bai Yang's freehand brushwork style. They not only study their own skills hard, but also enter China in batches to make friends with these people and even worship them as teachers, such as Hejing Lu Quan and Nakamura. Shanxi Sixth Bridge, which was little known in China before, is actually a representative figure.

? The Sixth Sugiyama Bridge, also known as the Sixth Sugiyama Bridge, is the son of Xinyi in Kyoto, Japan. When he was four years old, he was adopted by the Sugiyama family. His famous saying is dragon, the word Xin Qing, named Liuqiao, Zijiu and Shenliutang. He graduated from Waseda University in his early years, studied painting under the famous Japanese painter Chong Chuntang, and later became a member of the Japanese Artists Association. Because of his strong admiration for China culture, he was awarded the title of Baron by the emperor in 1884, and served as a member of the House of Lords, with the fourth and fourth ranks in 1890.

? Flowers and birds in Qiao Liu's public landscape, also known as calligraphy, are as famous as Maeda Mofeng, a calligrapher who was good at calligraphy in the Six Dynasties. 1908, together with Maeda Mofeng, Buzhe Nakamura, Su Xuan Nomura, Qinshan Turkmen and others, initiated the establishment of "Jian Bi Society" to study the calligraphy of the Six Dynasties and hold related exhibitions. Out of his keen interest in China's calligraphy, Qiao Liu visited China many times in a short time, learned from Wu Changshuo and Shi Guwen, who were proficient in seal cutting, and creatively applied epigraphy to calligraphy and painting. During this period, Wu Changshuo gave more gifts, as shown in the figure.

? Maybe it's because the other person studied calligraphy in the Six Dynasties. Wu Changshuo's paintings have a very unusual style: not only the composition is simple and elegant, but also only two branches of Lao Mei are matched with strange stones, and the contrast and cross-dyeing between thick ink and light ink are also very clear. The book is written in thick ink. There are both thick ink and light ink in the middle part of Lao Mei, and there is no light ink in the lower part of Kistler, especially in the two branches of Lao Mei, who are good at pitching. This almost complete painting style makes the whole volume full of strong epigraphy, which seems to be rare in old ordinary works. In addition to the unique "female" composition of two old plums, Wu Changshuo made a long topic, organically combining the two images of plum blossom and strange stone, and overlapping them again to form a big "female" composition. This treatment is wonderful, but there is no axe mark, so you can get a glimpse of the kung fu at the bottom of your wrist.