Japanese Archaeology and Special Exhibition (Heiseikan) Thematic Exhibition Room
September 13, 2011 (Tue) - November 6, 2011 (Sun)
Wu Changshuo (1844-1927) is a master of calligraphy, painting and seal engraving who appeared at the very end of the 300 years of the Qing dynasty and was active until the beginning of the Chinese Republic.
When he was 17 years old, Wu Changshuo’s family was separated owing to the Taiping Rebellion, and he suffered a harsh life in refuge. At age 22, he was qualified to take the Imperial examination to become a high-ranking official. However, since he did not wish to be promoted he chose to stay at a moderate position to continue his study of seal engraving. His talent in calligraphy and painting flourished at this time as well. He became governor of Andong province (present-day Lianshui, Jiangsu province) at age 56, but he resigned after a month since the corruption among the officials was unbearable. By this time, he had gained prominence as an artist and was able to earn his living through his calligraphy, painting, and seal engraving. He continued his creative activities vigorously until his death at age 84.
Throughout his life, Wu Changshuo studied and transcribed the classical Chinese characters of Shiguwen, of which essences appeared in his calligraphy, painting, and seals. His profound styles seem almost stubborn, but their distinctiveness has gained many enthusiasts, including admirers in Japan.
Wu Changshuo also had deep connections with Japanese cultural figures as well as artists, evidence of which is displayed in his works in Japanese collections and his letters.
As the 9th joint project between the Tokyo National Museum and the Calligraphy Museum, Taito City, this exhibition features Wu Changshuo’s works along with related materials from the collections of both museums, as well as from the Kyoto National Museum, Asakura Choso Museum of Taito City, and from private collections. We present an overview of his art beginning from his 40s when he was in search of his artistic direction to his last years when his art matured. We will also introduce rare materials which show his relationships with the Japanese people, revealing how he has been acclaimed inside and outside China since he was active.