Wu Rongguang's "Lansu" style calligraphy is condensed in stippling, elegant and swaying.
He once held some official positions, but because of his acquaintance with Ye Mingchen and others and the influence of Huang Zongxi, he finally chose to retire to the mountains and rivers and concentrate on collection and calligraphy creation. 2. Wu Rongg
1. Wu Rongguang (1773~1843) was a famous collector and calligrapher during the Jia and Dao years of the Qing Dynasty. Its original name was Liaoguang, but it was changed to Rongguang after the pilot test. It was named Dianyuan and Borong, and its name was Hewu. In the fourth year of Jiaqing, he was a Jinshi. He has successively served as editor, supervisory censor, engineering department, governor of Hunan and other palaces. Kang Youwei once commented on it as: "I am the prime minister of Wu Hewu in Guangdong, a famous calligraphy scholar, and his books are the best in my Guangdong."
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2. Wu Rongguang is good at reading, loves gold and stones, and is good at discerning. After being dismissed from office, Wu Rongguang compiled the calligraphy and painting works he had collected or passed on into "Xin Chou's Sale of Xia Ji". This book has become a model for later generations to appraise calligraphy and painting because of its "true collection and elegant textual research". He is the author of "Chronicle of Celebrities in Past Dynasties", "Jinshi Zhi of Yunqing Pavilion", "Tie Jing", "First Compilation of Wu Xuelu", "Xin Chou Xiao Xia Ji" and so on.
Third, Wu Rongguang learned from Ouyang Xun in his early years. European style regular script such as "Jiucheng Gong" is a Qianlu font that scholars often use. It is square and rigorous, very strong, and suitable for learning Foundation. In addition, such as Chu Suiliang's "Monument of Master Meng" and "Preface to the Holy Teaching of Yanta", some traces can also be found in Wu's calligraphy. Later, under the influence of Liu Yong, Weng Fanggang and others, he transferred to Su Shi's running script. Although he writes calligraphy without breaking the rules, if he takes the posture of Dongpo, he changes his brushwork, which is very different from the original, and people at that time called it "Lansu" style. When I was middle-aged, I also studied "Lanting", which was very useful. In his later years, the north stele was used as cursive, and the writing power was particularly amazing. Wu Rongguang's great achievements in calligraphy should be related to his education.
Fourth, Mr. Wu Hao wrote in "Wu Rongguang's Calligraphy and His Actions": "When I was a child, my grandfather used to collect calligraphy and painting, and I asked him (Wu Rongguang) for his (Wu Rongguang) calligraphy. You Li, I heard from a group of them that Wu Rongguang wrote "Lan Su", which means that he wrote Su Shi style with a broken pen." Mr. Chen Yongzheng believes: "Wu Rongguang was influenced by Liu Yong, Weng Fanggang and others, and transferred to Su Shi's running script. .Although the book is written with a straight mind, it does not deviate from the rules. If it takes the posture of Dongpo, it changes its brushwork, which is very different from Po. People at the time jokingly called it the "Lansu" style."
5. Scholars in the past dynasties believe that Wu Rongguang’s subjects include Wang Xizhi, Wang Xianzhi, Ouyang Xun, Chu Suiliang, Huai Su, Su Shi, Dong Qichang, as well as Jinwen, Hanbei and Beibei. However, the claim of taking the Fabei stele lacks evidence and is difficult to establish. Wu Rongguang's calligraphy creation stems from his calligraphic concept of advocating posts, and the richness of his works is also due to his "similar to the ancients" imitation concept, "self-motivated and fickle" creation concept, and "virtual and smooth" aesthetics. Viewpoints and textual research are dictated by the above appraisal view.
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