Wu Junqing’s five-character poetry scroll

[Wu Junqing’s Five-character Running Script Poetry Axis]

The Running Script Poetry Axis, Qing Dynasty, Wu Changshuo’s book, paper version, 130.2 cm vertically and 40.8 cm horizontally
Interpretation:
Whether there is wind, fragrance or not, flower, shadow or Buddha. After all the calamities, the dragons and the phoenix are separated from each other. Shi Zhen forced the column, and Shi Naibuqi Gu. The mountain is free and the swallow is taken away, and the song is crazy for me. Puning Temple peony. Ding Mao Liangqiu was recorded in the Pisi Hall. Wu Changshuo is eighty-four years old
This book contains a five-character poem, and the last author knows that: “The peony of Puning Temple Ding Mao Liang was recorded in the Pisi Hall in autumn, and Wu Changshuo was eighty-four years old.” The next seal is “Cangshuo”. No hidden seal. “Dingmao” was in 1927. Puning Temple is located in Puning Village, Dongtang, Renhe Town, Yuhang District, Hangzhou City. It was built in the reign of Emperor Qianshi, King of Wu and Yue during the reign of Tianfu in the late Jin Dynasty (936-944). Puning Temple has been destroyed and prospered repeatedly. The 16th year of the Wanli period of the Ming Dynasty (1588) is the last reconstruction. In the temple, the original “Jade Tower Spring” peony 18 piers, which are said to be planted by Yu Qian, filled the courtyard with flowers in the Qing Dynasty. Today, there are six large books with large flowers with purple in white. According to records, the peony in Puning Temple is one of the twenty-four scenic spots in Tangxi, and is known as the most beautiful among the flowers
The calligraphy of this scroll is ancient and vigorous, and it makes a new look beyond the law. The brush is sometimes thick and heavy, sometimes natural and elegant. The starting and horizontal strokes are more solid, and the left strokes are more thin and long, just like the method of plum painting. The knot characters are mostly on the side, but the shape is stable with the thickness of the strokes, and there is no tendency to topple, which fully reflects the calligraphy characteristics of Wu’s calligraphy, such as “strong strokes, deep breath” and “taking positions from the top to the bottom, left to right”, and from which we can see the characteristics of many paintings, which are unique in appearance.