1) Wu Changshi
吴昌时
1.
It is pointed that the main thread of the whole poem is Zhu-Ting-Hu Villa,which provides new explanation on evaluation of Wu Changshi in Yuan Hu Qu.
同时指出全诗的主线为竹亭湖墅,对《鸳湖曲》一诗有关吴昌时的评价提出了新的见解。
2) Wu Changshuo
吴昌硕
1.
A Study of Wu Changshuo and Huang Binghong s Outlook of "Calligraphy and Painting Developing from the Same Origin";
吴昌硕及黄宾虹书画同源观研究
2.
Wu Changshuo and the Idea Transformation of Shanghai Painting School;
吴昌硕与海上画派的观念转型
3) Wu Changling
吴昌龄
1.
Wu Changling:the Right Author of the Drama A Journey to the West;
《西游记》杂剧作者应归吴昌龄
4) Wu Shichang
吴世昌
1.
Reflections on Wu Shichang s Poems;
风月繁华记盛时,欲将宝鉴警顽痴——读吴世昌诗词有感
2.
A Noble Charater on the Top of the Pinnacle——On Mr.Wu Shichang’s Academic Thoughts,Methds and its Significance;
掷与江潮万古鸣——试论吴世昌先生的学术思想、方法和意义
3.
Prejudice and Inflexibility——On Re-evaluation of Historical Figures—Comment on HAN Yu by WU Shichang
偏见与执著——吴世昌评韩愈读后
5) WU Chang-shuo
吴昌硕
1.
The Discussion of "Endow Old With New" of WU Chang-shuo s Innovation Theory of Painting;
论吴昌硕“与古为新”的绘画创新思想
2.
A Research on Ren Bo-nian and Wu Chang-shuo s Artistic Form Language;
对任伯年、吴昌硕绘画形式语言的比较研究
6) Wuchangshuo
吴昌硕
1.
After many years of efforts, he succeeded in engraving his “Stone Drum Characters”, the characters of which are unparalleled in history and which has become the important feature of Wuchangshuo’s art sy.
吴昌硕是一位诗书画印全能型的艺术大师,尤以篆书最为“名世绝品”。
2.
Shanghai in the period of modern is under the culture boundary of tradition and modern, east and west of the, in earlier period's drawing of Shanghai the painting thought is the request which passively caters to market, but WuChangshuo's painting thought is a active culture choice ,which contact painting and conserving the Chinese excellent traditional culture together.
中国近现代时期的上海处于传统与现代、东方与西方的文化交界中，早期的上海画坛在绘画思想上是被动地迎合市场的要求，而吴昌硕的绘画思想则是主动的文化抉择，将绘画与保存中国优秀的传统文化联系在一起。
3.
The artistic entitled WuChangShuo s Creative Painting Art, based on the research achievements of predecessors, applied numerous historical documents, calligraphy and painting works and reviews .
作为海上画派的后期代表人物吴昌硕更是独具匠心，他的绘画开创了传统文人画的新境界。
补充资料：吴昌顺(1883～1957)
绍剧演员,工老生。浙江绍兴人。原为坐唱"堂茗"，唱绍兴大班（即绍剧）兼宣卷（带宗教色彩的"花名宝卷"）。在老生的"堂喉"中,略带小生的"子喉",并于转腔时用旦脚的嗓音，因此韵味很浓；在"海底翻"（由低音翻高）的唱法上，也有新的创造。初受前辈梁幼侬影响，后自成一派。从"堂茗"而登台，一直为业余演员，32岁始正式演戏。曾从梁幼侬、筱凤彩和林芳锦等老生名角执弟子礼，不久即一跃而居绍剧"四大老生"之冠。擅演剧目有《渔樵会》、《宝莲灯》、《阳河摘印》和《斩经堂》等。20世纪40年代后期，加入同兴绍剧团。生前灌制唱片甚多，其唱腔对越剧老生魏梅照、张桂凤等人影响较大。中华人民共和国成立后，培养了许多青年演员，并口述传授传统剧目数十本。学生彭运生(艺名"筱昌顺")、王振芳(艺名"十三龄童")等均负盛名。撰有《绍剧传统唱腔》一书行世。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条