Chinese seal carver, painter, and calligrapher who was prominent in the early 20th century.

Wu was born into a scholarly family and began writing poems and carving seals by age 10. As a young man, Wu passed the civil service examinations and started a family, while still pursuing art and poetry during his free time.

Wu devoted much of his life to studying seal engraving and wrote several important manuals on the subject. He learned seal carving from the Zhe and Anhui schools and was influenced by the stone carving of the Qin and Han periods. His unique approach to art, later known as the “Wu style,” was derived from traditional calligraphic techniques and combined refined artistry with generous forcefulness. Wu often provided these works with poetic side inscriptions.

Wu began practicing calligraphy in the regular script (kaishu) of the Tang dynasty, then the official script of the Han. Later, he specialized in writing the greater seal script, known as the shigu, in a powerful manner.

Wu did not start to learn painting until age 30, when he was encouraged by Ren Bonian to transfer his calligraphic brushstrokes into painting. From Zhao Zhiqian, the foremost master of the Jinshi school of painting, Wu learned to apply the style of epigraphy (antique inscriptions in metal and stone) to painting. Combining bright colours and sharp contrasts with bold and simple brushstrokes, he created an explicit and direct form of expression that made traditional literati (wenrenhua)-style paintings seem fresh and appropriate to the 20th century. He became especially well known for his bird-and-flower paintings.

In 1882 Wu took his family to live in Suzhou, where he studied poetry and calligraphy under Yang Xian, a great calligrapher and scholar. The following year he befriended Ren, who five years later painted the Portrait of a Down-and-out Man for Wu, showing his sympathy towards Wu's plight as a low-ranking government official with a meagre salary. In 1899 Wu was given the post of county magistrate of Andong, Jiangsu province, but he resigned one month later when he chose to make his living selling his art.

In his mid-sixties, Wu met Wang Yiting, an influential leader in the political, charitable, and art circles of Shanghai. In 1909, together with Wang and other friends, Wu helped set up the first charitable art association, Yuyuan Shuhu Shanhui (“Yu Yuan Calligraphy and Painting Charity”). In 1913, Wu, financially supported by Wang, settled in Shanghai, where the Shanghai school of painting was flourishing. Wu energetically took part in many local art associations during this period.

Due to his talent and to Wang's high recommendation, Wu's art was respected and broadly collected by the Japanese. Artists and collectors frequently came to Shanghai to meet with him, and prominent galleries and publishing houses in Japan strove to publish and exhibit his works.