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一师法渊源极少有专门关于吴氏书法的论述,这一研究现状与吴氏在书法上取得的成就和地位显得极不相称。先祖父朱梅邨(一九一一—一九九三),作为吴氏梅景书屋大弟子,对其书法曾有专文著述,颇为详尽贴切。据此,我们可以清晰地把握住吴氏书法渊源的主要脉络：王梦楼(王文治)篆隶—董其昌—薛曜—《梁萧敷敬太妃双志》(小楷)—米芾《多景楼诗册》→怀素狂草。通过对吴氏积年有明确纪年的书迹考察,再结合上述前辈的记录,对其书法特征,可初步按以下分期：一九一六——一九二八年,董其昌风格的行书吴大澂风格的篆书；一九二七——一九三八,年薛曜风格的楷书；综合期,一九三八年起其行楷以王梦楼、薛曜为基础,明显受到叶恭绰影响,书风秀逸中平添了开阔豪迈,显得精气十足；一九四五
The origin of a division of law there is very little on the Wu calligraphy, the status quo and Wu’s achievements in the calligraphy and status is extremely disproportionate. The grandfather Zhu Mei Village (1911 - 1993), as a big disciple of Wu’s Meijing House, wrote a monograph on his calligraphy in great detail. Accordingly, we can clearly grasp the main context of the origins of Wu calligraphy: Wang Menglou (Wang Wenzhi) Zhuanli - Dong Qichang - Xue Yao - “Liang Xiao Fu King Tai Teng Shuangzhi” (lowercase) - Mi Fu “ Multi-King House poems ”→ Huai Su grass. Through the study of Wu’s calendar year with a clear record of the years, combined with the records of the predecessors mentioned above, the calligraphic characteristics of the book can be initially divided into the following stages: 1916-1928 Dong Qichang’s style of execution Wu Dalai-style seal scriptures; 1927 - 1938, the style of Xue Yao regular script; synthesis period, since 1938 its line Kai with Wang Meng Lou, Xue Yao as the foundation, obviously influenced by Ye Gongchuo , Bookstore Hideki added a bold and heroic, seemed refined; 1945