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Wu Daozi (680-759), Han nationality, was given a name by Xuanzong. He was the largest painter in China in the Tang Dynasty, and was honored as a "painting saint" by later generations (Xuanzong of the Tang Dynasty in 847), and was honored as the founder of the mountain by folk painters. Painting history is called warrior sage. Yangzhai, Henan (now Yuzhou, Henan) was born in Tang Gaozong (about 685) and died in Tang Suzong (about 758). Little lonely, according to legend, he studied under Zhang Xu and He, but failed to do so, but switched to painting. He used to be an official of the Wei shogunate and a county commander of Yanzhou (now Yanzhou, Shandong Province). When Emperor Xuanzong of the Tang Dynasty roamed Luoyang, he heard his name, served as a doctor in the inner corner, became friends with Ning, changed his name to Daoxuan, and painted in the imperial court. During the Kaiyuan period, Xuanzong knew his name and called him into the palace to teach the children of Neigong to learn painting because he taught doctors in Neigong. Later, he taught Wang Ning, the younger brother of Xuanzong, to learn painting, and was promoted to Wang Ningyou from the fifth grade. In Taoism, people even call it "Wu Daozhen Jun" and "Wu Zhenren". Su Dongpo said in the article "Painting after Wu Daozi": "Poetry is about (Du Fu), literature is about Han Tuizhi (Han Yu), book is about Yan (Yan Zhenqing), painting is about Wu Daozi, and the changes of ancient and modern times can make the world complete!" Generations of masters have been handed down from generation to generation.

He lost his parents when he was a child and lived in poverty. In order to make a living, he learned from folk painters and sculptors. Thanks to his hard work and outstanding talent, he was already famous at the age of 20. The emperor of the Tang Dynasty called him into the palace as a court painter and renamed him Daoxuan. As a royal painter, he can't paint without the emperor's order. In this way, on the one hand, it is a constraint and restriction for an artist with a strong sense of common people, on the other hand, he gets the most generous living conditions, no longer wanders around, and can display his artistic talent. Wu Daozi is generous and likes to draw when he is drunk. Legend has it that when he painted the round lamp on the Buddha's head in murals, he used a pen instead of a ruler. When painting in longxing temple, the audience was packed. He painted quickly, like a whirlwind, in one go. Chang 'an, the capital at that time, was the cultural center of China, where many famous literati and painters gathered. Wu Daozi often stays with these people to promote each other and improve their skills.

[Edit this paragraph] Related content

In the history of ancient art in China, three artists were called "saints": one was Wang Xizhi of the Jin Dynasty (AD 265-420), who was called a book saint; One is Du Fu in the Tang Dynasty (AD 6 18-907), known as a poet saint; There is also a painting saint, Wu Daozi in the Tang Dynasty.

Wu Daozi's main activities in his life were in the years of Kaiyuan and Tianbao in the Tang Dynasty (7 13-755). Wu Daozi was born in Yangzhai (now Yuzhou City, Henan Province).

[Edit this paragraph] Artistic career

Tian Wang sent a picture of Wu Daozi's life, mainly engaged in the creation of religious murals, with rich titles and teachings, such as Liang Wudi and Long Hou. He painted the Bodhisattva himself in the murals in the North Gallery of the West Courtyard of Qianfu Temple, which is the same as Han Gan's later religious murals "A Little Prostitute writes about her chastity" and "A First-line Master". He is free to deal with God's world without being bound by religious teachings. He doesn't want to stand in the corner of the Buddhist country as a "provider" of God, but is willing to dominate the land of God as an ordinary painter. He can drag dignitaries into hell, which shows his contempt for religious theocracy. Wu Daozi's landscape paintings are also very successful. Xuanzong sent him to Sichuan to inspect Shushan and Shushui, and asked him to draw a draft and come back for painting. But when he came back from his inspection in Shu, there was not even a draft. Xuanzong blamed him, and he took his time. In the hall of Datong, he painted mountains, rocks and beaches, and wrote about the Jialing landscape, which was 300 miles across, like a storm, and won praise in one day. His "thin body" painting is the originator of later generations.

[Edit this paragraph] Personal evaluation

Wu Daozi is an all-round painter, who can do anything with figures, ghosts and gods, landscapes, pavilions, flowers and trees, birds and animals. The Tianbao period of Kaiyuan is the heyday of Wu Daozi's painting creation. At this time, in addition to a large number of scroll paintings, he left more than 300 murals in Luoyang and Chang 'an temples alone. According to the Song Huizong Evonne personally presided over the compilation of the "Painting Spectrum of Xuanhe", hundreds of years later, during the Xuanhe period of the Song Dynasty (119-1125), there were 93 scroll paintings by Wu Daozi in the court. At present, there are still 39 1 paintings, inscriptions, paintings, poems, postscript, oral paintings and overseas relics related to Wu Daozi. The recognized representative works of Wu's paintings include The Picture of the Heavenly King Sending a Son, The Volume of Eighty-seven Immortals, The Statue of Confucius, The Statue of Bodhisattva, The Statue of Ghost Bo and so on. The existing original murals include Cloud Rain, Vimalakirti Statue and Xianning in the World. At present, there are "Bogart Buddha", "Guan Gong" and "Baizi Map" in Taiwan Province Province. There are also some original imitations, such as Wu Daozi Baye Tathagata Painting (Seven Paintings), Shaolin Guanyin, Daxiong Zhenxiang, etc. There are 50 German Daozi Mo Bao and 6 Japanese Valley Maps. Although Wu Daozi created many works in his life, there are few authentic works handed down from generation to generation.

The era of Wu Daozi's activities is the era of strong national strength, economic prosperity and rapid development of culture and art in the Tang Dynasty. Luoyang and Chang 'an, both capitals in the Tang Dynasty, were national cultural centers. Painters inherit Yan and Wei Chiyi, just like the bright stars. "History of Famous Paintings in Past Dynasties" said: "In the 230 years since the prosperous Tang Dynasty, there have been many strange people, with the same eyes and ears, and the largest number." For example, Wu Daozi, Wang Wei, Zhang Qi, Li Sixun, Cao Ba, Chen Hong, Yang Tingguang, Lu Lengjia, Xiangrong, Liang Lingzan, Natalie, Yang Huizhi, Wei Wushi and Huang Fu were all great painters at that time. As a result, many famous artists and thousands of folk painters competed for each other, and the prosperity of painting became a grand view.

Under the influence of this environment, Wu Daozi grew up rapidly with outstanding talent. The appearance of Wu Daozi is a glorious page in the history of figure painting in China. He absorbed folk and foreign painting styles and established a new national style, which was called "Wu Jiaxiang" by the world. As far as figure painting is concerned, "Wuzhuang" painting shines in the painting world with a new national style. The poet Du Fu called him a painter. Wu Daozi is also honored as the "painting sage of one hundred generations". Wu Daozi was regarded as the founder of the craftsmen's guild engaged in painting and sculpture in past dynasties. This shows his position in China's painting history. He has made more than 400 Buddhist murals in Chang 'an and Luoyang temples, with different situations; Put pen to paper, start from the arm, or start from the foot, without losing proportion. Write the Buddha statue with a round lamp. The beam or bow of the building column is quite sharp and does not need a round ruler. He used the brushwork of orchid leaves or water shield to express the folds of clothes, which made him feel high, and was called "the wind in the Five Dynasties". He performed paintings in public at Xingshan Temple in Chang 'an, and Chang 'an citizens, supporters and young people flocked to watch. When they saw Wu's "straight sweep, like a whirlwind", they were all amazed and shouted with a wave of their hands.

[Edit this paragraph] Representative works

Wu Daozi's "A picture of a heavenly king sending a son" is his masterpiece, and what remains is a copy of Li, a poet of the Song Dynasty. The content of this painting describes the story that after the birth of Sakyamuni, the ancestor of Buddhism, his father Sudoku King and Mrs. Moiyev carried him (Prince Sida) to worship the Great Freedom Temple, and the gods worshipped him. The painting "A Picture of the Heavenly King Sending a Son" embodies Wu Daozi's basic painting style and breaks the hairspring line drawing that Gu Kaizhi has been following for a long time. Wu Daozi initiated the orchid painting, paying attention to ups and downs and inner spiritual strength with his pen. When he created, he was in a state of high excitement and tension, which smacked of expressionism.

It is generally believed that the stone statue of Confucius in the Confucius Temple in Qufu, Shandong Province was painted by Wu Daozi, but the original work has long been lost. The stone carvings of Confucius Temple are the treasures of Confucius Temple, and the rubbings of the stone carvings of Confucius Temple have also become the most rubbings of historical sites in Shandong Province. The overall painting style of Confucius statue completely conforms to the style of Wu Daozi. In the painting, Confucius is graceful and generous, leaning forward slightly, bowing with his hands, and being courteous. Confucius wore a Confucian scarf and looked at the present. His hair was elegant and showed the wisdom of saints. The work shows the artist's skillful techniques between the pen lifting and the pen pressing, and won the essence of "Five Dynasties prevailing". Inscription at the top of the picture: Confucius, the first teacher, teaches like a statue; Inscriptions on the upper right: Moral, Heaven and Earth, Ancient and Modern Taoist Prizes, Deleting Six Classics, and Forever Hanging the Constitution; Inscription on the lower left: Wu Daozi pen, and stamped with the seal of one party.

Restoration of Confucius' teaching image (restorer: hidden in the world) com)

[Edit this paragraph] Comments on Wu Daozi's paintings.

Comments:

Zhang Yanyuan in Tang Dynasty: Since I left my hometown, my paintings are few and it is difficult to know in detail. Just look at the traces of Wu Daozi, it can be said that there are six methods, and they do everything they can. The man of God has a prosthetic hand and is extremely poor. Therefore, the charm is magnificent and almost intolerable; The handwriting is upright, so you can go to the wall at will; Its exquisite paintings are very dense, which is a miracle. (Famous paintings of past dynasties)

Zhang Yanyuan in Tang Dynasty: Wu Daozi, unparalleled in ancient and modern times. He has never seen this land, and no one has followed him. Teaching brushwork in Zhang Xu is also called painting and calligraphy with a pen. Zhang is a famous calligrapher and Wu Yi is a painter. God is made in heaven, and the spirit is not poor. Everyone is close to hope, but I am far from painting; Everyone wants to be like an elephant, but I am free from its vulgarity. Bend the arc to straighten the blades, plant columns to form beams, and keep the straightedge straight. Xu Qiuyun Bin, a few feet flying, hairy roots out of meat, more than enough. No one knows when there is a formula. Count the pictures, either from the arms or from the feet. Huge and grotesque, connected by skin and veins, it is a monk's cave. (Famous paintings of past dynasties)

Hao Jing in the Five Dynasties: Wu Daozi's pen is higher than that of an elephant, and his back is higher. The tree doesn't talk about painting, and he hates no ink. (brushwork)

In Song Dynasty, Guo: Cao Wuer was a scholar's school. According to Zhang Yanyuan's Famous Paintings of the Tang Dynasty, Cao was a native of Cao in the Northern Qi Dynasty, and the most important painter of Brahma was Cao. Wu zhibi's pen, its potential is round and the clothes are floating. Cao Zhi's pen is thick and tight. Therefore, the younger generation called it: "Wu rides the wind and comes out of the water." ("On the Narration of Pictures")

Song Sushi: Daozi painted a figure, such as taking a photo with a lantern, drifting with the tide and looking from the side. Cross slope is straight, multiply and divide each other to get natural number. Innovative ideas are within the statute, and wonderful ideas are outside the unruly. The so-called room for manoeuvre, luck changes, and there is only one person in ancient and modern times. ("After the Painting of Wu Daozi")

Zhao Xiyu in Song Dynasty: Painting is taboo like printing. Wu Daozi avoided this ear by making clothes patterns or spending money like water shield strips. Therefore, it can be seen that Sun Taigu was not perfect when Li Bo became a professional hairspring. Li Shangshi saved the pen and Taigu went to Wu Tianyuan. ("Analysis on the Collection of Ancient Paintings by Dongtian Luqing")

Tang Yuandong: Wu Daozi's brushwork is superb, and he is a great painter from generation to generation. In the early years, the pen was poor and refined, and in the middle age, it was like water shield. People have eight sides, business activities, the fairness of Fiona Fang, the advantages and disadvantages of competition, and the conversion of points are all unsatisfactory. His Fucai was slightly dyed in the scorched ink mark, which naturally surpassed the elements and was called Wuzhuang. (Drawing Guide)

Li Ming's daily chemical products: Every time I see Liang Kairen writing Buddhist statues, they are all good and unscathed, but the trees and stones are extremely scattered. If they can't stop thinking; Because I have great respect, I must take this opportunity to help Xiong Yi. When I arrived in Wu Daozi, I painted my elbow and wrist, and the clothes were odd and vertical, which was also my intention. ("Zitaoxuan Redecoration")

Zhou Dynasty in Ming Dynasty: Wu Zhitu, like a lamp, takes a painting, goes with the flow, adds opinions, is horizontal and vertical, and the products are divided and combined, making the number of nature exactly the same, innovating on the statutes, and the so-called ingenious theory is beyond the bold and unconstrained. There is room for manoeuvre, and only one person. ("On the Painting Symbols of Heaven")

He in Ming Dynasty: The painting schools of husband and wife are different, so they are not confused. For example, there are two kinds of sketches of people's material circulation: Zhao is from Li Longmian and Li Longmian is from Gu Kaizhi. It's called iron line painting. Horses come from Wu Daozi, and this so-called orchid painting is also. ("Four Friends Zhai Painting Theory")

Xun: pleats such as Wu Sheng's blue leaf pattern, Wei Qia's trembling pen pattern, new iron thread pattern and Li's hairspring pattern are very different. (Shan Jutu)

Shen Zongqian in Qing Dynasty: Once the rules are exhausted, they will change. Once the machine meets God and finds that the pen is full of ink, it is not the right time to get it, but it will never come again. Meeting in an instant is an eternal miracle. Wu Daozi wrote hell in disguise, but also because he didn't intend to borrow General Pei's sword to touch his machine, which was almost impossible for him when he met God. (Collection of Mustard Boat Paintings)

Shen Zongqian in Qing Dynasty: Wu Daozi wanted to draw a landscape map of Jialing. What others can't do for a long time can be done in one day, which is also a quick insight into the situation. The mountain tree state is formed by the qi of heaven and earth. Ink marks the aura of the heart and wrist, and the existence of qi is also the existence of potential. Qi develops into potential, and potential restrains qi. Potential is visible but qi is invisible. If you want to get qi, you must first repair it. (Collection of Mustard Boat Paintings)