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{{Short description|Chinese artist (c.689–c.759)}}
[[Image:Confucius Tang Dynasty.jpg|thumb|right|A portrait of [[Confucius]] by Wu Daozi.]]
[[Image:Confucius Tang Dynasty.jpg|thumb|right|A portrait of [[Confucius]] by Wu Daozi.]]
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{{chinese
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|altname=Daoxuan |c2={{linktext|道|玄}} |p2= |w2=
|altname=Daoxuan |c2={{linktext|道|玄}} |p2= |w2=
}}
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'''Wu Daozi''' (c. 685–758 CE<ref name=":0" /> or 680–759 CE), also known as '''Daoxuan''' and '''Wu Tao Tzu''', was a Chinese painter of the [[Tang dynasty]]. The British art historian [[Michael Sullivan (art historian)|Michael Sullivan]] considers him one of "the masters of the seventh century,"<ref name=":0">[https://books.google.com/books?id=MZS7z17ZvIkC&pg=PA43 ''Chinese Landscape Painting: The Sui and T'ang Dynasties''. (Berkeley: University of California press, 1980]. {{ISBN|0520035585}}), pp. 50-52.</ref> Some of his works survive; many, mostly murals, have been lost.
'''Wu Daozi''' ({{Circa|685|758 CE}}<ref name=":0" /> or {{Circa|689|759 CE}}), also known as '''Daoxuan''' and '''Wu Tao Tzu''', was a Chinese painter of the [[Tang dynasty]]. The British art historian [[Michael Sullivan (art historian)|Michael Sullivan]] considers him one of "the masters of the seventh century,"<ref name=":0">[https://books.google.com/books?id=MZS7z17ZvIkC&pg=PA43 ''Chinese Landscape Painting: The Sui and T'ang Dynasties''. (Berkeley: University of California press, 1980]. {{ISBN|0520035585}}), pp. 50-52.</ref> Some of his works survive; many, mostly murals, have been lost.


Wu lost his father at an early age and lived in poverty. He learned calligraphy from Zhang Xu and He Zhizhang, before specialising in painting. He pioneered realistic techniques, the formal establishment of brushwork, and landscape painting. He painted figures with round strokes so as to show their flowing clothes.
Wu's father died when he was at an early age, and he subsequently lived in poverty. He learned calligraphy from Zhang Xu and He Zhizhang, before specialising in painting. He pioneered realistic techniques, the formal establishment of brushwork, and landscape painting. He painted figures with round strokes so as to show their flowing clothes.


== Works ==
== Works ==
⚫
[[File:Attributed to Wu Daozi. Flying Demon. Rubbing of a stone engraving in the Northern Yue Temple in Quyang, Hebei Province. 97,5 cm high..jpg|thumb|left|Flying demon]]
⚫
[[File:EB1911 China - Wu Taotzü- Sakyamuni.jpg|thumb|Black and white reproduction of a portrait of [[Sakyamuni]] (the Buddha), attributed to Wu Daozi, published in 12th edition of Encyclopædia Britannica (1911)]]


⚫
He traveled widely and created murals in [[Buddhist]] and [[Taoism|Daoist]] temples. Wu also drew mountains, rivers, flowers, birds. No authentic originals are extant, though some exist in later copies or stone carvings.<ref>James Cahill. ''An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan.'' (Berkeley: University of California Press, 1980. {{ISBN|0520035763}}), [https://books.google.com/books?id=UGNj8iCETp8C&pg=PA21 pp. 21-22].</ref> Wu's famous painting of Confucius was preserved through being copied in a stone engraving.
⚫
[[File:Wu Daozi. The Daoist Official of Earth. Jin-Yuan dynasty. 12-13 cent. MFA, Boston..jpg|thumb|Daoist deity of Earth, attributed to Wu Daozi]]

⚫
[[File:Attributed to Wu Daozi. Flying Demon. Rubbing of a stone engraving in the Northern Yue Temple in Quyang, Hebei Province. 97,5 cm high..jpg|thumb|Flying demon]]

⚫
[[File:Wu Daozi. The Daoist Official of Heaven. Jin-Yuan dynasty. 12-13 cent. MFA, Boston..jpg|thumb|Daoist deity of Heaven]]

⚫
He traveled widely and created murals in [[Buddhist]] and [[Taoism|Daoist]] temples. Wu also drew mountains, rivers, flowers, birds. No authentic originals are extant, though some exist in later copies or stone carvings.<ref>James Cahill. ''An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan.'' (Berkeley: University of California Press, 1980. {{ISBN|0520035763}}), [https://books.google.com/books?id=UGNj8iCETp8C&pg=PA21 pp. 21-22].</ref> Wu's famous painting of Confucius was preserved by having been copied in a stone engraving.


== Legends==
== Legends==
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In one, Emperor Xuanzong called him to paint a wall of his palace. He painted a wall mural displaying a rich nature-scene set in a valley, containing a stunning array of flora and fauna and including a cave at the foot of a mountain. The story goes that he informed the emperor that it's not just what the emperor is able to see, Wu Daozi has made this painting in such a way, that a spirit dwells in the cave. Next, he clapped his hands and entered the cave, inviting the emperor to follow. The painter entered the cave but the entrance closed behind him and, before the astonished emperor could move or utter a word, the painting vanished from the wall. This story depicts the spirituality of art.<ref>A version of this story appears in Herbert Allen Giles. ''An Introduction to the History of Chinese Pictorial Art.'' (London: Quaritch, 2d ed., 1918), [https://books.google.com/books?id=fe4oAAAAYAAJ&pg=PA47 pp. 47-48.]</ref> The contemporary Swedish writer [[Sven Lindqvist]] meditates on this legend and the challenge that it poses to modern aesthetics in his book, ''The Myth of Wu Tao-Tzu.''<ref>Sven Lindqvist, translated by Joan Tate. ''The Myth of Wu Tao-Tzu.'' (1967; rpr. London: Granta, 2012. {{ISBN|9781847085221}}).</ref>
In one, Emperor Xuanzong called him to paint a wall of his palace. He painted a wall mural displaying a rich nature-scene set in a valley, containing a stunning array of flora and fauna and including a cave at the foot of a mountain. The story goes that he informed the emperor that it's not just what the emperor is able to see, Wu Daozi has made this painting in such a way, that a spirit dwells in the cave. Next, he clapped his hands and entered the cave, inviting the emperor to follow. The painter entered the cave but the entrance closed behind him and, before the astonished emperor could move or utter a word, the painting vanished from the wall. This story depicts the spirituality of art.<ref>A version of this story appears in Herbert Allen Giles. ''An Introduction to the History of Chinese Pictorial Art.'' (London: Quaritch, 2d ed., 1918), [https://books.google.com/books?id=fe4oAAAAYAAJ&pg=PA47 pp. 47-48.]</ref> The contemporary Swedish writer [[Sven Lindqvist]] meditates on this legend and the challenge that it poses to modern aesthetics in his book, ''The Myth of Wu Tao-Tzu.''<ref>Sven Lindqvist, translated by Joan Tate. ''The Myth of Wu Tao-Tzu.'' (1967; rpr. London: Granta, 2012. {{ISBN|9781847085221}}).</ref>


⚫
Another legend states that Emperor Xuanzong sent Wu Daozi to [[Sichuan]] to study the green waters of the [[Jialing River]] in order to complete a mural of its entire course.<ref name=what>{{citation |title=《中国文化历史故事》 ''[''Zhongguo Wenhua Gushi Congshu'']'' |pages=232–3 }}. {{in lang|en}}</ref> Supposedly, Wu returned without sketches and rapidly painted the entire river from memory, completing the 300-[[li (unit)|li]] account<ref name=what/> within a single day.<ref>{{citation |editor-last=Strassberg |editor-first=Richard E. |title=Inscribed Landscapes: Travel Writing from Imperial China |url=http://publishing.cdlib.org/ucpressebooks/view?docId=ft2m3nb15s;chunk.id=0;doc.view=print |page=35 }}.</ref> It is sometimes added that his technique was foiled by [[Li Sixun]], who accompanied him and followed the traditional practice of working slowly from numerous prepared sketches.<ref>{{citation |last=Van Briessen |first=Fritz |title=The Way of the Brush: Painting Techniques of China and Japan |page=52 |date=1964 }}.</ref> To the extent that it is grounded in a real event, however, it probably only reflects Wu's speed of execution and not a lack of reliance on sketches.<ref>{{citation |last=Kao |first=Yu-kung |author-mask=Kao Yu-kung |editor=Alfreda Murck |editor2=Wen Fong |display-editors=0 |title=Words and Images: Chinese Poetry, Calligraphy, and Painting |contribution=Chinese Lyric Aesthetics |pages=[https://books.google.com/books?id=wJFbPBjj6ucC&pg=PA84 84–5]}}.</ref>
⚫
{{wide image|EightySevenCelestials3.jpg|2000px|''Eighty seven celestial people'', Wu Daozi.|70%}}

⚫
Another legend states that Emperor Xuanzong sent Wu Daozi to [[Sichuan]] to study the green waters of the [[Jialing River]] in order to complete a mural of its entire course.<ref name=what>{{citation |title=《中国文化历史故事》 ''[''Zhongguo Wenhua Gushi Congshu'']'' |page=232–3 }}. {{in lang|en}}</ref> Supposedly, Wu returned without sketches and rapidly painted the entire river from memory, completing the 300-[[li (unit)|li]] account<ref name=what/> within a single day.<ref>{{citation |editor-last=Strassberg |editor-first=Richard E. |title=Inscribed Landscapes: Travel Writing from Imperial China |url=http://publishing.cdlib.org/ucpressebooks/view?docId=ft2m3nb15s;chunk.id=0;doc.view=print |page=35 }}.</ref> It is sometimes added that his technique was foiled by [[Li Sixun]], who accompanied him and followed the traditional practice of working slowly from numerous prepared sketches.<ref>{{citation |last=Van Briessen |first=Fritz |title=The Way of the Brush: Painting Techniques of China and Japan |page=52 |date=1964 }}.</ref> To the extent that it is grounded in a real event, however, it probably only reflects Wu's speed of execution and not a lack of reliance on sketches.<ref>{{citation |last=Kao |first=Yu-kung |author-mask=Kao Yu-kung |editor=Alfreda Murck |editor2=Wen Fong |display-editors=0 |title=Words and Images: Chinese Poetry, Calligraphy, and Painting |contribution=Chinese Lyric Aesthetics |pages=[https://books.google.com/books?id=wJFbPBjj6ucC&pg=PA84 84–5]}}.</ref>


Another has it that a painter found one of the last surviving murals of Wu Daozi and learned to imitate the style. He then destroyed the wall, possibly by pushing it into a river, to ensure that no one else could learn the same secrets.
Another has it that a painter found one of the last surviving murals of Wu Daozi and learned to imitate the style. He then destroyed the wall, possibly by pushing it into a river, to ensure that no one else could learn the same secrets.
{{clear}}
⚫
{{wide image|File:八十七神仙卷.png|dir=rtl|2500px|''Eighty seven celestial people'', possibly Wu Daozi.}}
{{Wide image|
File:送子天王图.jpg|2500px|''Born of Gautama Buddha'', Wu Daozi.|dir=rtl}}


==Legacy==
==Legacy==

''The Presentation of Buddha'' was featured in recent television presentations in China.<ref>{{Cite web|url=http://www.cnhubei.com/200503/ca758899.htm|title=画圣——吴道子}}</ref><ref>http://www.cctv.com/art/20040412/101225.shtml</ref>
''The Presentation of Buddha'' was featured in 2004-5 television presentations in China.<ref>{{Cite web|url=http://www.cnhubei.com/404/|title=感谢您的浏览！-荆楚网|website=www.cnhubei.com}}</ref><ref>{{Cite web|url=http://www.cctv.com/art/20040412/101225.shtml|title=CCTV.com-书画频道|website=www.cctv.com}}</ref>

<gallery mode="nolines" heights="350px" widths="200px">
⚫
File:EB1911 China - Wu Taotzü- Sakyamuni.jpg|Black and white reproduction of a portrait of [[Sakyamuni]] (the Buddha), attributed to Wu Daozi, published in 12th edition of Encyclopædia Britannica (1911)
⚫
File:Wu Daozi. The Daoist Official of Earth. Jin-Yuan dynasty. 12-13 cent. MFA, Boston..jpg|Daoist deity of Earth, attributed to Wu Daozi
⚫
File:Wu Daozi. The Daoist Official of Heaven. Jin-Yuan dynasty. 12-13 cent. MFA, Boston..jpg|Daoist deity of Heaven
</gallery>


==See also==
==See also==

* [[Chinese mythology]]
* [[Chinese mythology]]
* [[Zhou Fang (Tang dynasty)|Zhou Fang]], contemporary Tang dynasty painter
* [[Zhou Fang (Tang dynasty)|Zhou Fang]], contemporary Tang dynasty painter


==References==
==References==
⚫
{{Reflist|30em}}

{{commons category|Wu Tao-Tzu}}
{{commons category|Wu Tao-Tzu}}
{{wikiquote}}
{{wikiquote}}

⚫
{{reflist|30em}}


{{authority control}}
{{authority control}}


{{DEFAULTSORT:Wu, Daozi}}
{{DEFAULTSORT:Wu, Daozi}}
⚫
[[Category:680s births]]


⚫
[[Category:680 births]]
[[Category:760 deaths]]
[[Category:760 deaths]]
[[Category:7th-century Chinese painters]]
[[Category:7th-century Chinese painters]]

Latest revision as of 02:07, 4 December 2024

A portrait of Confucius by Wu Daozi.
Wu Daozi
Traditional Chinese吳道子
Simplified Chinese吴道子
Transcriptions
Standard Mandarin
Hanyu PinyinWú Dàozǐ
Wade–GilesWu Tao-tzu
Daoxuan
Chinese道玄
Transcriptions

Wu Daozi (c. 685 – c. 758 CE[1] or c. 689 – c. 759 CE), also known as Daoxuan and Wu Tao Tzu, was a Chinese painter of the Tang dynasty. The British art historian Michael Sullivan considers him one of "the masters of the seventh century,"[1] Some of his works survive; many, mostly murals, have been lost.

Wu's father died when he was at an early age, and he subsequently lived in poverty. He learned calligraphy from Zhang Xu and He Zhizhang, before specialising in painting. He pioneered realistic techniques, the formal establishment of brushwork, and landscape painting. He painted figures with round strokes so as to show their flowing clothes.

Works

[edit]
Flying demon

He traveled widely and created murals in Buddhist and Daoist temples. Wu also drew mountains, rivers, flowers, birds. No authentic originals are extant, though some exist in later copies or stone carvings.[2] Wu's famous painting of Confucius was preserved through being copied in a stone engraving.

Legends

[edit]

Numerous legends gathered around Wu Daozi, often concerning commissions by Emperor Xuanzong.

In one, Emperor Xuanzong called him to paint a wall of his palace. He painted a wall mural displaying a rich nature-scene set in a valley, containing a stunning array of flora and fauna and including a cave at the foot of a mountain. The story goes that he informed the emperor that it's not just what the emperor is able to see, Wu Daozi has made this painting in such a way, that a spirit dwells in the cave. Next, he clapped his hands and entered the cave, inviting the emperor to follow. The painter entered the cave but the entrance closed behind him and, before the astonished emperor could move or utter a word, the painting vanished from the wall. This story depicts the spirituality of art.[3] The contemporary Swedish writer Sven Lindqvist meditates on this legend and the challenge that it poses to modern aesthetics in his book, The Myth of Wu Tao-Tzu.[4]

Another legend states that Emperor Xuanzong sent Wu Daozi to Sichuan to study the green waters of the Jialing River in order to complete a mural of its entire course.[5] Supposedly, Wu returned without sketches and rapidly painted the entire river from memory, completing the 300-li account[5] within a single day.[6] It is sometimes added that his technique was foiled by Li Sixun, who accompanied him and followed the traditional practice of working slowly from numerous prepared sketches.[7] To the extent that it is grounded in a real event, however, it probably only reflects Wu's speed of execution and not a lack of reliance on sketches.[8]

Another has it that a painter found one of the last surviving murals of Wu Daozi and learned to imitate the style. He then destroyed the wall, possibly by pushing it into a river, to ensure that no one else could learn the same secrets.

Eighty seven celestial people, possibly Wu Daozi.
Born of Gautama Buddha, Wu Daozi.

Legacy

[edit]

The Presentation of Buddha was featured in 2004-5 television presentations in China.[9][10]

  • Black and white reproduction of a portrait of Sakyamuni (the Buddha), attributed to Wu Daozi, published in 12th edition of Encyclopædia Britannica (1911)
    Black and white reproduction of a portrait of Sakyamuni (the Buddha), attributed to Wu Daozi, published in 12th edition of Encyclopædia Britannica (1911)
  • Daoist deity of Earth, attributed to Wu Daozi
    Daoist deity of Earth, attributed to Wu Daozi
  • Daoist deity of Heaven
    Daoist deity of Heaven

See also

[edit]

References

[edit]
Wikimedia Commons has media related to Wu Tao-Tzu.
Wikiquote has quotations related to Wu Daozi.
  1. ^ a b Chinese Landscape Painting: The Sui and T'ang Dynasties. (Berkeley: University of California press, 1980. ISBN 0520035585), pp. 50-52.
  2. ^ James Cahill. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. (Berkeley: University of California Press, 1980. ISBN 0520035763), pp. 21-22.
  3. ^ A version of this story appears in Herbert Allen Giles. An Introduction to the History of Chinese Pictorial Art. (London: Quaritch, 2d ed., 1918), pp. 47-48.
  4. ^ Sven Lindqvist, translated by Joan Tate. The Myth of Wu Tao-Tzu. (1967; rpr. London: Granta, 2012. ISBN 9781847085221).
  5. ^ a b 《中国文化历史故事》 [Zhongguo Wenhua Gushi Congshu], pp. 232–3. (in English)
  6. ^ Strassberg, Richard E. (ed.), Inscribed Landscapes: Travel Writing from Imperial China, p. 35.
  7. ^ Van Briessen, Fritz (1964), The Way of the Brush: Painting Techniques of China and Japan, p. 52.
  8. ^ Kao Yu-kung, "Chinese Lyric Aesthetics", Words and Images: Chinese Poetry, Calligraphy, and Painting, pp. 84–5.
  9. ^ "感谢您的浏览！-荆楚网". www.cnhubei.com.
  10. ^ "CCTV.com-书画频道". www.cctv.com.
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