Wu Daozi is fond of exaggeration, rigid and soft, and has a long charm.
brush strokes, such as whirlwind, clothing lines floating, concave and convex layers;
The potential is rising and becoming infinite. Du Gongbu, praise the painter.
Xingshan Temple, performing, with thousands of people watching;
when you look at Wu's paintings, people are amazed, and the pen is full of wind.
masterpiece, send a picture, Buddha born, * * * blessing;
people's clothes are based on Chinese, and they are taken from abroad and enriched by themselves.
in the year of the sky, I was sent to Sichuan to observe the water and inspect the mountains of Shu;
leave a draft in your heart, hide it in your chest, and show your magical powers in Datong Hall.
ink painting, dripping fine, like a rainstorm, like a sudden wind;
the Jialing river is clear with clear waves and mountains and peaks.
The grotesque rocks stand, the beaches are vertical and horizontal, and it takes 3 miles to build in one day;
ink-sparse style, new painting species, great painter, one generation of Sect.
Wu Daozi was born in Yang Zhai, Henan Province (now Yucheng, Henan Province). He was born in Tang Gaozong Dynasty (about 685 years) and died in Suzong Dynasty (about 758 years). Little lonely, according to legend, he studied in Zhang Xu and He Zhizhang, but failed, but changed to painting. He used to be an official in Wei Sili's curtain, and was a county commandant in Yanzhou Xiaqiu (now Yanzhou, Shandong). When roaming Luoyang, Xuanzong heard his name, served as a doctor officer in Neijiao, and became a friend of Ning Wangfu, renamed Daoxuan, and painted in the court. The era of Wu Daozi's activities is the era when the Tang Dynasty witnessed a strong national power, a complicated economy and a rapid development of culture and art.. Luoyang and Chang 'an, the two eastern and western capitals in the Tang Dynasty, were the national cultural centers. Painters inherit from Yan Liben and Wei Chiyi, like stars. "Records of Famous Paintings of Past Dynasties" said: "In the 23 years since the Holy Tang Dynasty, there have been many marvelous artists, whose eyes and ears are connected, and who are the most numerous." For example, Wu Daozi, Wang Wei, Zhang Qi, Li Sixun, Cao Ba, Chen Hong, Yang Tingguang, Lu Lengcangue, Xiang Rong, Liang Lingzan, Zhang Xuan, Yang Huizhi, Wei Wushuang, Huang Fu and others were all great painters at that time. So many famous artists and thousands of folk painters, competing for strength and winning, gathered together, showed their magical powers, and the prosperity of painting became a grand view.
under the influence of this environment, Wu Daozi has grown 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 is called "Wu Jiaxiang" by the world. As far as figure painting is concerned, "Wu Zhuang" painting shines on the painting world with a new national style. Du Fu, a poet, called him a painter. Su Dongpo in the Song Dynasty said: "Poetry went to Du Zimei, literature went to Korea to retreat (the more), books went to Yan Lugong (Zhenqing), and paintings went to Wu Daozi, but the changes of ancient and modern times have finished the world." Wu Daozi was also honored as a "painting saint of one hundred generations". Wu Daozi was regarded as the founder in 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 4 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 scale. Write the Buddha statue with a round light, the beam of the building column or the bow is quite sharp, and you don't need a round ruler. He used the brushwork like orchid leaves or water shield to express the pleats of clothes, which had the tendency of fluttering, and was called "Wu Dai Dangfeng". He performed and painted in public at Xingshan Temple in Chang 'an, and Chang 'an citizens, supporters and young people flocked to watch. When they saw Wu's "pen-standing and sweeping, the situation was like a whirlwind", they were all amazed and shouted when they waved.
Wu Daozi's picture of a heavenly king sending a son is his masterpiece, and what remains is a copy of Li Gonglin, a Song Dynasty poet. The content of this painting is to describe the story that after the birth of Sakyamuni, the ancestor of Buddhism, his father, King Sudoku and Mrs. Moyev, carried him (Prince Sida) to worship the Great Freedom Temple and the gods worshipped him.
The picture of the heavenly king sending his son
The picture of the heavenly king (copied by later generations)
In the picture, King Sudoku and Mrs. Moyev are common figures of the aristocratic class in Chinese national paintings. The face structure of the military commander is completely consistent with the spirit of the warrior figures in the Tang Dynasty. The tattoo is depicted by sharp orchid leaves, and the handwriting is magnificent and aboveboard, which fully shows the characteristics of "Wu Jiaxiang".
throughout his life, Wu Daozi was mainly engaged in the creation of religious murals, with rich inscriptions and teachings, such as Liang Wudi and Longhou. He painted the Bodhisattva as himself in the murals of 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 Her virginity" and "A Master in a Line". He is free to process the world of God without being bound by religious teachings. He is not willing 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 that he is contemptuous of 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 to paint. But he came back from an investigation in Shu, and there was not even a draft. Xuanzong blamed it, and he took his time. On the Datong Hall, he painted mountains and rivers, rocks and beaches, and wrote like a storm, Jialing landscape, which was 3 miles across, and won praise in one day. His "thin body" painting method is the ancestor of future generations.
I. Wu Daozi's time and life
Wu Daozi is one of the most famous painters in ancient times. He has been regarded as a "painting saint" and the "founder" of folk painters for a thousand years, and is well known to the general public.
The era when Wu Daozi came into being was the heyday of feudal society. Since Emperor Taizong and Wu Zetian, the society in the Tang Dynasty has been developing upward day by day. It is an era full of confidence, hope and enthusiasm, and it is also an era that deeply contains contradictions and conflicts. At this time, Buddhism and Buddhist art were completely China-like, developed widely and had close ties with the people. At the same time, the art of painting and sculpture itself has developed to a mature stage, and both realistic techniques and absorbing life images have reached a fairly high level. It can be seen that the prosperous Tang Dynasty had the conditions for the emergence of great artists, and Wu Daozi was one of the many outstanding artists that emerged in this period, and became a great representative in art in this historical era. The Longmen Fengxian Temple in Luoyang, built in the era of Wu Zetian, and the Da 'ai Temple (75-79 A.D.) built in Luoyang by Li Zhe, the emperor of Zhong Zong, concentrated the famous painters (He Changshou, Liu Hangchen, Dou Hongguo, etc.) at that time. These large-scale activities were the prelude to the emergence of Wu Daozi and his school of painting.
The date of Wu Daozi's birth and death is not available, but we can know that the main period of his life was in Kaiyuan and Tianbao years (713-755). He is a native of Yang Zhai (now Yuxian County, Henan Province). He lost his parents when he was young and lived in poverty. He went to Luoyang to study calligraphy with Zhang Xu and He Zhizhang, famous calligraphers who were good at putting cursive script vertically at that time. Wu Daozi made no remarkable achievements in calligraphy, but changed to painting. Before he was twenty, he showed his genius. He served as a county commandant in Xianqiu, Yanzhou (now Ziyang County, Shandong Province), and once served as a humble official under the curtain of Xiaoyao Gong Wei Sili. His reputation for being good at painting was later known to Li Longji, Emperor Xuanzong of the Tang Dynasty. He was called into the court, awarded the position of "Doctor of Internal Education" and renamed it "Daoxuan", and at the same time he was forbidden to paint privately. He later served as "Ning Wang You" (Ning Wang is Li Longji's eldest brother, and the official position of "You" is to accompany him and help him in life, which is an idle and lofty position, often held by talented people). Wu Daozi's painting was developed from Zhang Sengyou, but it surpassed Zhang Sengyou in reflecting real life in a variety of ways: "When its metamorphosis is comparable to nature, the monk can't reach it."
Second, Wu Daozi's works
Wu Daozi has a large number of works. It is said that he painted more than 3 murals with Buddhist and Taoist themes in his life. His works were rare in the early years of the Northern Song Dynasty. At the end of the Northern Song Dynasty, the book "Xuan He Hua Pu" recorded 92 paintings of Buddhas, Bodhisattvas, Heavenly Kings and Taoist gods in the royal collection. But now we know that the religious paintings he made before his death were not only immortal Buddha statues, but also many large-scale compositions, including various disguised forms that played a high degree of imagination. It is said that the various immortal Buddha images in his works are also ever-changing and have been created in various ways.
At present, Wu Daozi's works, such as Born of Gautama Buddha Volume, Ghost Bo, Confucius statue and Guanyin Bodhisattva statue of Beiyue Temple in Quyang, are worth studying. Whether Born of Gautama Buddha Volume (a copy of the Song Dynasty) originated in Wu Daozi is still a lack of proof, but it is an excellent ancient work. The last paragraph of the scroll is based on the story of King suddhodana carrying the newborn Sakyamuni to the temple in Ruiying Benqijing, for which the gods hurriedly prostrated themselves. King suddhodana holds the baby, and with a cautious action, fully reveals the reverence of the holder; At the same time, the mighty god who knelt down to the ground was not simply bowing down, but a look of panic and fear, an expression of complete spiritual surrender. These two actions of King Sudoku and God with sufficient psychological basis set off the extraordinary and supreme majesty of the baby who is still in its infancy and can't see any direct signs on the screen. This kind of performance is to clarify the theme through the relationship between the expression and the heart of the characters, so it has innovative significance in the development of painting art skills (Figure 24).
The image of the ghost uncle in Beiyue Temple in Quyang is very strong and powerful. It is a mural painted by Liu Borong, the secretariat of Puzhou in the Tang Dynasty. The statue of Confucius in Qufu was carved stone in the second year of Shaosheng in Song Dynasty. Guanyin's stone carvings are very common in all parts of the country. These works, whether it is the exaggerated and excited expression of Ghost Bo, the composition of Confucius' group portraits and Guanyin's posture, obviously have the style of the Tang Dynasty, and the lines used in these works are all so-called "green strips"-which is recognized as Wu Daozi's specialty in past dynasties.
Today, it is impossible to directly see Wu Daozi's works, and it is not certain that those ancient paintings are closely related to Wu Daozi. We mainly discuss Wu Daozi's artistic achievements from written records.
iii. Wu Daozi's contribution
According to the written records of past dynasties, Wu Daozi has the following artistic characteristics.
1. Great creative enthusiasm-Wu Daozi has painted more than 3 murals in his life, and 92 scroll paintings have been recorded in The Picture Book of Xuanhe, which shows that the number of his works in his life is very large, which shows Wu Daozi's extraordinary energetic and extraordinary creative enthusiasm.
second, the true description-there is a Vimo change painted by Wu Daozi in the Bodaiji Buddhist Temple in Chang 'an, in which Todoroki depicts the effect of turning to look at people. The furnace-holding goddess painted by Zhao Jinggong Temple has a touching expression. All this shows that Wu Daozi's religious paintings are very realistic in life. Moreover, it is recorded that the bodhisattva he painted in the West Tower of Qianfu Temple in Chang 'an painted his own appearance. This shows that his artistic creation has a life foundation.
Third, bold imagination-Wu Daozi's paintings have a large number of disguised forms and many changes, such as pure land change, hell change, demonization change, Vimo change, etc., with various situations and atmospheres. The characters in disguise are said to be "strange and strange, and there is no one with them." Wu Daozi not only depicts different scenes, but also creates rich and powerful characters, which are known as "strange traces and different shapes", and the characters he painted are described as "flying with a beard and a few feet". Hair roots give birth to flesh, and strength is more than enough. "Giant and grotesque, skin and veins are connected" is an exciting and powerful image.
The most famous of Wu Daozi's disguised pictures is the disguised form of hell. The disguise of hell was originally created by Zhang Xiaoshi, and Wu Daozi used the same theme to create his own. His hell is disguised as "there is no sword forest, prison house, bull's head, horse face, green ghost and red man in the picture, and there is still a kind of yin qi coming, which makes the viewer shudder." The picture does not describe anything horrible, but it has a strong appeal and makes people feel emotionally shaken. It is said that the hell he painted in Chang 'an Jinggong Temple was disguised as "angry and angry", so butchers and fishermen changed their careers for it, fearing that they would be punished in hell in the future for killing their lives. Although we don't know this disguised picture of hell, we can know from these descriptions and accounts that it has shocking power and exerted great imagination.
Wu Daozi's hell is a propaganda of Buddhism in disguise, but it shows the scene of "or mixed with gold". This is not to admit that high-ranking officials in real life have the right to do bad things, but to think that they are also guilty of doing bad things, and they should be punished like anyone else before the final moral judgment.
Fourth, he is familiar with the knowledge of silent painting and anatomy-most of Wu Daozi waved his hand at the wall when he was excited. He is skilled in technology and vivid in modeling. People think that he must have a "formula", that is, there is a fixed method, but no one knows how it is, that is, no one knows why he can freely sway it like that. For example, he can draw a big portrait of Zhang Yu from his arms or feet, and all of them can create a very expressive image, which shows his superb ability of silent painting and his familiarity with human anatomy. It is said that Wu Daozi did not use tools to draw straight lines and curves, and "bent the arc with a sharp edge, planted columns and constructed beams, and did not fake a straight ruler", which was completely empty-handed. It is also recorded that when he made a Buddha statue and finally painted a round light, he "turned his back to muddy ink and made it in one stroke" and "set his pen and swept it, and the situation whirled", which caused the audience to shout and even shocked several streets.
five, technical characteristics-there are three main characteristics of Wu Daozi's pen and ink techniques. His description of objects is not very artistic. The so-called "all people are close to the horizon, but I am away from painting." Everyone is willing to be like an elephant, and I will fall off its vulgarity. " The colors of his works are not very gorgeous, so-called "shallow and faint" and "simple and light powder", but they are called "Wu Zhuang", and there are even "white paintings" (the hell of Jinggong Temple is disguised). In his early years, he painted fine lines, but later the lines he used were "strips of vegetables", which can show the trend of "high side and deep inclination, curling and floating". It is a three-dimensional line with the purpose of showing the subtle perspective changes of the object, such as high, side, deep and oblique. This kind of line can show the three-dimensional modeling of objective things more keenly than the iron line drawing (which Gu Kaizhi and others are good at), and it is closer to the cursive script in calligraphy.
Sixth, the expression of the exciting rhythm of lines-The lines used by Wu Daozi to form images have always attracted the special attention of critics because of their sense of movement and strong rhythm. The expression of his line patterns is described as "open and easy" (Tang Sizhen), "vigorous handwriting" and "vigorous anger with pen" (Tang Duan Chengshi) or "vigorous pen writing" (Song Guo Ruoxu), "heroic charm" and "upright handwriting" (Tang Zhangyanyuan). Line pattern is a means of expression, and its own effect also helps to form Wu Daozi's unique style as a great painter. The effect of this line pattern itself should not be emphasized as the only performance purpose of painting art, but proper attention will also strengthen the infectious power of art. Wu Daozi combined the expression of content and the creation of image, and also permeated with strong emotions in the use of line patterns, which greatly improved the unity of various performance factors in painting art.
From the points quoted above, we can know that Wu Daozi has a strong and extremely nervous emotional power in his works.
Wu Daozi was in a state of high excitement and tension when he was writing. Legend has it that Wu Daozi was addicted to alcohol, and he often wrote after drinking heavily. This point can also be illustrated by the story of Wu Daozi watching Pei ■ dancing sword: during the Kaiyuan period, General Pei ■ died of his mother and invited Wu Daozi to draw some murals in the Tiangong Temple in Luoyang to pray for his mother. Wu Daozi asked him to perform sword dancing as a reward, so Pei■ took off his mourning clothes and put on his usual costume. "Go to Ma Rufei, turn left and right, swing your sword into the clouds, and it is dozens of feet high. If it is under lightning,