Second, the true description-there is a Vimo change in Wu Daozi's painting in Bordet Jifo Temple in Chang 'an, in which Todo Loki depicts the effect of turning to look at people. The goddess holding the stove painted by Zhao Temple is touching. All this shows that Wu Daozi's religious paintings are very realistic. Moreover, it is recorded that the bodhisattva he painted in the west building of Qianfu Temple in Chang 'an was painted by himself. This shows that his artistic creation is based on life.
3. Bold imagination-Wu Daozi's paintings have a lot of disguised forms and many changes, such as pure land change, hell change, devil change, Vimo change and so on. All kinds of situations and atmospheres. The figure in disguise is said to be "strange, no one to accompany." Wu Daozi not only portrayed different scenes, but also created rich and powerful characters, which were called "fantastic", and the characters he painted were described as "flying a few feet at a time". Hair roots and raw meat, great strength. "Huge and grotesque, flesh and blood connected" is an exciting and powerful image.
Wu Daozi's most famous camouflage picture is Hell in Camouflage. The Camouflage of Hell was originally created by Zhang Xiaoshi, and Wu Daozi created his own with the same theme. His hell is disguised as "there is no sword forest, prison, bull's head, horse's face, green ghost and red man in the picture, and there is a kind of arrival of Yin Qi, which makes the viewer shudder." The picture does not describe anything horrible, but it is very infectious and makes people feel emotionally shaken. It is said that the hell he painted in Chang 'an Gong Jing Temple was disguised as "furious", so butchers and fishermen changed careers for it, fearing that they would be punished in hell for killing in the future. Although we don't know this disguised picture of hell, from these descriptions and accounts, we can know that it has shocking power and exerted great imagination.
Wu Daozi's "Hell" is a disguised propaganda of Buddhism, but it shows the scene of "or mixed with gold". This is not to admit that senior officials in real life have the right to do bad things, but to think that they are guilty of doing bad things, and they should be punished like everyone else before the final moral trial.
4. Be familiar with the knowledge of silent painting and anatomy-when Wu Daozi is excited, he mostly waves at the wall. He is skilled and vivid in modeling. People think that he must have a "formula", that is, there is a fixed method, but no one knows what the formula is, that is, no one knows why he can swing so freely. For example, he can draw a big portrait of Changyu from his arms or feet, and can create a very expressive image, which shows his superb dictation ability and familiarity with human anatomy. It is completely empty-handed to say that Wu Daozi did not draw straight lines and curves with tools, and "bent the arc sharply, planted columns to form beams, and did not build straightedge". It is also recorded that he made a Buddha statue, and when he finally drew a round lamp, he "recited mud and ink, and made it in one stroke", "When he put pen to paper, the wind and cloud whirled around", which attracted the audience to shout and even shook several streets.
Verb (abbreviation of verb) technical characteristics-Wu Daozi's brush and ink techniques have three main characteristics. His description of objects is not very artistic. As the saying goes, "Everyone is near the horizon, but I am far away from painting." . Everyone wants to be like an elephant, so I will drop its vulgarity. "The colors of his works are not very bright. The so-called" light colors "and" simple pastels "are called" five makeup "and even" white paintings "(the hell of Gong Jing Temple is disguised). In the early years, fine lines were drawn, and later the lines used were "vegetable strips", which could show the trend of "high edges and deep inclinations, curling and floating". It is a three-dimensional line with the purpose of expressing the subtle perspective changes of objects such as height, side, depth and inclination. This kind of line is better than iron line drawing (Gu Kaizhi and others are good at it) to express the three-dimensional modeling of objective things more keenly, and it is closer to cursive script in calligraphy.
Vi. Exciting rhythmic expression of line patterns —— The line patterns used by Wu Daozi to form images have been paid special attention by critics because of their sense of movement and strong rhythm. His line patterns are described as "free and easy" (Tang Sizhen), "vigorous pen", "fiery anger pen" (Tang Duan) or "fiery pen" (Guo Song) and "heroic rhyme" and "tall and straight pen" (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. It should not be emphasized that the effect of this line pattern itself is the only performance purpose of painting art, but proper attention will also strengthen the appeal of art. Wu Daozi combined the expression of content with 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.
Pictured: The Eighty-Seven Immortals Volume by Wu Daozi, a painter in the Tang Dynasty.