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The art historical meaning of Figure Painting of the Taoism and Buddhism of Wu Tao-Tzu(吳道子)

  • 중앙사론
  • 2015, (42), pp.159-188
  • Publisher : Institute for Historical Studies at Chung-Ang University
  • Research Area : Humanities > History

Kim Yeon-Joo 1

1단국대학교

Accredited

ABSTRACT

Wu Tao-Tzu(吳道子 the activity about 700-750 year) was praised as the saint of painting, is the person who built the model of Chinese styled Figure Painting of the Taoism and Buddhism by the creative art processing method in the glory days of Buddhist paintings in Tang era. He drew the new art pattern with the personality and creative power of his own only. He also was “the painter doing the great creativity and the creative activity” in the time that the religious painting reached its peak in the 8thcentury. But, the actual his work had been concentrated in The Figure Painting of the Taoism and Buddhism, has nothing to do with the court nearly based on the record of students and painters related to him. The artistic value of Figure Painting of the Taoism and Buddhism of Wu Tao-Tzu may be checked largely in three aspects. First, Wu Tao-Tzu created the ‘Wuzhuang(吳裝)’, ‘Wujiayang(吳家樣)’ being the model of Figure Painting of the Taoism and Buddhism in Tang era. Gwag Yag Hu(郭若虛) said “the touch is magnificent and strong. the color is brief and light.” In terms of His stylistic characteristic, it was expressed as ‘powerful(雄) and strong(勁)’ and ‘simple(簡) and light(淡)’. Especially, though he used lines of sketch not using color, the lines were expressed characteristics and mood of figurations to reveal by simple form. It has been named as ‘Wudaidangfeng(吳帶當風)’ that appeared as the style with the strong expressivity as the Wuzhuang(吳裝) reflected the powerful force in the wrinkle of clothes. Second, Wu Tao-Tzu had the unrestricted expressive power that the artistic creative power stood out. Zhang Yan-Yuan(張彦遠) said that Wu Tao-Tzu only materialized the all rules of Xie He(謝赫)’s Six principles(六法) and admired their effects were natural. Wu Tao-Tzu was not bound by the edifying and religious subject, the formality and the meaning, and revealed his artistic creative power of the inspiration in his own world. Third, the artistry of Wu Tao-Tzu was to acquire the popularity by the combination of shape and soul. Wu Tao-Tzu engaged himself in the work with the level of skill of non-intentional intention that was unconcious action or purpose of painting. His Figure Painting of the Taoism and Buddhism has been painted numerously, has been proved his popularity in his time. Wu Tao-Tzu had the ‘bravura’ well equipped with unrestricted technical virtuosity expressing purpose-built people of Taoism and Buddhism. His style has been inherited as one mode following the era as it conforms with the public demand. Wu Tao-Tzu who had been respected as the saint of painting in the Tang age, depreciated as a just painter. According to change of the major list of painting from figure painting to the landscape painting in Song Dynasty, the spirit of literary paintings has been emphasized. His works have been leaded to fall as works of painter because implementation to the metaphorical and connotative sense of beauty had been more emphasized than images of explanation and strong messages by the edifying purpose. The art world of Wu Tao-Tzu has been interpreted differently according to the change of artistic spirit in time. Nonetheless, Wu Tao-Tzu seems to be clear that he has been still located at the highest peak of Figure Painting of the Taoism and Buddhism in the aspects of possessing his powerful imagination and acquiring the popularity.

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