landscape (shan shui) painting technique developed quickly in this period and reached its first maturation. Li Sixun (李思訓) and Li Zhaodao (李昭道) (father and son) were the most famous painters in this domain. During this time painters overcame the basics of depth perception and utilizing the area being painted. This allowed the artists to depict a more realistic appearance to the landscape paintings. The painting of people also reached a climax. The outstanding master in this field is Wu Daozi (吳道子), who is referred to as the "Sage of Painting". Wu's works include God Sending a Son (天王送子圖). Wu created a new technique of drawing named "Drawing of Water Shield" (蒓菜描). Most Tang artists outlined figures with fine black lines and used brilliant color and elaborate detail filling in the outlines. However, Wu Daozi used only black ink and freely painted brushstrokes to create ink paintings that were so exciting that crowds gathered to watch him work. From his time on, ink paintings were no longer thought to be preliminary sketches or outlines to be filled in with color. Instead, they were valued as finished works of art. Zhou Fang (周昉) followed from the genius of Wu Daozi, his contemporary. Zhou painted for the Emperor, the themes of his artwork would cover religious subjects and everyday life. He created paintings that represented goddesses who were modeled after imperial court ladies, a development that indicated religious painting was to become more realistic, and that secular painting was beginning to take on its initial form. His portrait paintings emphasized real life, and as forerunners of secular lady paintings, they had a big influence on later paintings of court ladies. The great poet Wang Wei (王維) first created the brush and ink painting of shan-shui, literally "mountains and waters" (水墨山水畫). He further combined literature, especially poetry, with painting. The use of line in painting became much more calligraphic than in the early period. The theory of painting also developed, and Buddhism, Taoism, and traditional literature were absorbed and combined into painting. Paintings on architectural structures, such as murals (壁畫), ceiling paintings, cave paintings, and tomb paintings, were very popular. An example is the paintings in the Mogao Caves in Xinjiang during this period. See also Chinese art Tang dynasty art Notes References Sullivan, Michael, The Arts of China, 1973, Sphere Books, (revised edn of A Short History of Chinese Art, 1967) Eichenbaum, Patricia.