K-Gr 3—Young Wu Daozi tries to please his calligraphy teacher, but his brush drips out squiggles and twists and dots, his lines turn into trees, his hooks catch fish, and "his dots burst into eyes, then pigs, and monkeys." Wu Daozi paints on walls in temples and teahouses, and even the great wall surrounding the city. His work becomes known and admired throughout China. One day he paints a butterfly so beautiful and delicate that it appears to be real. When the wind blows, the wing moves, just a little, and the butterfly suddenly flits off. Soon everything he creates either flutters, gallops, or rolls away. No one believes that his paintings come to life, except the children. Then one day, the emperor asks Daozi if he would create a masterpiece on a wall of the palace. Stunning ink, watercolor, and pencil artwork brings to life ancient China and the beautiful children who remained faithful to Daozi. Highly detailed and vibrantly colored, the illustrations render Daozi's paintings with brilliance. Children will appreciate the imaginative aspect of the text as well as the inspiring story of a boy who follows his dreams. Inviting and appealing, this title serves as a great addition to a unit on ancient China or Chinese Art.—
Carol Connor, Cincinnati Public Schools, OHWith storytelling flair, Look expertly narrates this enthralling tale about a painter in ancient China whose art fills people with such awe that they claim he has the "brush of the gods." As a young boy, Wu Daozi tries calligraphy, but instead of characters, animals come out of his brush. Eventually he paints beautiful pictures on walls while moving "so fast that his sleeves looked like wings spread in flight," and one day his creations become so realistic that they take off as soon as they're painted. Encouraged by beggar children who (unlike the unbelieving adults) admire his art even when it runs away, Wu Daozi keeps painting, and years later the emperor invites him to create a grand masterpiece on a giant wall in the palace. An old man by the time he finishes, Wu Daozi blissfully walks through an archway in his painting and disappears -- a satisfying conclusion to a story about the power of art. An author's note at the front provides information on the real Wu Daozi (689-759), "known as perhaps China's greatest painter," and describes the book as a fictional version of his life "pieced together from references" in poetry and essays. So's invigorating art, full of graceful brush strokes, perfectly suits a story about the first Chinese artist to introduce "movement in figures and their clothing." jennifer m. brabander
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