{"id":11968,"date":"2026-11-08T02:50:10","date_gmt":"2026-11-08T02:50:10","guid":{"rendered":"https:\/\/www.chinaculturepro.com\/?p=11968"},"modified":"2026-11-12T14:16:30","modified_gmt":"2026-11-12T14:16:30","slug":"xu-daoning","status":"publish","type":"post","link":"https:\/\/www.chinaculturepro.com\/ru\/xu-daoning\/","title":{"rendered":"Xu Daoning: Fishermen, Landscape and the Li Cheng Legacy"},"content":{"rendered":"\n<section class=\"tcjdi-quick-answer\"><h2>Quick Answer: Who Was Xu Daoning?<\/h2>\n<p class=\"p1\">Xu Daoning (\u8bb8\u9053\u5b81, X\u01d4 D\u00e0on\u00edng) was an eleventh-century Northern Song landscape painter whose art developed from Li Cheng\u2019s tradition. His subjects included trees, open distances and rivers. <sup>[1]<\/sup> <\/p>\n<ul>\n<li><strong>Major work:<\/strong> Fishermen\u2019s Evening Song places small human activities beneath immense mountain peaks. <sup>[2]<\/sup> <\/li>\n<li><strong>Brushwork:<\/strong> Historical accounts describe a later movement toward simpler, freer brushwork. <sup>[1]<\/sup> <\/li>\n<li><strong>Legacy:<\/strong> Later painters revisited his style, while some pictures formerly assigned to him have been reclassified.<\/li>\n<\/ul>\n<p class=\"p1\">A painting\u2019s title, present attribution and physical date need to be read together.<\/p><\/section>\n<figure class=\"tcjdi-infographic\" style=\"width:500px;max-width:100%;margin:24px auto;text-align:center\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.chinaculturepro.com\/wp-content\/uploads\/2026\/11\/Xu-Daoning-museum-works-dates-and-later-attributions-illustrated-guide.webp\" alt=\"Xu Daoning museum works dates and later attributions illustrated guide\" title=\"Xu Daoning museum works dates and later attributions illustrated guide\" width=\"1440\" height=\"2560\" style=\"width:500px;max-width:100%;height:auto;margin:0 auto\" \/><figcaption>Xu Daoning museum works dates and later attributions illustrated guide<\/figcaption><\/figure>\n<p class=\"p1\">Xu\u2019s landscapes invite two scales of attention: the sweep of mountains and water, and the little incidents unfolding near their banks. Those human scenes also complicate easy assumptions about what fishermen must symbolize.<\/p>\n<h2>A Reputation Rooted in Li Cheng\u2019s Painting<\/h2>\n<p class=\"p1\">Xu worked in the <a href=\"https:\/\/www.chinaculturepro.com\/song-dynasty\/\">Northern Song period<\/a>. The Xuanhe Catalogue of Paintings (\u5ba3\u548c\u753b\u8c31, Xu\u0101nh\u00e9 hu\u00e0p\u01d4), quoted by the Palace Museum, describes him selling medicine at the capital gate and using drawings of cold woods and distant scenery to attract attention. It traces his brushwork to <a href=\"https:\/\/www.chinaculturepro.com\/li-cheng\/\">Li Cheng<\/a>, then describes a simpler later manner. <sup>[1]<\/sup> <\/p>\n<p class=\"p1\">This account of an early career is historical testimony, with a different evidential role from a surviving dated painting. Read such <a href=\"https:\/\/www.chinaculturepro.com\/chinese-history-vs-legend\/\">historical narratives<\/a> alongside the surviving objects.<\/p>\n<p class=\"p1\">Li Cheng\u2019s followers explored depth and recession in different ways. Art historian Peter C. Sturman places Xu among a wider succession that includes <a href=\"https:\/\/www.chinaculturepro.com\/yan-wengui\/\">Yan Wengui<\/a> and <a href=\"https:\/\/www.chinaculturepro.com\/fan-kuan-guo-xi\/\">Guo Xi<\/a>. Compare how their pictures organize trees, paths and distant peaks. <sup>[4]<\/sup> <\/p>\n<h2>Fishermen\u2019s Evening Song: Peaks and Human Activity<\/h2>\n<p class=\"p1\">Fishermen\u2019s Evening Song dates to circa 1039\u201352. It is ink and slight color on silk, with an image area of 48.9 \u00d7 224.79 cm. <sup>[2]<\/sup> <\/p>\n<p class=\"p1\">The current museum interpretation describes autumn twilight, an empty fishermen\u2019s hut at the lower right, fishermen celebrating their catch, and a traveler urging a reluctant mule onto a skiff. It connects prosperous human activity in this grand setting with a courtly ideal of benevolent government. <sup>[2]<\/sup> <\/p>\n<p class=\"p1\">Locate the boats and figures before following the mountain ridges. Their small size makes the cliffs seem larger; gestures interrupt that broad rhythm with recognizable human concerns.<\/p>\n<h2>Four Objects and Their Different Relationships to Xu<\/h2>\n<p class=\"p1\">The following records distinguish a Song-period work, a museum-catalogued leaf, an acknowledged later model and a former attribution.<\/p>\n<div style=\"overflow-x:auto;max-width:100%;max-height:800px\">\n<table>\n<thead>\n<tr><th>Object<\/th><th>Collection<\/th><th>Record and physical format<\/th><\/tr>\n<\/thead>\n<tbody>\n<tr><td>Fishermen\u2019s Evening Song<\/td><td>Nelson-Atkins Museum of Art<\/td><td>Xu Daoning; circa 1039\u201352; ink and slight color on silk handscroll; accession 33-1559. <sup>[2]<\/sup> <\/td><\/tr>\n<tr><td>Cloudy Pass and Snowy Plank Road<\/td><td>Palace Museum, Beijing<\/td><td>Catalogued as Song, Xu Daoning; ink on silk leaf; 25.2 \u00d7 26.5 cm. <sup>[3]<\/sup> <\/td><\/tr>\n<tr><td>Tall Trees in Evening Mist, after Xu Daoning<\/td><td>National Palace Museum, Taipei<\/td><td>Wang Hui, Qing dynasty; paper album leaf; 55.4 \u00d7 33.8 cm. <sup>[5]<\/sup> <\/td><\/tr>\n<tr><td>Winter Landscape<\/td><td>Smithsonian National Museum of Asian Art<\/td><td>Circa 1700; formerly attributed to Xu Daoning; ink on silk hanging scroll; 132.2 \u00d7 83.5 cm. <sup>[6]<\/sup> <\/td><\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<h2>Reading the Landscape Through Its Figures<\/h2>\n<p class=\"p1\">A handscroll is explored gradually from right to left. Look first for a shoreline or route that carries the eye onward, then pause at changes of scale. A broad river can separate groups of peaks while also connecting scattered boats. This makes <a href=\"https:\/\/www.chinaculturepro.com\/chinese-landscape-painting\/\">landscape composition<\/a> an unfolding experience.<\/p>\n<p class=\"p1\">In his 1995 study, Sturman discusses Richard Barnhart\u2019s interpretation of Xu\u2019s busy foreground as humorous commentary on the marketplace, rather than a simple image of Daoist withdrawal. Medicine-selling and the pursuit of customers supply a possible analogy. This is a scholarly reading, not an inscription giving the artist\u2019s declared intention. <sup>[4]<\/sup> <\/p>\n<p class=\"p1\">The courtly and marketplace readings both attend to actual figures and actions, while asking different questions about their meaning. <sup>[2][4]<\/sup> <\/p>\n<p class=\"p1\">For <a href=\"https:\/\/www.chinaculturepro.com\/chinese-painting-techniques\/\">brushwork<\/a>, compare the marks defining a nearby tree with the softer distant masses. Then return to a figure: does a few-stroke action remain clear within that larger spatial pattern?<\/p>\n<h2>Later Models and Changing Attributions<\/h2>\n<p class=\"p1\"><a href=\"https:\/\/www.chinaculturepro.com\/wang-hui\/\">Wang Hui<\/a>\u2019s Tall Trees in Evening Mist belongs to a twelve-leaf album imitating earlier masters. Its named model records Xu\u2019s continuing place in the artistic resources of the <a href=\"https:\/\/www.chinaculturepro.com\/qing-dynasty\/\">Qing dynasty<\/a>. The painting itself is Wang\u2019s. <sup>[5]<\/sup> <\/p>\n<p class=\"p1\">The Smithsonian\u2019s Winter Landscape represents another relationship: a previous attribution that the present record no longer maintains. \u201cAfter\u201d and \u201cformerly attributed to\u201d describe different histories. <sup>[6]<\/sup> <\/p>\n<p class=\"p1\">A maker\u2019s name in a title or <a href=\"https:\/\/www.chinaculturepro.com\/chinese-painting-inscriptions-seals\/\">inscription<\/a> therefore needs to be read alongside the catalogue\u2019s artist field, dating and material description.<\/p>\n<h2>FAQs About Xu Daoning<\/h2>\n<h3>Was Xu Daoning personally taught by Li Cheng?<\/h3>\n<p class=\"p1\">The evidence describes Xu following Li Cheng\u2019s painting tradition. It establishes a stylistic model, rather than documented personal apprenticeship. <sup>[1][4]<\/sup> <\/p>\n<h3>Was Fishermen\u2019s Evening Song painted exactly in 1049?<\/h3>\n<p class=\"p1\">The University of Chicago\u2019s scroll reference gives circa 1049; the current Nelson-Atkins record gives circa 1039\u201352. Both are approximate datings. <sup>[7][2]<\/sup> <\/p>\n<h3>Are Xu Daoning\u2019s birth and death dates certain?<\/h3>\n<p class=\"p1\">The Nelson-Atkins record lists 970\u20131052, but the Palace Museum states that his birth and death dates are unknown. An eleventh-century career is the safer shared frame. <sup>[2][1]<\/sup> <\/p>\n<h2>Sources<\/h2>\n<p class=\"p1\">[1] Palace Museum. <a href=\"https:\/\/minghuaji.dpm.org.cn\/author\/detail?id=217\" target=\"_blank\" rel=\"noopener noreferrer\">Xu Daoning<\/a><\/p>\n<p class=\"p1\">[2] Nelson-Atkins Museum of Art. <a href=\"https:\/\/art.nelson-atkins.org\/objects\/12243\/fishermens-evening-song\" target=\"_blank\" rel=\"noopener noreferrer\">Fishermen\u2019s Evening Song<\/a><\/p>\n<p class=\"p1\">[3] Palace Museum. <a href=\"https:\/\/minghuaji.dpm.org.cn\/paint\/detail?id=e3890cb5b74e4f3d80a0fdf74ff8f9ea\" target=\"_blank\" rel=\"noopener noreferrer\">Cloudy Pass and Snowy Plank Road<\/a><\/p>\n<p class=\"p1\">[4] Peter C. Sturman. <a href=\"https:\/\/www.arthistory.ucsb.edu\/sites\/secure.lsit.ucsb.edu.arth.d7\/files\/sitefiles\/people\/sturman\/sturman_donkey_rider_1995.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting<\/a><\/p>\n<p class=\"p1\">[5] National Palace Museum, Taipei. <a href=\"https:\/\/digitalarchive.npm.gov.tw\/Collection\/Detail\/5345?dep=P\" target=\"_blank\" rel=\"noopener noreferrer\">Wang Hui: Tall Trees in Evening Mist, after Xu Daoning<\/a><\/p>\n<p class=\"p1\">[6] Smithsonian National Museum of Asian Art. <a href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-PA-180\/\" target=\"_blank\" rel=\"noopener noreferrer\">Winter Landscape<\/a><\/p>\n<p class=\"p1\">[7] University of Chicago. <a href=\"https:\/\/scrolls.uchicago.edu\/view-scroll\/167\" target=\"_blank\" rel=\"noopener noreferrer\">Fishermen\u2019s Evening Song<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Explore Xu Daoning\u2019s Fishermen\u2019s Evening Song, Northern Song landscape style and later legacy, with museum evidence on dates, human scenes and attribution.<\/p>","protected":false},"author":1,"featured_media":11969,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[389],"tags":[399,400,391],"class_list":["post-11968","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-crafts","tag-chinese-painting","tag-hub-chinese-painting","tag-material-culture"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO Pro 5.0.3 - aioseo.com -->\n\t<meta name=\"description\" content=\"Explore Xu Daoning\u2019s Fishermen\u2019s Evening Song, Northern Song landscape style and later legacy, with museum evidence on dates, human scenes and attribution.\" \/>\n\t<meta name=\"robots\" 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