Listen to this articlewú dài dānɡ fēnɡ 吴带当风
The Sashes in Wu’s Painting Flutter as if in the Wind.
吴道子（680？—759？）笔势圆转飘逸，所画人物衣带宛如随风飘扬。较之顾恺之（345？—409）的画作笔法细密而宛若真人实景，吴道子作画运笔自如，线条流畅，动感强而传神，呈现全新风格和特殊审美效果，体现了绘画艺术的发展。
Wu Daozi (680?-759?) executed his brushstrokes in a curvy and graceful manner, so that sashes on the people in his paintings seem flutter in the wind. Compared with Gu Kaizhi (345?-409), Wu’s painting is more nuanced and lifelike. He used his brush with perfect ease and fluency. His works are dynamic and vivid, presenting a distinctly new style and aesthetic effect, reflecting the development of the art of painting.
引例 Citations：
◎吴带当风，曹衣出水。（郭若虚《图画见闻志·论曹吴体法》）
（吴道子所画人物衣带如同随风飞扬；曹仲达所画人物衣衫紧贴身上，犹如刚从水中出来一般。）
The sashes worn by the figures in Wu Daozi’s paintings flutter gracefully like in the wind, while the clothing in Cao Zhongda’s paintings cling fast to bodies as if just emerged from water. (Guo Ruoxu: Phenomena and Anecdotes in the History of Painting)
◎其傅彩于焦墨痕中，略施微染，自然超出缣素，世谓之“吴带当风”。（汤垕《古今画鉴·唐画》）
（吴道子在焦墨痕中加上色彩，略加点染，人物逼真自然，似乎要溢出画布。后人称之为“吴带当风”。）
Wu Daozi used to add hues to traces of thick ink. With a gentle touch here and there, the figures in his painting all look natural and lifelike, as if about to come forth from the painting. People of later times called this style “Wu’s unique skill of showing sashes fluttering in the wind.” (Tang Hou: Appreciating Paintings of the Past and the Present)
