Jia Dao

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公开 可引用 更新于 2026-09-13

Life

Jia Dao entered the Buddhist clergy early in life and later returned to lay life. During the Yuanhe era, he presented poetry and prose to Han Yu in Luoyang and followed him to Chang’an; he is also said to have visited Zhang Ji.[4] He repeatedly sat the jinshi examinations without passing; another account calls 822, the second year of Changqing, his final jinshi examination, and the order of his Buddhist and examination careers is disputed.[5]

Known for painstaking composition, Jia Dao was once riding a donkey through the capital while working over a poem and, undecided between the characters tui (“push”) and qiao (“knock”), failed to notice that he had ridden into the carriage of Han Yu, the Jingzhao Yin. After hearing the explanation, Han Yu judged “knock” better, then rode alongside him discussing poetry and taught him composition; the episode became the famous “push-and-knock” story.[6]

During Changqing, Jia Dao used “The Sick Cicada” to satirize court officials and was grouped with Ping Zeng and others as the “Ten Evils of the Examination Hall.”[7] In the second year of Kaicheng (837), after a charge of feibi, he was demoted and appointed registrar of Changjiang County in Suizhou, becoming known as “Jia Changjiang”; after completing a three-year term, he was transferred to the post of assistant in the Puzhou granary administration.[8] In the third year of Huichang (843), he was transferred to the post of military assistant in household administration at Puzhou, but died before receiving the appointment; his place of death is given as Puzhou. He was buried there the following year.[9]

Jia Dao’s younger cousin was the monk Shi Wuke. He exchanged poems and prose with Han Yu, Zhang Ji, Liu Gongquan, Wang Jian, Meng Jiao, and Yao He, and his fame with Meng Jiao gave rise to the pairing “Jiao and Dao.”[10]

Poetry and style

Jia Dao became known for painstaking composition, and his verse includes the line, “Two lines took three years to achieve; one recitation brought a pair of tears.” His five-character ancient verse followed Han Yu and Meng Jiao, often expressing personal feeling and aspiration through carefully carved language of hardship; examples include “Ancient Intent,” “The Swordsman,” “Morning Hunger,” and “The Guest Rejoices.”[11]

After the Yuanhe era he concentrated on five-character regulated verse, inheriting the poets of the Dali period while turning toward an eccentric and recondite mode. He often described feeling and landscape, favoring such small, obscure subjects as fireflies, ant holes, moving snakes, and strange birds; the resulting style was pure, strange, austere, steep, and sharply wrought. “Seeing Wuke the Elder Off,” “Passing the Mountain Village at Dusk,” and “Inscribed on Li Ning’s Secluded Residence” are among the poems that most clearly display it.[12] Later readers summarized the contrast between Meng Jiao and Jia Dao as “cold Meng Jiao, lean Jia Dao” (郊寒島瘦).[13]

Influence and criticism

Su Jiang praised his “孤絕之句，記在人口” (“solitary, exceptional lines remembered by everyone”). Emerging after the high point of the Zhenyuan and Yuanhe poetry, Jia Dao’s work helped open a sharp, novel, recondite tendency in late-Tang poetry; many late-Tang poets imitated it, and the Four Elders of the Southern Song, especially the Yongjia Four Elders, revered him as a “Tang patriarch.” His poetic manner also influenced the Yongjia Four Elders’ writing.[14]

Sikong Tu, however, wrote that he had “時有警句，視其全篇，意思殊餒” (“occasional striking lines, but when the whole poem is viewed its meaning is meagre”); later praise and blame often turned on the tension between the brilliance of individual lines and the relative lack of emotional and structural fullness in the complete poem.[15]

Works

His works include the ten-volume Changjiang ji (《長江集》), also titled Jia Changjiang ji (《賈長江集》), and the three-volume Xiao ji (《小集》). A Sibu congkan edition of the Changjiang ji circulated, followed by Li Jiayan’s revised Changjiang ji; annotated editions include Chen Yanjie’s Notes on Jia Dao’s Poetry and Qi Wenbang’s Collated Commentary on the Jia Dao Collection.[16]

The Complete Tang Poems preserves four scrolls of his poetry; the Supplement to the Complete Tang Poems and the Continuation of the Complete Tang Poems add two poems and fourteen fragmentary lines.[17]

TimelineCBDB

  1. 837 主簿 開成
  2. 840 州司倉參軍 開成
  3. 843 州司戶參軍事 會昌

Office recordsCBDB

OfficeFromToEraPosting
主簿837開成遂州
州司倉參軍840開成普州
州司戶參軍事843會昌普州
Year unknown1
OfficeEraPosting
州司戶參軍事Era unknown普州

FamilyCBDB

RelationNameLife
從弟釋無可–

AliasesCBDB

  • 浪仙 字
  • 無本 未詳
  • 碣石上人 未詳
  • 苦吟客 未詳
  • 閬仙 字

StatusCBDB

  • 書法家
  • 詩人
  • 文人

AssociationsCBDB

PersonRelationYears
韓愈友–
張籍友–
柳公權友–
王建友–
李餘友–
孟郊友–
孟簡友–
姚合友–
雍陶友–
韓愈為韓愈之學生–
楊汝士贈詩、文–
令狐楚贈詩、文–
李益贈詩、文–
柳公權贈詩、文–
盧仝贈詩、文–
王建贈詩、文–
元宗簡贈詩、文–
朱灣贈詩、文–
李廓贈詩、文–
楊巨源贈詩、文–
楊氏贈詩、文–
沈亞之贈詩、文–
釋靈準贈詩、文–
孟簡贈詩、文–
南卓贈詩、文–
皇甫湜贈詩、文–
釋栖白贈詩、文–
錢徽贈詩、文–
殷堯藩贈詩、文–
諸葛覺贈詩、文–
蔣防贈詩、文–
韓湘贈詩、文–
雍陶贈詩、文–
蔡京贈詩、文–
韋瓊贈詩、文–
李愿贈詩、文–
李正辭贈詩、文–
李甘贈詩、文–
李祐贈詩、文–
李餘贈詩、文–
田穎贈詩、文–
張蒙贈詩、文–
李權贈詩、文–
龐嚴贈詩、文–
唐環贈詩、文–
唐衢贈詩、文–
唐溫琪贈詩、文–
釋文郁贈詩、文–
釋玄巖贈詩、文–
釋譚遠贈詩、文–
王參贈詩、文–
王茂元贈詩、文–
釋靈應贈詩、文–
釋霄韻贈詩、文–
于人文贈詩、文–
賈謩贈詩、文–
張季霞贈詩、文–
釋弘紹贈詩、文–
孟融贈詩、文–
釋集文贈詩、文–
崔嶠贈詩、文–
崔約贈詩、文–
崔定贈詩、文–
崔嘏贈詩、文–
朱休贈詩、文–
朱叔夜贈詩、文–
朱錫珪贈詩、文–
皇甫荀贈詩、文–
釋伯陽贈詩、文–
吳之問贈詩、文–
烏行中贈詩、文–
釋紹明贈詩、文–
釋宣皎贈詩、文–
釋宗密贈詩、文–
梁浦贈詩、文–
沈鶴贈詩、文–
釋清徹贈詩、文–
釋神邈贈詩、文–
汲鵬贈詩、文–
李文通贈詩、文–
李登贈詩、文–
李傅贈詩、文–
李溟贈詩、文–
李凝贈詩、文–
李存穆贈詩、文–
李戎贈詩、文–
李輈贈詩、文–
韋雲叟贈詩、文–
釋去華贈詩、文–
董武贈詩、文–
黃和新贈詩、文–
黃知新贈詩、文–
杜觀贈詩、文–
杜悰贈詩、文–
獨孤崇贈詩、文–
賀蘭朋吉贈詩、文–
胡遇贈詩、文–
釋惠雅贈詩、文–
釋唯貞贈詩、文–
田卓贈詩、文–

Showing the first 100 of 165 records; the interactive page loads the full list.

WorksCBDB

TitleRoleYearEra
二妙集
小集(賈島)
詩格(賈島)
賈長江集
長江集

Citations

  1. [1] Name, dates, and identity Jia Dao’s name, dates, and identity as a Tang poet are mutually supported by the principal record, the biographical profile, the name-and-description record, and the date fields.
    • CBDBJia Dao (94227)The principal record gives the name Jia Dao, birth in 779, death in 843, the Tang dynasty, and the status of poet.
    • Souyun賈島 (20204)The biographical profile gives the name, dates, and dynasty, while its biography describes him as a poet.
    • WikidataJia Dao (Q1267957)The English label and description identify Jia Dao as a Tang Dynasty poet; the P569 and P570 claims give 779 and 843.
    • DILA Buddhist Authority Database賈島 (A005203)The authority record gives Jia Dao, the 779–843 date range, the Tang dynasty, and his identity as a painstaking-composition poet.
  2. [2] Names and Buddhist name Jia Dao’s courtesy name was Langxian, also written Langxian; he used Jieshi shanren, while Jieshi shangren, Kuyinke, and Wuben occur as associated names, with Wuben identified as his early Buddhist name.
    • CBDBJia Dao (94227)The alternate-name table marks Langxian and Langxian as a courtesy name and also lists Wuben, Jieshi shangren, and Kuyinke.
    • Souyun賈島 (20204)The biographies give the two written forms of the courtesy name, the self-designation Jieshi shanren, and the Buddhist name Wuben.
    • WikidataJia Dao (Q1267957)The name list contains Langxian, Langxian, Jieshishangren, Kuyinke, and Wuben.
    • DILA Buddhist Authority Database賈島 (A005203)The authority record lists Wuben and Jia Langxian and identifies Wuben as the early Buddhist name.
  3. [3] Place-of-origin variants The place of origin is variously given as Fanyang and Youdu; accounts differ over whether Fanyang corresponds to Zhuoxian in Hebei or the southwest of Beijing.
    • CBDBJia Dao (94227)The basic-address field gives Youdu as the place of origin.
    • Souyun賈島 (20204)The profile and biographies give Fanyang and preserve both the Zhuoxian-in-Hebei and southwest-of-Beijing identifications.
    • DILA Buddhist Authority Database賈島 (A005203)The birthplace field identifies Zhuoxian.
  4. [4] Early life and contacts Jia Dao entered religious life, later returned to lay life, met Han Yu in Luoyang and followed him to Chang’an, and is also associated with a visit to Zhang Ji.
    • Souyun賈島 (20204)The biographies describe his early Buddhist life, return to lay life, presentation of poetry and prose to Han Yu in Luoyang, and following Han Yu to Chang’an.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note adds his visit to Zhang Ji and his later return to lay life under Han Yu’s instruction.
  5. [5] Jinshi examinations The accounts disagree between repeated failure in the jinshi examinations and a statement placing his final jinshi examination in 822; they also preserve a disagreement about the order of religious life and examination attempts.
    • Souyun賈島 (20204)Three biographies mention repeated failure in the jinshi examinations, and one explicitly raises an alternative sequence for his Buddhist and examination careers.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note instead gives Changqing 2, or 822, as the year of his final jinshi examination.
  6. [6] The push-and-knock anecdote The famous anecdote has Jia Dao working over the words for push and knock while riding through the capital, colliding with Han Yu’s carriage, and later receiving Han Yu’s judgment and instruction.
    • Souyun賈島 (20204)The biographies recount the donkey ride, the undecided push-and-knock wording, the collision with Han Yu, Han Yu’s preference for knock, their discussion of poetry, and his instruction in composition.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note identifies Han Yu as Jia Dao’s teacher.
  7. [7] Examination controversy During Changqing, Jia Dao’s poem The Sick Cicada satirized officials, leading to his being grouped with Ping Zeng and others as the Ten Evils of the Examination Hall.
    • Souyun賈島 (20204)The biographical account says that the Sick Cicada poem satirized officials and that Jia Dao was grouped with Ping Zeng and others as the Ten Evils of the Examination Hall.
  8. [8] Offices Jia Dao was appointed registrar of Changjiang in Suizhou in 837, completed a three-year term, and then moved to the Puzhou granary post, becoming known as Jia Changjiang.
    • CBDBJia Dao (94227)The office table places him as registrar in Suizhou in Kaicheng 2, or 837, and as assistant in Puzhou’s granary administration in 840.
    • Souyun賈島 (20204)The biographies describe the feibi charge, the appointment at Changjiang, the Jia Changjiang appellation, and the three-year transfer to the Puzhou granary post.
  9. [9] Death and burial In 843 Jia Dao was transferred to a Puzhou household-administration post but died before receiving the appointment; the place of death and the following year’s burial are both given as Puzhou.
    • CBDBJia Dao (94227)The records give his death year as 843, list the Huichang 3 household-administration appointment at Puzhou, identify Puzhou as the place of death, and date the burial there to 844.
    • Souyun賈島 (20204)The biographies state that he changed to the household-administration post in Huichang 3 and died before receiving the appointment.
    • WikidataJia Dao (Q1267957)The P570 claim gives the year 843.
    • DILA Buddhist Authority Database賈島 (A005203)The death field confines his death to the year 843.
  10. [10] Kinship and literary friendships Jia Dao’s younger cousin was Shi Wuke; he exchanged poems and prose with several major writers and was paired with Meng Jiao as Jiao and Dao.
    • CBDBJia Dao (94227)The kinship table identifies Shi Wuke as a younger cousin, and the association table lists Han Yu, Zhang Ji, Liu Gongquan, Wang Jian, Meng Jiao, and Yao He.
    • Souyun賈島 (20204)The biographies describe his exchanges with the listed writers and his pairing with Meng Jiao as Jiao and Dao.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note independently confirms the contacts with Zhang Ji and Han Yu.
  11. [11] Painstaking composition and ancient verse Jia Dao was known for painstaking composition, while his five-character ancient verse followed Han Yu and Meng Jiao and treated personal aspiration in deliberately austere language.
    • Souyun賈島 (20204)The poetry discussion calls him a famous painstaking-composition poet and explains that his five-character ancient verse followed Han Yu and Meng Jiao and expressed aspiration through carved language of hardship.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note supplies the line about taking three years for two lines and shedding two tears in one recitation.
  12. [12] Five-character regulated verse After Yuanhe Jia Dao concentrated on five-character regulated verse and developed a recondite, austere style focused on small and obscure subjects.
    • Souyun賈島 (20204)The poetry discussion details his post-Yuanhe concentration on regulated verse, inheritance of the Dali poets, recondite subjects, characteristic style, and representative poems.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note summarizes his strength in five-character regulated verse and his austere, recondite style.
  13. [13] Cold Meng Jiao and lean Jia Dao Later criticism used the phrase cold Meng Jiao, lean Jia Dao for the poetic manner associated with the two poets.
    • Souyun賈島 (20204)The poetry criticism cites the later phrase and Dongpo’s use of it to characterize the poetic qi of Meng Jiao and Jia Dao.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note explicitly attributes the phrase 郊寒島瘦 to Dongpo’s assessment.
  14. [14] Influence Su Jiang praised Jia Dao’s exceptional lines; his poetry opened a late-Tang recondite tendency, was imitated by late-Tang poets, revered by the Southern Song Four Elders, and influenced the Yongjia Four Elders.
    • Souyun賈島 (20204)The criticism quotes Su Jiang, describes Jia Dao’s opening of a sharp and recondite late-Tang tendency, notes imitation by late-Tang poets, and says the Southern Song Four Elders revered him as a Tang patriarch.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note states that his poetic manner influenced the Southern Song Yongjia Four Elders.
  15. [15] Critical assessment Sikong Tu praised occasional striking lines but judged the complete poem’s meaning weak, and later criticism often focused on that tension between line-level brilliance and incomplete emotional or structural development.
    • Souyun賈島 (20204)The criticism quotes Sikong Tu’s judgment and explains that later praise and blame often concerned Jia Dao’s striking lines, lack of emotional fullness, and incomplete whole poems.
  16. [16] Collections and editions Jia Dao’s collected works include the ten-volume Changjiang ji, also titled Jia Changjiang ji, and the three-volume Xiao ji; later editions and annotations are also named.
    • CBDBJia Dao (94227)The works table lists Xiao ji, Jia Changjiang ji, and Changjiang ji.
    • Souyun賈島 (20204)The biographies give the collection lengths and list the Sibu congkan edition, Li Jiayan’s revised text, and the two annotated editions.
    • DILA Buddhist Authority Database賈島 (A005203)The authority note confirms the Changjiang ji.
  17. [17] Complete Tang Poems The Complete Tang Poems preserves four scrolls of Jia Dao’s poetry, while its supplements add two poems and fourteen fragmentary lines.
    • Souyun賈島 (20204)The biographies state that the Complete Tang Poems contains four scrolls and that its supplements add two poems and fourteen fragments.