Abstract The article attempts to trace the evolution of the saga of Wang Chao-Chun and analyzes the narratives and image-sculpturing process by utilizing relevant historical accounts, novels, and poetry. In addition to draw upon several important issues in the recital of Wang in the poems of Tang Dynasty, this paper also spares some space to scrutinize her position and impression in Tu Fu’s poems. By triangulating and comparing these works, several concluding points can be made. First, ‘beauty’ and ‘painting’ are usually the starting point of discussion on ballads and comments. Second, straddling between ‘to love’ and ‘to hate’ spawns the debate on the relationship between the monarch and subjects as well as on the peace initiative policy making a woman like Wang to marry to a barbarian tribe beyond the Great Wall. Third, the azure tomb and the musical instrument, pipa, in Wang’s legends are the most prevalent and fundamental ingredients in Tang poetry. Finally, the third part in Tu Fu’s ‘Five Recitals of the Historic Relics’ is the most culminating denouement among all Tang’s works. Not only a masterpiece of poetry, it also establishes Wang as a prototypical image for the lamentation of obscurity and forlornness.