張大千 (1899 ﹣1983) 原名張正權,又名爰,字季爰,號大千,別號大千居士,四川省內江市人。其二哥張正蘭,即是著名的畫虎大師張善子。他們的畫室名“大風堂”。張大千的一生,才華橫溢,極富傳奇,建樹甚偉,貢獻極巨,聲名遐邇。其畫路寬廣,山水、人物、花鳥、蟲魚、走獸等,無所不工。其工筆寫意,俱臻妙境。張大千30歲以前的畫風可謂“清新俊逸”,50歲進於“瑰麗雄奇”, 60歲以後達“蒼深淵穆”之境,80歲後氣質淳化,筆簡墨淡,其獨創潑墨山水,奇偉瑰麗,與天地融合,增強了意境的感染力和畫幅的整體效果。

Zhang Daqian (1899 ﹣1983) painter and collector who was one of the most internationally renowned Chinese artists of the 20th century. As a child, Zhang was encouraged by his family to pursue painting. In 1917 his elder brother, Zhang Shanzi (an artist famous for his tiger paintings), accompanied him to Kyoto, Japan, to study textile dyeing. Two years later, Zhang Daqian went to Shanghai to receive traditional painting instruction from two famous calligraphers and painters of the time, Zeng Xi and Li Ruiqing. Through his association with these teachers, Zhang had the opportunity to study some works by ancient masters in detail. His early style attempted to emulate the Ming-Qing Individualists, including Tang Yin, Chen Hongshou, and Shitao. He meticulously studied and copied their works and began to make forgeries; he gained notoriety when one of his forged Shitaos successfully deceived the connoisseurs. After his early success in Shanghai, Zhang extended his career to the north in the late 1920s, when he became active in the cultural circles of Beijing. He began to collaborate with the well-known Beijing painter Pu Xinyu, and together they became known as the “South Zhang and North Pu,” an epithet that is still used to refer to their collaborative works of the 1930s. In 1940 Zhang led a group of artists to the caves of Mogao and Yulin for the purpose of copying their Buddhist wall paintings. The group completed over 200 paintings, and the experience left Zhang with a repository of religious imagery. During the Sino-Japanese War, the artist zealously studied traditional Tang-Song figure painting and ancient monumental landscape painting. He would use elements of these in his own work, becoming particularly known for his lotus paintings, inspired by ancient works. His love of tradition was also reflected in his personal collection of ancient Chinese paintings, which he began early in his career. At its peak, his collection contained several hundred works from the Tang to Qing dynasties. In reaction to the political climate in 1949, Zhang left China in the early 1950s. He resided in various places, including Mendoza, Argentina; São Paulo, Brazil; and Carmel, California. His meeting with Pablo Picasso in 1956 in Nice, France, was publicized as an artistic meeting between East and West. Zhang developed eye problems in the late 1950s. As his eyesight deteriorated, he developed his mature splashed colour style. In 1978 the artist settled in Taipei, Taiwan. His residence, Moye-jingshe, next to the National Palace Museum, is now the Memorial Museum of Zhang Daqian.

Zhang Daqian | 2012 | Calligraphy 中國書法 | Comments (0)

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