Zhang Daqian (1899-1983) Dissipating Mist over Blue and Green Mountain
Lot 748
Zhang Daqian (1899-1983) Dissipating Mist over Blue and Green Mountain
Sold for HK$ 1,280,000 (US$ 165,040) inc. premium

Lot Details
Zhang Daqian (1899-1983) Dissipating Mist over Blue and Green Mountain
Zhang Daqian (1899-1983)
Dissipating Mist over Blue and Green Mountain
Ink and colour on gilt ground paperboard, framed and glazed
Inscribed and signed Yuan Weng, with two seals of the artist
Dated [Minguo] sixty-two year guichou (1973)
37cm x 45.5cm (14½in x 17¾in).

Footnotes

  • Exhibited: 'Three Masters Crossing the Sea: The Essential Exhibition of Color Ink Painting of Zhang Daqian, Pu Ru, and Huang Chunpi', Chan Liu Art Museum, Taipei, 8 December 2010 to 30 January 2011

    Published: Three Masters Crossing the Sea: The Essential Exhibition of Color Ink Painting of Zhang Daqian, Pu Ru, and Huang Chunpi, Chan Liu Art Museum, Taipei, 2010, p.79

    張大千 晴嵐煙雲 設色金箋 鏡框 一九七三年作

    款識:[民國] 六十二年(1973)癸丑八月,爰翁七十有五歲。
    鈐印:張爰、大千居士

    展覽:「渡海三家:張大千、溥心畬、黃君璧彩墨精華特展」,長流美術館,台北,2010年12月8日至2011年1月30日

    出版:《渡海三家:張大千、溥心畬、黃君璧彩墨精華特展》,長流美術館,台北,2010年,頁79

    張大千晚年的潑墨潑彩畫風,耳目一新,為世人所重。據國立歷史博物館巴東先生研究,張大千於1960年後潑墨技法開始成形,1963年始以潑彩入畫,經過約五年功夫,直到1967年以後方自詡能將石青、石綠的潑彩技法運用自如。對於這種新彩墨風格的創立,有人猜測是受到他1957年罹患目疾之影響,也有觀點認為與他旅居美洲時接觸到當時盛行的西方抽象藝術有關。張大千本人則強調此畫風源自唐人王洽的潑墨法,正如他在1979年所作〈雲山圖〉中自題:「元章(米芾)衍王洽破墨為落茄,遂開雲山一派,房山(高克恭)、方壺踵之,已成定格。明清六百年來未有越其藩籬,良可嘆惜。予乃創意為此,雖難遠邁元章,當抗身玄宰(董其昌)。」(〈雲山圖〉畫作可參見《張大千110歲書畫紀念特展》,國立歷史博物館,台北,2009年,頁42,圖45。)

    縱觀張大千潑墨潑彩畫風的發展,其1960中期至1970年代初期的這類創作在技法表現上更加抽象,與西方抽象畫特別是抽象表現主義似有共通之處,但是在精神內涵上則有別於西方抽象畫探尋理性結構或者企圖開發潛意識心理領域的創作觀念,而是仍然堅守傳統中國藝術之精神本位,運用新的繪畫語言,來表現中國畫傳統裡的人與自然之親和關係。這既是張大千一直否認其潑墨潑彩畫風源自西畫影響的原因,也是我們理解其潑墨潑彩畫風的中國藝術意境,以及他1970年代中期以後將潑墨潑彩與更具象的傳統筆墨元素相結合這一發展方向的關鍵。

    此幅作於1973年的〈晴嵐煙雲〉,正是張大千潑墨潑彩畫風晚期成熟階段的佳作。畫面施以大塊潑墨渲染,營造深邃濃郁的雲山景緻,再以細筆小心收拾,用傳統筆墨勾勒山泉、廟宇、點景人物,並施以色澤妍麗的石青石綠,如夢如幻地表現了一幅日出雲山、煙嵐將散的奇妙景象。張大千在此將新墨彩的繪畫語言與古典中國畫學傳統作了高度銜接和轉化,並結合了他對自然萬象的深刻體察,令潑墨潑彩畫風在造型美感上達到了非同一般的水準和境界。
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