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全球拍卖首页 > Bonhams > 精美的中国书画 > Lot 270
ZHANG DAQIAN (1899-1983) Blue/Green Landscape, 1945
美国
09月15日 晚上9点 开拍 / 09月13日 下午3点 截止委托
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拍品描述 翻译
ZHANG DAQIAN (1899-1983) Blue/Green Landscape, 1945Hanging scroll, ink and color on paper, inscribed by the artist and dated yiyou and signed Daqian Jushi Yuan with three artist's seals, noted on the outer mount that it was formerly in the collection of Yang Ziying (1915-1983). 58 x 15 1/4in (147.3 x 38.8cm) The present lot is executed primarily in pale ink lines and washes of malachite, further accented with touches of pale ochre. Its restrained and elegant palette possesses a distinctly literati sensibility. Two scholars, accompanied by an attendant, travel by boat on a meandering stream flanked by white rocks and towering trees, gazing toward verdant mountains beyond the clouds. While the color scheme reflects Zhang Daqian's engagement with archaic traditions, his brushwork remains imbued with the vitality of the natural world, free from slavish adherence to earlier conventions. In a preface written for Zhang's solo exhibition in Nanjing in 1936, Xu Beihong (1895-1953) observed: "Daqian's success as a painter owes much to the landscape of Sichuan, amid whose extraordinary, precipitous and majestic scenery he was immersed day after day, absorbing it into his very being." Half a year before executing the present work, Zhang had spent a brief sojourn at Mount Qingcheng. Having assimilated the vital spirit of its landscape, he gave it expression through his brush in the present painting.By the 1930s, Zhang Daqian's engagement with works by ancient masters had extended beyond the ink traditions of Ming and Qing literati painting to encompass the sumptuous blue-and-green landscapes of the Tang, as well as the still earlier "white clouds and red trees" tradition in the boneless manner. Following his two visits to Dunhuang in the early 1940s, both his brushwork and handling of color became increasingly vigorous, monumental and archaic. By the mid to late 1940s, his blue-and-green landscapes had reached a new level of refinement. In 1938, while in Beijing, Zhang first encountered Jiangdi Wanjing (Late Scenery Along a Riverbank) (fig.1), a blue-and-green landscape traditionally attributed to the Five Dynasties master Dong Yuan (?-ca. 962). Captivated by its artless and quaint charm, he never forgot it; as he later inscribed on the painting's silk mount, "whenever I spoke of the work, I would sigh in admiration and praise it without end." With the outbreak of the Sino-Japanese War, Zhang returned to Sichuan to seek refuge. Following the end of the war in September 1945, he hastened back to Beijing and acquired the painting for his Dafengtang Collection. The following year, he began making a copy after it. Zhang Daqian was renowned for his prodigious visual memory, and the compositions and pictorial details of this Dong Yuan painting he particularly admired must have remained deeply impressed upon his mind. A close examination of the composition of the present lot reveals notable affinities with Late Scenery Along a Riverbank: the configuration of trees in the foreground and middle ground; the staggered, receding banks and islets; the distant mountains set obliquely against areas of reserved space; and even the placement of the figures and dwellings within the landscape. These correspondences testify to the depth of Zhang's internalization of the works by old masters. Rather than merely producing faithful copies of their works, he absorbed their pictorial vocabulary and reimagined them through his own artistic vision. 張大千（1899-1983）　松畔行舟　設色紙本　立軸　一九四五年作款識：晚山忽忽看雲生，山有雲生乃有情。未必丹山重似畫，祗於此處看天成。隱居只在一舟間，與世無求只好閒。遠放江湖讀書去，還嫌耳目近青山。乙酉上元，大千居士張爰。鈐印：張爰、大千包首記「楊子英藏」本幅山水以墨色間施石綠，復綴淡赭，設色清雅而有文氣，俏麗不失風骨。高士携友人及童子，行舟白石松畔，遠眺雲外青山，松木蕭森，林巒靄澹。其覆色既存復古之意，然對山石林木之描摹，又見自然靈秀，不落前人窠臼。徐悲鴻曾為張氏一九三六年于南京青年會舉辦的展覽作序，稱「大千繪畫之成功，固然他生在四川環境的山水，奇險而雄壯，日相狎接，蘊在胸襟。」此畫作前半年，大千方于青城山小住，天地之氣養于肺腑，及至毫端，遂有此作。張大千之仿古，至三十年代已從明清文人水墨上溯唐宋金碧青綠及白雲紅樹一脈。四十年代初二訪敦煌後，筆力敷彩更趨遒健高古。至四十年代中後期，青綠之作愈臻佳境。一九三八年，其于北平初見傳董源青綠之作《江堤晚景》（圖一），愛其天真爛漫，念念不忘，「每與人道此，咨嗟嘆賞，不能自已」。然抗戰軍興，故都淪陷，大千避居蜀中，迨至四五年抗戰勝利後，急返北平購得董源一作入大風堂，次年即著手臨摹。張大千素有過目不忘之功，對所鍾佳作，其構圖意趣，必常在胸懷。細觀本拍品佈局經營，與《江堤晚景》亦有近通之處，如前景中景之林木排佈，渚岸平遠錯落之勢，遠山倚側留白之法，乃至點景人物與山間屋宇之位置亦如出一轍，可見其心追手摹之深。

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