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全球拍卖首页 > Ravenel Ltd > 翰墨丹青—中國書畫專場 > Lot 637
張大千；溥心畬 ZHANG DAQIAN (Taiwanese, 1899-1983); PU HSINYU (Taiw
台湾 北京时间
2019年06月01日 开拍 / 2019年06月01日 截止委托
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拍品描述 翻译
Description: 款識：力耕仁兄法家正之，大千居士張爰。心畬補蝶。 鈐印：張爰長壽（朱文）、張大千長年大吉又日利（白文）、溥儒（白文） Signed DAQIAN and HSINYU in Chinese With three seals of the artist 註： 上款人「力耕仁兄」即為資深台灣藝文記者張力耕。畢業於中央政治學校新聞系，曾於二戰期間擔任戰地記者，赴台後任職於《中央日報》，曾專訪周作人、傅斯年，並為傅先生賞識，與張大千、溥心畬、黃君璧為好友。張氏亦曾主理《大華晚報》副刊及《電視周刊》編務，後移居美國。 張大千乃中國近代美術史最傳奇的人物之一，不僅畫藝卓絕，其一生豐富的閱歷與軼聞，更為人所樂道。張氏創作，不僅融眾家之長於一，更兼具南北二宗的富麗，其藝術高度除人物、山水畫外，花卉更是一絕。張大千幼時承母姐之教，精於宋人工筆雙鉤花卉，以畫水仙最為出色；後學元人寫意，更師法陳淳、徐渭、石濤與八大山人之沒骨畫法，意境拔群，將古人技法化為己用。綜觀張大千的花卉創作，以清雅的荷花為主，再則因愛梅成痴而畫梅，最後則是嬌艷的芍藥臨寫最令人鍾情，三種不同的花卉畫各顯風姿，除主題多樣外，在技法上勾勒、寫意兼而有之，張氏筆下花卉柔中帶剛，用墨潤透多變，設色清活、意境閒逸，畫境之高，讓徐悲鴻稱張氏為「五百年來第一人」。 同為「渡海三家」的溥心畬，是詩書畫三絕的奇才，張大千曾仰溥心畬，言其「柔而能健，峭而能厚。」溥氏一生勤勉，讀書繪畫不輟，以一襲布衣優遊天下，特立獨行而游於藝。張大千與溥心畬於北京相識，曾同住於頤和園，是時國難當前，張、溥兩文士同氣相求、互有酬酢。兩人先後抵臺，情誼更勝以往，張、溥二氏喜結交朋友，常與友談天並同時作畫，每當眾揮毫，筆下瀟灑、風流自成；此幅《芍藥》即是為當時倆人之友－張力耕先生所作，一畫雙成、實屬難得。 古云：「芍藥第一，牡丹第二。」謂牡丹為花王，芍藥為花相，并常以芍藥相贈，以表結情之約或惜別之情。芍藥向來是文人墨客喜愛描繪的對象，張大千早年於耶魯訪問期間，拜訪過民初才女張充和先生的住處，見其園內芍藥盛開，畫了多幅芍藥圖銘記；此幅《芍藥》嬌艷清妍、姿態綽約，芍藥為草本生，又喚「沒骨花」，即為沒骨花則始得用沒骨畫法畫成。此作雙枝芍藥以淡墨畫，花體ㄧ綻放、ㄧ含苞：綻放枝花瓣以「春蠶吐絲」（溥心畬語）之細筆勾勒，落筆圓點輕巧、筆勢婉若遊龍，瓣片疏展，間以胭脂紅點戳、略施渲染，花中心以濃墨點蕊、石綠敷色見其精神，淡而彌厚，此乃脫自石濤花卉畫法；澹墨畫枝，自上而下以一筆貫之；畫葉猶如狂草大寫意，片刻揮就，筆墨雄秀有力，設色以舊葉濃、新葉淡表現出層次，以石綠敷染更顯「巧中求拙、熟中求生」的自然意態。含苞枝花苞則直接以胭紅戳染，婀娜有致；花萼錚錚顯出待放的生命力，ㄧ枝鐵骨獨秀，瘦枝繁葉顯出張大千筆力渾厚之勁，畫花造型在「似與不似之間」，雙枝並立於畫幅，留白之處更顯出芍藥的天然樣貌。張大千畫花常以清代《廣群芳譜》作為靈感參考，張氏更把「格物致知」奉為圭臬，ㄧ生不僅愛蒔花弄草、造園求境，他認為「求真」比什麼都重要，如此才能在畫中見生機，了悟「一花一世界，ㄧ葉一如來」的境界。 昔莊周夢蝶，將追求自由、順應自然之意寓予蝴蝶，自此蝴蝶成為文人雅士愛好逍遙灑脫的對象；水墨畫中的蝴蝶除工筆寫生作為點綴山石花卉之外，寫意化出的蝴蝶更具有靈光乍現的重生之美。此作《芍藥》由溥心畬畫仙蝶補成，仙蝶以正面之姿飛舞，溥氏先點後勾寫出蝶身，再以淡墨敷染數層成蝶翅，上翅濕而下翅乾，翅尾些許飛白，僅用墨色卻能作出層次；蝶足則以勾法成之，筆勢精準老辣，溥氏觀大千畫此芍藥花淡雅靈動，而師其心跡畫出仙蝶，飛舞於花苞上，彷彿即將駐足停留，盎然的生機現於畫中，成為此圖點睛之筆，更增添野逸生趣。 畫中上方題款可見張大千筆力古拙雄渾，張氏書法得自其師李瑞清，後參以宋代黃山谷筆勢，發展出靈動奇雋的「大千體」風格，尾筆骨力峻奇，與畫中芍藥婉約之姿形成對比，頗得逸趣；溥心畬題款以行書成字、清秀雅致，與仙蝶飄逸之姿相映，觀之有俊朗丰神之感。 此幅《芍藥》來源自資深藝文記者張力耕先生，張先生曾於二戰期間擔任戰地記者，赴台後任職於當時台灣第一大報《中央日報》，曾專訪周作人、傅斯年，并為傅先生賞識，後與渡海三家結為好友。張力耕先生不僅在文化新聞從業成就卓越，其與當時臺灣藝文界大師的交誼更是歷史的見證，此作即是張、溥二人合作成畫，張氏繪芍藥、溥氏補成仙蝶，觀之曲折不盡，回味無窮，實是難得一見的海歸逸品。 Zhang Daqian was a legend in Chinese modern art history with superb artistic skills, a rich personal experience and excellent character. Zhang gathered expertise from ancient masters of the Southern and Northern School of Art. He excelled in portraits, landscapes and flower paintings. Zhang learnt the skills from his mother and sister, primarily excelled in Gonbi flower paintings from the Song dynasty and painted best of daffodils. He later followed Yuan style of painting and learnt boneless paintings from ink masters Chen Chun, Xu Wei, Shi Tao and Bada Shanren. Amongst the flower paintings of Zhang Daqian, most of them feature lotus flowers, followed by plum blossom and peonies. These three types are different in character and ways of depiction. Flowers under Zhang's brush are rich in colour with deep meaning, thus he was praised by Xu Beihong as the greatest ink master in centuries. Another most accomplished artist in Taiwan is Pu Hsinyu, who excelled in literature, calligraphy and painting. Zhang once admired Pu as an all-round artist, keen in brushwork. Pu was a humble scholar living an austere lifestyle in solitude. Zhang and Pu met in Beijing and lived in Summer Palace before the war. Both scholar had close friendship. After arriving in Taiwan, their friendship grew even further. As extroverts, both loved engaging friends in the making of ink paintings. This work was made as a gift for Mr Zhang Ligeng, by these two greatest artists of all times, making this a rare painting. There are two types of peonies: garden peonies (featured in this painting) and tree peonies. An adage goes, “Garden peonies comes first, followed by tree peonies.” Tree peonies are praised as kinds, whereas garden peonies are chancellors. The latter was usually given as gift of friendship or farewell. Garden peonies have long been the favourite subjects of depiction by literati. Zhang once visited Zhang Chonghe at her residence during his interview at the Yale University. Zhang saw the garden peonies blooming in the garden and drew a few sketches of the flowers. The flowers in this work were elegantly depicted. These garden peonies were called Boneless flowers, and were thus drawn with Boneless technique. The two flowers were coloured in light ink, one in its full bloom, one in bud. In Pu’s words, the blooming flower was delicate as spring silking worm, outlined skillfully with small brush, flourished with red at the center. Green of the stem enhanced the luscious effect from the plant. This technique resembles that used by Shi Tao. The stem was painted in one stroke. Leaves were depicted in their natural forms with broad and sturdy brushstrokes. The crown of the flower was vividly applied with colour. Blank background highlights the subject matter. Zhang was strongly affected by Qing’s realistic approach of painting, thus devoted time in gardening and appreciating plants. Zhang Zhou’s dream of butterflies represents freedom and the love for Nature. Butterflies have long been a symbol of carefree spirits among literati. They are often used as flourishing in gongbi style next to flowers in gardens. Butterflies in broad brush enhanced its vibrancy. In this work, the butterfly was drawn by Pu Hsinyu. It was dancing facing the audience. Its body was sketched by Pu and its wings were depicted in layers of light ink. This simple subject matter could see Pu’s exceptional skills used. Pu painted the butterfly after watching Zhang’s elegant garden peonies depiction. Pu’s butterfly fluttered in its own vibrancy. Inscriptions on the top shows Zhang’s sturdy calligraphy, inspired by Li Duanqing and Song scholars. Zhang’s calligraphy was unique to the artist, juxtaposing against the elegant peonies depicted. While Pu’s inscriptions was soft and elegant, echoing with the vivid butterfly. This work was under the collection of Zhang Ligeng. Zhang was once a war journalist and worked under the Central Daily News, the official newspaper in Taiwan in the period. He built friendship with the three greatest ink masters in Taiwan. Zhang established great achievements for the Taiwanese cultural sector. This painting was a collaboration work by the two greatest artist of all times, making this work a rare masterpiece in history.

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价格信息

拍品估价：2,800,000 - 4,200,000 新台币 起拍价格：1,900,000 新台币  买家佣金：
落槌价 佣金比率
0 - 32,000,000 20.00%
32,000,000 - 以上 12.00%
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