Page 176 - Modern Chinese Paintings, Hk Nov. 27,2017

PAINTINGS BY THE THREE MASTERS FROM THE CONGYUN XUAN COLLECTION 從雲軒藏渡海三家專輯 (LOTS 1389-1403)

Yu Fei’an wrote, “Of Daqian’s figure paintings, his lady portraits are the 本幅由張大千作二仕女，于非闇補蝶。對於張氏仕女畫，于非闇曾
most lauded, for they are bold and creative.” 評：“大千人物，尤以仕女最為畫道人讚賞，謂能大膽別創新意。”

Zhang’s portraits of ladies are imbued with a softness of touch, painted in fine 大千筆下的美人，在精美細勁的筆墨線條中，人物的眼神含情脈
but robust lines, with eyes that exude tenderness; delicate dresses that express 脈，裙帶翻飛，畫中蘊含著無限遐思。正如《撲蝶圖》中，他將傳
lightness and movements, as if lifted by the wind. Zhang’s skill in rendering 統仕女舉手投足間的表情及心聲表現地淋漓盡致，既高雅又輕靈，
facial expression conveys the elegant and meditative qualities of the traditional 充分表現出傳統中國女性的氣質。
Chinese female portraits, as seen in Ladies and Butterflies.
張大千最早學習仕女畫是師法明清眾家，包括唐寅、石濤、改琦、費
Zhang Daqian first learned to paint women through copying works by 丹旭、任伯年的作品。《撲蝶圖》乃是這一時期人物畫的代表之作，
Ming and Qing artists such as Tang Yin, Shi Tao, Gai Qi, Fei Danxu and 充分展現了張大千早期仕女畫的面貌。其用筆娟秀流暢，設色淡雅，
Ren Bonian. Zhang’s female portraits are the result of his painstaking study 纖雅生動的氣韻撲人眉宇；這種清雅纖細、體態柔弱的“林黛玉型”
from Ming and Qing masters to the Tang murals in Dunhuang, inheriting 美女，是明清文人所追求的美感意境。畫中撲蝶二女體態婀娜，衣紋
the greatness, uniqueness and characteristics of all the three dynasties, whilst 線條簡潔流暢，敷色清雅，盡得唐寅意筆仕女畫的精髓。
embodying Zhang’s own rich technique and audacious creativity.
于非闇進一步評論道“他對於女性觀察得很精密，能用妙女拈花的
This current painting is a classic example of the genre from Zhang’s early 筆法，曲曲傳出女兒的心聲，這一點是他的藝術微妙，也是他在女
phase of artistic development in female portraiture – figures painted with 性上曾下了一番工夫的收穫。”
fair face and detailed features; gentle, timid-like beauties that exude an air
of antiquity.Their slender figures carry simple, smoothly-lined garments, 張大千畫仕女鬢髮特別講究，曾明確的闡述，“畫人物鬢髮，如果
their pale colour tone closely resembling portraits by Tang Yin. 畫得不好，看起來就像是一團水泡了的黑棉花，勉強粘在頭上。畫
鬢髮古代唐宋人最為擅長。方法是用濃墨細筆，依著面形方位，疏
Renowned artist Yu Fei’an further explained, “Zhang has an intimate 疏落落略撇十幾筆，然後再用淡墨渲染二三遍，顯得柔和而潤澤，
observation of the female psyche, with a few very delicate strokes, he can 有根根見肉的意思，自然清秀可愛。＂
speak for the women he paints..This is the magic of his art, but also the
result of his effort in understanding the female gender.”

Zhang Daqian was punctilious about the execution of his figures’ hair.
explaining, “If one fails to paint a figure’s hair or beard well, it will look
like a black soaked sponge is stuck to the face.Tang and Song artists were
experts in painting hair and beards.Their method was to apply countless
small strokes in heavy ink sparsely along the shape of the figure’s face,
then they would reapplying light ink on the surface two or three times, to
soften the appearance and give a natural and realistic touch.”

1403 張大千 撲蝶圖 設色紙本 鏡框 一九三五年作

ZHANG DAQIAN (1899-1983) 題識：乙 亥（1935年）十二月倣明人筆作撲蝶圖，
Ladies and Butterflies 而予不能為草蟲，遂乞非厂補之。
Scroll, mounted and framed, ink and colour on paper 大千居士爰。
156.6 x 66 cm. (61 ¬ x 26 in.)
Inscribed and signed, with three seals of the artist 鈐印：大千毫髮、蜀中張爰、大風堂
One collector’s seal of Huang Junbi (1898-1991)
Dated twelfth month, yihai year (1935) 鑑藏印：白雲堂

PROVENANCE: 來源：白雲堂舊藏。

Formerly from the collection of Huang Junbi (1898-1991). 展覽：台 北，國父紀念館，《再現渡海三家：藝韻風華》，2011年
2月17日—3月13日。
EXHIBITED:
出版：《張大千書畫集·第五集》，國立歷史博物館，台北，
Taipei, National Dr. Sun Yat-Sen Memorial Hall, The Three Masters: 1983年10月，第23頁，圖版10。
Chang Dai-Ch’ien, P’u Hsin-yin, Huang Chun-Pi, February 17 to March 巴東，《張大千研究》，國立歷史博物館，1996年，第50頁。
13, 2011. 巴東，《台灣近現代水墨畫大系-張大千》，藝術家出版社，
台北，2004年，第44頁。
LITERATURE: 《再現渡海三家藝韻風華畫集》，國立國父紀念館、黃君璧
先生美術獎助基金會，台北，2011年，第16頁及封底。
The Paintings and Calligraphy of Chang Dai-chien, Vol. 5, National
Museum of History, Taipei, October 1983, p.23, pl.10.
Ba Dong, The Art of Chang Dai-chien, National Museum of History,
Taipei, 1996, p. 50.
Ba Dong, Contemporary Taiwanese Ink Painting Series-Chang Dai-
Chien, Artist Publishing Co. Taipei, 2004, p.44.
The Three Masters: Chang Dai-Ch’ien, P’u Hsin-yin, Huang Chun-Pi,
National Dr. Sun Yat-Sen Memorial Hall, Huang Chun-Pi Fine Arts
Fellowship Foundation, Taipei, 2011, p.16 and back cover.

Estimate on Request 估價待詢

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