Page 180 - Modern Chinese Paintings, Hk Nov. 27,2017

PROPERTY FROM A PRIVATE AMERICAN COLLECTION 美國私人收藏 (LOT 1406)

1406

ZHANG DAQIAN (1899-1983)

Spring Snow on Magnificent Hills

Scroll, mounted and framed, ink and colour on paper
68 x 138 cm. (26 æ x 54 ¡ in.)
Inscribed and signed, with three seals of the artist
Dated sixth month, fifty-eighth year (of the Republic, 1969)

PROVENANCE:

Lot 148, 3 November 1997, Fine Modern and Contemporary Chinese Paintings, Christie’s
Hong Kong.

HK$35,000,000-45,000,000 US$4,600,000-5,800,000

張大千 溪山春雪 設色紙本 鏡框 一九六九年作

題識：五十八年歲己酉（1969年）六月既望。
蜀人張大千爰八德園寫。

鈐印：大千唯印大年、大風堂、春長好

來源：香港佳士得，近現代中國書畫，1997年11月3日，編號148。

In 1954, Zhang Daqian settled in Mogi das Cruzes near São Paolo in Brazil after travelling the
world from India to Argentina. There, he built an extravagant, lush traditional Chinese garden
which he named the Garden of Eight Virtues.The 1950s and the 1960s were the time when Zhang
Daqian started to experiment with splashed-ink as a technique: the exposure to new cultures
and geographies inspired him greatly. At the same time, he was suffering from an eye illness that
diminished his ability to paint in the meticulous, precise manner that he was well-versed in.

It was in the Garden of EightVirtues that the artist painted Spring Snow on Magnificent Hills.With adept
accumulation of ink layer by layer across the composition, the artist constructs an atmospherically
ethereal world depicting the beautiful scenery. Executed in 1969, Spring Snow on Magnificent Hills is a
spectacular landscape heralding the arrival of spring. Above the swathes of luminous ink forming the
shapes of the mountains and peaks, the artist splashes vibrant green and blue pigments depicting the
verdant vegetation before adding snowy white powder atop to perfect the snow-capped mountains.
Here, pigments coalesce into a dance, the ink and colour dissolving into an otherworldly haze, pierced
through only by the bright red flowers on branches growing from the mountain cold.The landscape
here is deftly complemented by expressively painted rock formations, trees, waterfall and lone cottages
built on a cliff – a landscape for the lone scholar on the winding path to wander in.

1954年，張大千繼暫居印度、阿根廷後舉家定居巴西，在聖保羅市郊摩詰鎮開拓八德園，收羅
玲瓏怪石、奇花異草。上世紀五十、六十年代乃張大千創立並發展潑墨潑彩畫風的重要時期，
對大千而言，無論地理環境還是人文環境均為全新，追求變法成為順應時勢的必然趨向。且張
大千目疾之後，對線條的控制顯得難以從心所欲。此時開始，大千頻頻使用大潑墨寫意山水技
法，更於六十年代在潑墨基礎上發展出潑墨潑彩相結合的新面貌，愈來愈臻於完善。

《溪山春雪》作於1969年，正是八德園時期的代表作品之一。畫面中山水氤氳，墨氣酣暢淋
漓，在濃淡虛實的墨色間，山巒煙雲若隱若現。潑墨完成主體後，畫家以石青石綠的潑彩作
點綴，表現濃郁的植被和山巔的靄色，再撞入白粉來表現山頂受光面白雪的明暗變化。潑彩
與水墨交融一氣，色澤絢麗，隨著色彩的流動、沉澱，產生光色明暗閃爍、斑斕陸離的色彩
效果，有如夢境般的奇幻美麗。山石上，又以鮮紅點綴朵朵綻放的花，以表達春暖花開之
意。大千用簡略的筆法，於山間和山巔鈎勒出岩石、樹枝、瀑布、小屋，以及漫步在山徑上
的出世高士，在抽象之中加入具象，得到了清晰準確的表現。

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