Page 48 - The Pioneers, November 26, 2016 Hong Kong
P. 48
Fig. 1 Zhang Daqian at Dunhuang Fig. 4 Zhang Daqian with Picasso at Picasso's home near Cannes in 1956
圖 1 張大千在敦煌 圖 4 1956年，張大千在畢加索於戛納附近的寓所與其會面
him in his own pursuit in paintings - it was around broad swaths of ink, encouraging flowing forms, and
this time his splashed-ink paintings developed into created dramatic works contrasting to his earlier style.
the technique that is highly revered today. Zhang's
meeting with Picasso in late July 1956 was influential Zhang's most prolific period came about the mid-
in his pioneering a new path towards his approach 1960's, around their departure from South America, and
to art creation (Fig. 4) – this period also marked at the time this present piece was executed. Zhang's
Zhang's meeting with Chinese artists practicing residence in Brazil, Ba De Yuan (The Garden of Eight
within the abstract realm, such as Zao Wou-ki and Virtues), was both vast and opulent, with an excavated
San Yu, which very likely expanded his exposure and lake and five pavilions (Fig. 5, 6), and it was here he
understanding towards Abstract Expressionism. produced some of his most powerful and innovative
works during this period, creating a series of almost
Many have noted that Zhang's splashed-ink paintings abstract paintings in his Brazil studio, which were
were representations of a synergy of both Western the centerpiece of his first Laky Gallery exhibition.
and Chinese painting practices - nevertheless, Zhang
stressed his splashed-ink works were a continuation This splashed-ink landscape synthesis is
of Chinese paintings rather than a departure from it, probably the most significant fusing of
reflections of Tang dynasty methods whereby artists Chinese and Western elements with its bold
randomly splashed and saturated their paintings with approach, fluid and free brushwork.
ink. Blue and green landscape were believed to have
been invented by Li Sizun and his son Li Zhao-dao AMORPHOUS LANDSCAPES
in the Tang Dynasty (618 – 907), that relies on heavy
mineral blues and greens and sometimes gold and In this present lot, Zhang brilliantly builds shapes,
silver. Whereas gongbi works emphasised meticulous colours, and textures, creating wisps of clouds
and tidy focus, in turn preventing independent and and dense vegetation with minimal brushstrokes ,
expressive freedom, the xieyi method favoured sweeping amorphous forms delineating details of the mountain
ridges and the surrounding scenery in remarkable
42 THE PIONEERS 先 鋒 薈 萃
