Page 128 - Christie's Fine Chinese Modern and Contemporary Ink Paintings hk may 226 27 2021

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ZHANG DAQIAN (1899-1983)
Landscape after Juran
Scroll, mounted and framed, ink and colour on paper
117.5 x 49.5 cm. (46 º x 19 Ω in.)
Entitled, inscribed and signed, with two seals of the artist
Dated second intercalary month, dinghai year (1947)
Dedicated to Xunhou
HK$8,000,000-12,000,000 US$1,100,000-1,600,000

張大千 巨然晴峰圖 設色紙本 鏡框 一九四七年作
題識： 巨然晴峰圖。
丁亥（1947年）閏二月朔，
臨似恂矦仁兄法家正之，大千弟張爰。
鈐印：張爰之印、大千

The landscape paintings of Zhang Daqian from the 1920s and the 1930s were inspired 大千的山水，在二、三十年代主要受到黃山畫派的畫
by the Huangshan School, especially artists such as Shitao, Shi Xi, and Wang Meng. As 家，尤其是石濤的影響，其後擴及石溪，上溯王蒙。
Zhang travelled to Dunhuang and began to acquire Song and Yuan classical paintings, 到了四十年代，尤其是經過敦煌洗禮，並且著力入
he incorporated the Dong Ju technique (Dong Yuan and Juran) in his artistic practice. 藏宋元及以上古畫後，逐漸轉向以董巨法描繪南方山
水。本幅《巨然晴峰圖》即是效法巨然的青綠山水佳
Zhang painted this masterpiece in Juran’s renowned style of blue and green landscape.
With long, dense brushstrokes, dots, and the application of mineral pigments derived 作。此畫以董巨特色的長披麻皴為主，層疊而上，再
from azurite, malachite and ocher, Landscape after Juran reminds us of the lush green 以苔點點出山脊走向，然後以石青石綠及赭石等礦物
mountainscape of the Southern country. The composition is typical of the artist’s 顏料層層皴染，表現出南方山水特有的渾厚華姿的效
landscape paintings in the 1940s and features perilous peaks contrasting with details such 果。作品在構圖上保持了四十年代盛期山水所特有的
as small boats and cottages. Just like the monumental landscapes of the Tang and Song 奇絕險峻，近中遠景分明，搭配以漁舟小艇、小橋茅
dynasties that are rich in narratives and readability, the current work offers a clear division 舍，可觀可遊，正應和唐宋山水強調情節性和可讀性
of middle ground and background and enables viewers to experience the landscape as if 的時代特徵。畫面色調以青綠為主，再搭配赭石描繪
they can tour it in person. 的遠山及近處的樹葉，冷暖色調交相配置，使得全幅
具有強烈的裝飾感。
Between 1946 and 1947, Zhang Daqian produced some of the best copies of blue and
green landscapes after ancient masters. His training in the Dunhuang caves and his expert 大千仿古青綠工筆山水在1946至1947年間達到創作的頂
knowledge of mineral colours contributed to his success. As the war ended, Zhang could
afford a more comfortable living and acquired many important Tang and Song paintings. 峰，不論數量還是質量都最為顯著，一來大千經過敦煌
His collection further inspired him to practice diligently, with new materials for his solo 的訓練，對礦物顏料的使用更加得心應手，二來戰後生
exhibitions in major cities such as Chengdu and Shanghai. Blue and green landscape 活相對穩定，大千於此時期大量入藏唐宋巨跡，並勤奮
paintings such as the current lot were very popular among collectors at the time. With 臨摹學習，在成都、上海等地接連舉辦展覽，此一類型
Zhang’s departure from China in 1949, his physical strength and eyesight began to 的青綠山水最受觀眾歡迎。1949年去國後，大千體力、
deteriorate. He painted very few works in the fine-brush technique since then. Landscape 目力均不及以往，此類工筆山水逐漸減少，以致成為絕
after Juran is thus an invaluable example before the artist embarked on his world journeys. 唱，更顯本幅《巨然晴峰圖》之珍貴。

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