Page 72 - Christie's Fine Chinese Modern and Contemporary Ink Paintings hk may 226 27 2021

Currently, it is preserved at the Metropolitan Museum 原作的章法佈局。作
of Art in New York, as a donation from Zhang Daqian 品取直幅構圖，重在
1
in 1972 according to museum records. It is worth noting 突出山巒疊翠之聳立
that the Met also holds a work of the same composition 姿態。畫底描繪紅衣
previously in the collection of Mr and Mrs Earl Morse 高士佇立回首，似在
(Fig. 2), but it is attributed Chen Hongshou.
等候落在後面的白衣
Landscape Hidden in Mist after Bi Hong is virtually the 書童。幾株樹木聳立
same size as the Bi Hong original at the Met, with an 而上，直入雲端，中
almost identical composition. Layers of mountain peaks 間為重重霧氣所攔腰
towering over the vertical composition in the far distance. 遮斷，正是霧鎖重關
Ancient tall trees in the middle ground are interrupted 之意。樹梢越過雲端
by bands of heavy atmosphere. In the foreground stands 繼續向上挺立，遠處
a red-robed figure, perhaps a lofty-minded, reclusive 則是綿延群山，全幅
scholar, glancing back at the servant boy who has fallen Fig.3 (left to right) Zhang Daqian, Gao Lingmei, Yang Xiaoci, Xiao Yizhi in 高遠深遠具備，意境
behind. The varying depths and heights depicted as Qingcheng Mountain in Sichuan, 1942-1945. Courtesy of Mei Yun Tang. 豐富，正應和唐宋山
well as the rich colour palette, hark back to the stylistic 圖3（左至右）張大千、高嶺梅、楊孝慈及蕭翼之同遊四川青城山，
1942-1945年。梅雲堂提供。
characteristics of Tang landscape paintings. 水強調情節性和可讀
性的時代特徵。
Zhang Daqian also injects his strong personal flavours into this reinterpretation
of a traditional original. Whereas Bi Hong uses lines to delineate the surfaces of 本作中，大千在深入傳統的同時亦有所突破，雜揉了強烈的個
rocks and trees, Zhang uses textural strokes to mould the same shapes, creating 人風格。在山石樹幹的描摹上，畢宏原本重在以線條勾勒形
a stronger sense of volume. Bi’s figure of a frail old man also contrasts sharply 態，而大千更注重皴擦以表現結構，立體感強烈。在人物的描
with Zhang’s classic, serene middle-aged scholar. The heavy applications of 寫上，“畢宏本”人物形容枯槁，盡顯老態龍鍾之態，而“大
cinnabar, azurite, malachite, and white powder—an influence of the Dunhuang 千本”則是典型雍然自若的中年高士形象。在色彩使用上，本
wall paintings—have been well preserved on the satin. As such, its vivid colours 幅盡顯大千研習敦煌壁畫之受益，所用硃砂、白粉、石青石綠
remain virtually unchanged after 80 years. 等礦物顏料厚重華麗，而絹本更易保留厚重顏料，使得本作歷
經八十載而顏色幾乎未變，可謂是青綠山水中的罕見佳作。
Zhang Daqian began working on this painting in 1941 and finished it in
the following year. He sent it to its original recipient “Yizhi,” which was the 本幅於1941年開始創作，至翌年始成，可見大千精心之意。完
sobriquet of his old friend Xiao Fan (1890-1948). A native to Neijiang of the 成後大千鄭重寄上翼之二哥，並有相當自信認為畫技已有長
Sichuan province, Xiao Fan and Zhang Daqian became friends when they were
children; later he worked in the salt trade and banking. He managed the sales 足進步。“翼之”即蕭藩（1890-1948），字翼之，四川內江
of all of Zhang’s exhibitions in Sichuan after 1939. Zhang frequently referred 人，大千的童年好友，後來加入鹽號及錢莊，1939年後大千在
to him fondly as a brother (Fig. 3) and the two were very close. This painting 四川的書畫展覽及銷售均有賴簫翼之負責管理，因此二人關係
entered the possession of an unknown collector who called himself “Jingweng” 親密，大千口中常稱其“蕭二哥”（圖3）。此作至少1952年或
before 1952. Later it was acquired by Ye Qianyu, who recalled in writings that 以前由“靜翁”入藏，然靜翁不知何許人也。後轉入葉淺予珍
he found this work in the early 1960s in the Liulichang neighbourhood in 藏，葉淺予在回憶文章中提到此作乃六十年代初於北京琉璃廠
2
2
Beijing. It made its debut in the market at Christie’s in 1999; 20 years later, it 覓得 。1999年此作於佳士得首次面世，如今二十年後重現，展
emerges once again, bringing us awe and amazement. 卷如新，如此種種，盡顯長物當有情。
1 Due to copyrights, the reproduction of this painting cannot be published here. Individuals
can request the image directly from the Metropolitan Museum of Art. 1 由於版權所限，大都會博物館藏畢宏原本圖片未能公開，相關內容
可參閱館方網站。
2 Ye Qianyu, The Art of Zhang Daqian, from Selected Works by Zhang Daqian, Tianjin People’s
Fine Arts Publishing House, 1984. 2 葉淺予，〈張大千的繪畫藝術〉，《張大千作品選》，天津人民美
術出版社，1984年。

166