Newsletter No. 487

08 # 4 8 7 | 1 9 . 1 1 . 2 0 1 6 雅 共 賞 / ART iculation 江南小景　大千世界 二十世紀享譽盛名的國畫大師張大千（1899 – 1983）一生傳奇，被喻為「五百年來一大千」： 其母孕育他時曾有黑猿入夢，他便自覺是黑 猿轉世。因「蝯」同「猿」，故改以「爰」取名。 張氏年青時曾被土匪綁架，後又因未婚妻病 故而短暫出家，法號「大千」。從此「張大千」 成為他最為人熟知的名字，加上他蓄鬚、穿 袍、策杖，猶如今之古人，更是傳奇。他雖是 四川內江人，但早年已於上海、北京闖蕩，聲 名鵲起。四十三歲赴敦煌臨摹壁畫三年，藝 事精進，轟動藝壇。其後遊歷全球，於日韓歐 美印東南亞及香港均留下足跡，晚年定居臺 北，與溥心畬（1896 – 1963）、黃君璧（1898 – 1991）合譽「渡海三家」。 張大千可謂是書畫全才。山水、花鳥、人物無 一不精，亦擅書法、篆刻、詩詞、鑒賞，且善 於交際。他的繪畫以學習古人為主，臨摹之 作幾欲亂真。中國書畫極重視傳統，因此臨 摹古人是學習的必經之路，非但不會被視為 抄襲或毫無創意，反而是集大成與學問的展 現。張大千對各朝各家之繪畫特色都揣摩透 徹，融會貫通，所以能信手沾來，挑戰古人， 本文所述的《山水四屏》即是佳例。 畫中江南景色，構圖獨特、設色秀麗、筆墨清 雅、人物生動，是張大千1932年夏於浙江嘉 興所繪，屬早年佳作。三十一年後，即1963 年，恰逢朋友再度出示，張大千頓時如逢故 人，因此再補筆施色，並重新題跋。本作顯見 他師法古人，又不拘傳統的面貌，尤其是對清 初遺民畫家苦瓜和尚石濤（1642 – 1707）的深 入研習。如〈姑蘇帆影〉一屏，前景幾株枯樹 和垂柳遮掩江南小橋，中景數行飛雁，遠景 只露一道白帆。畫面大量的留白既是雲霧，亦 是水天一色，展現春雨江南的朦朧，以及中國 繪畫虛實輕重的構圖哲學。畫面左下方鈐蓋 「苦瓜滋味」朱文印，說明張氏也認為該畫 畫出了石濤的味道，足證他早年用功於石濤 的自信。 畫上方題詩「誰將折東遠招呼，長短相思無 日無。挈取酒瓢詩卷去，一帆春雨過姑蘇」， 不單寫出了離別在即的惆悵，也寫出了委婉 優美與詩情畫意，署款「大千」，並鈐蓋「大 千居士」、「張爰」二印。左下方可見「大千 重加枯樹」字樣，並蓋有「張爰長壽」印，則 是1963年重加題染之證，其時張大千已年逾 六旬。 此外，這四屏上另有書畫鑒定大師徐邦達 （1911 – 2012）和書畫名家陳定山（1896 – 1989）題跋，非常難得，從中也見證三人交 往的風雅。如〈姑蘇帆影〉就是1943（癸未） 年張大千過四川重慶時，陳定山因舊友重逢 而在右下方題曰：「大千時客重慶因題舊作， 定山癸未」。 張大千（1899 – 1983） 山水四屏 現於文物館展廳二B  「好古同樂」展覽中展出 1932年作，1963年補筆 各89.7 x 30.7釐米 設色紙本 于鄭麗波女士及鄭大培先生  惠贈以紀念其父母  鄭鶴橋先生及許慕貞女士 Chang Dai-chien (Zhang Daqian, 1899–1983) Set of Four Landscapes Currently exhibited in the Spirit of Sharing: Recent Acquisitions of the Art Museum exhibition in Gallery II of the Art Museum 1932, retouched on 1963 Each 89.7 x 30.7 cm Tetraptych, ink and colour on paper Gift of Leepo Cheng Yu and Ta Pei Cheng in memory of their parents Mr. Hok Chow Cheng and Mu Cheng Hsu 「大千居士」 ‘ Dai-chien ’ 「張爰長壽」 ‘Chang Yuan changshou ’ (longevity) 「張爰」 ‘Chang Yuan’ 「蝶野」（陳定山字） ‘ Dieye ’ (courtesy name of Chen Dingshan) 「苦瓜滋味」 ‘ Taste of bitter-gourd ’ 〈姑蘇帆影〉 ‘The Silhouette of Boat Sail in Suzhou’ A Glimpse into the World of Chang Dai-chien Chang Dai-chien (1899–1983) is one of the most internationally well-known Chinese artists of the 20th century. Originally named as Chang Yuan (‘Yuan’ means ‘ape’ in Chinese), the legendary artist had always thought of himself as the incarnation of an ape, which his mother had dreamt of when she was heavy with him. Throughout his entire life, Chang had numerous adventurous encounters. He had been kidnapped by the bandits when he was young and became a monk after the death of his fiancée. It was then when Chang obtained his pseudonym ‘Dai-chien’, which referred to ‘the universe with a thousand regions’ in Buddhist belief. Clad in a long robe with a walking stick held in his hand, the heavily bearded Chang Dai-chien had the appearance and elegance of an ancient scholar. The Sichuanese master spent most of his early years in Shanghai and Beijing where he acquired fame as a young artist. At the age of 43, he launched an expedition to Dunhuang and made meticulous copies of the Buddhist murals in the Mogao and Yulin caves. The experience not only advanced his skills in figurative paintings but also enabled him to take centre stage in the global art scene. Since then, he started to travel extensively to various countries in Asia, Europe, as well as the Americas. He settled in Taipei in his later years and was named one of the ‘Three Masters Crossing the Strait’, alongside Fu Xinyu (1896–1963) and Huang Junbi (1898–1991). Chang was proficient in almost all genres of Chinese paintings, including landscapes, birds-and-flowers, and figures. He also excelled in calligraphy, seal carving and poetry writing. At the same time, he was a famous connoisseur of fine arts with remarkable networking abilities. Chang was known for having spent a considerable time and effort to emulate the traditional techniques and styles of preceding artists. His reproduction of ancient paintings had successfully deceived some of the most experienced connoisseurs. Nevertheless, the reproduction of classical Chinese paintings is never associated with the contemporary understanding of ‘forgery’. Artists take pride in completing a careful reproduction of the original piece as the achievement is evidence of the artists’ virtuosity. The Set of Four Landscapes by Chang Dai-chien offers an example of how the artist was able to master traditional techniques and styles to eventually find his own voice. In the Four Landscape s, sceneries of Jiangnan (southern Yangtze) are vividly depicted with a unique composition. Dedicated to the artist’s friend as a gift, this set of artwork was created in the summer of 1932 in Zhejiang. After 31 years, in 1963, the paintings were once again presented to Chang, who decided to retouch them with new colours and inscriptions. The landscape paintings demonstrate the distinguished skills of Chang in emulating the techniques and styles of Shi Tao (1642–1707), a renowned Chinese artist of the early Qing dynasty who was also known as the ‘Monk of Bitter-gourd’. Unfettered by tradition, Chang constantly strived for breakthroughs. His artistic accomplishment was beautifully exemplified in one of the Four Landscapes , ‘The Silhouette of Boat Sail in Suzhou’. In the foreground of the painting, a traditional arch bridge commonly seen on the southern bank of Yangtze is obscured by the branches of barren trees and weeping willows. Halfway up the painting shows a flock of wild geese crossing the sky. From where the water and sky meets emerges the silhouette of a white boat sail. The extensive void in the painting can be interpreted as mist or fog, or the combined hue of the water and clouds, which renders the typical dream-like ambience of Jiangnan veiled in spring drizzles. A red seal in the left bottom corner reads ‘taste of bitter-gourd’, which not only suggests the artist’s allusion to the style of Shi Tao but also shows Chang’s confidence in mastering the techniques of Shi in his early years. A line in the bottom left corner reads ‘barren tree added by Da-chien’ with the artist’s ‘Chang Yuan changshou (longevity)’ seal, indicating the re-touching in 1963 when the artist was already over 60 years old. The Set of Four Landscapes is also graced with colophons of connoisseur Xu Bangda (1911–2012) and renowned painter- calligrapher Chen Dingshan (1896–1989). For the piece shown here, a colophon by Chen along the right border records his reunion with the artist as an old friend in Chongqing during 1943. The theme of friendship resonates with a poem beautifully composed and inscribed by the artist on top of the painting, which depicts the sorrow of parting and memories of a distant friend.