Zhang Da-Chian 張大千 (1899-1983)

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Updated: 03/15/2013


1. Introduction to Zhang Da-Chian's Life


張大千
pronounced as Zan Da Chien

Traditional Chinese: 張大千

Wade-Giles: Chang Ta-Chien

Simplified Chinese: 张大千

Pinyin: Zhāng Dàqiān

 

Gibbon rerincarnation

 

Zhang Da-Chian (1899-1983) casts a long shadow over the modern history of Chinese painting. As a painter, he was known for his singular ability to mix traditional techniques and styles with contemporary ideas and currents. As a collector, he accumulated important examples from all genres of Chinese painting and left behind copious seals and inscriptions. As a forger, Zhang so mastered the art of deception that his fakes were purchased unwittingly by nearly every major art museum in the United States—the MFA included. Indeed, the first question asked by experts when a work is considered suspect is: “Could this be by Zhang Da-Chian?”

JH: not mixed with Western, he said he had not learned Western

1899-1983) was one of the best-known Chinese artists of the twentieth century. He is also regarded by many art experts as one of the most gifted master forgers of the twentieth century. He collected and used the largest number of seals throughout the Chinese history.

Born in a family of artists in Sichuan, China, he studied textile dyeing techniques abroad and returned to establish a successful career selling his paintings in Shanghai. A staunch supporter of the Guomingtang, he left China in 1948 and moved to Mogi das Cruzes, Brazil, and then to Carmel, California, before finally settling in Taipei, Taiwan. 

A meeting between Chang and Picasso in 1956 was viewed as a summit meeting between the preeminent masters of Eastern and Western art. Picasso showed Chang some drawings done in "Chinese" style, but Chang remarked that they were not executed with the right tools and gave Picasso a set of Chinese brushes.

 

歡喜如來圖 Buddha's Manifestation of Benevolence

张大千。张大千说英国出的一种水彩笔十分名贵,是用英国某地黄牛耳朵内的细毛制成,2 500头黄牛才出一磅黄牛耳毫。牛耳毫制成的画笔,吸水饱满,有弹性。


This exhibition focuses on all three facets of Zhang’s career and features a rich selection of works from the MFA alongside loans from private collections. Of particular interest is a master forgery acquired by the Museum in 1957 as an authentic work of the tenth century. The painting, which was allegedly a landscape by the Five Dynasties period master Guan Tong, is one of Zhang’s most ambitious forgeries and serves to illustrate both his skill and his audacity.

painter and collector who was one of the most internationally renowned Chinese artists of the 20th century.

 

As a child, Zhang was encouraged by his family to pursue painting. In 1917 his elder brother, Zhang Shanzi (an artist famous for his tiger paintings), accompanied him abroad, to study textile dyeing.

Eternal masterpiece ( 傳世之作 )

From CP

Chang Dai-chien [Zhang Da-Chian] (1899-1983) was a native of Nei-chiang, Szechwan. His original given name Chuan was later changed to Yuan, while his childhood name Chi was later incorporated into his studio name Chi-yuan. He took the religious name Dai-chien upon becoming a Buddhist monk, and after returning to the laity he called himself Dai-chien chu-shih or "Lay believer Dai-chien."

At the age of 21 he studied under Tseng Hsi and Li Jui-ching. Taking Shih Tao and Pa-ta Shan-jen as his starting point, he sought out as many paintings by famous artists of past centuries as he could to copy. Beginning with an impressionistic style and progressing to meticulous brushwork, he developed the ability to move between these techniques with complete master. In 1941 he traveled to DunHuang where he spent two years and seven months copying wall paintings. Here he studied traditional coloration and line drawing methods, being particularly moved by the grand scale and complex layout of the high Tang style. The sumptuous splendor of high Tang art inspired him with the desire to create great art.

Besides copying from old masters Chang Dai-chien was also expert at painting from life.

Chang Dai-chien traveled widely in Europe and America, where he came into contact with the contemporary art movement in the West. This spurred a sea change in his methods of painting, and he created unique splashed-ink and splashed-color styles, expanding the potential of plane surfaces and coloration. In his later years, he combined splashed ink and splashed color with the masterly texture strokes and liberation of his early years to form a new synthesis. Hovering between concrete and abstract, reveling in freedom and unpredictability, Chang Dai-chien's work created a whole new style of modern Chinese painting.

Zhang was also a political figure.

-- By Chen Kang-Shun

Riding a Mule in the Winter Forrest by Lee Cheng (once collected by Zhang Da-Chian)

李成《寒林騎驢圖》為張大千大風堂舊藏,在大立軸上畫文人騎驢行于郊野,前後有童僕相隨。畫上古松有凌雲之勢,間有枯樹寒溪,頗有意趣。詩堂處張大千題以大風堂供養天下第一李成畫。畫幅下端又綴有長題,其中云:米元章《畫史》云寶月大師李成四幅,路上一才子騎馬,一童隨,清秀如摩詰畫《孟浩然騎驢圖》,此云騎馬,一時誤書耳。又云松枝勁挺,松葉郁然有陰,荊棘小木無冗筆,不作龍蛇貴神之狀,即此圖也。

 

 

 

When Zhang Da-Chian visited the MFA in 1953, he was distressed to find that
the collection did not include a single one of his paintings. He bequeathed
this important work, a nostalgic reimagination of his native Sichuan, to
address what he considered an unnacceptable gap.

 

 

 

 

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2. 張大千簡介

張大千,原名正權,後單名張爰,又名張季、張季爰、張季子,字大千,別號大千居士。四川內江人。生於民國前13年(1899年),卒於民國72年(1983年),享年85歲。畫風自成一格,成為近代繪畫史上一大家。縱觀先生稟賦過人,畫學融會前賢精微,卻不為所拘,自開潑墨潑彩畫法,因被譽為「五百年來一大千」。

張大千一生充滿傳奇,bandit, 如曾赴日學染織,又入寺為僧,並在戰火中遠赴敦煌臨摹壁畫等。雖四處遊歷,對居所卻十分考究,不論四川「梅邨」、巴西「八德園」、美國「可以居」和「環蓽盦」到台北「摩耶精舍」,均極富園林之勝。

 大气磅礴,清新自然 unlike Pu Ru, he was happy

摩耶精舍建於民國65年,678月完工,佔地578坪,建坪為222坪。位於台北外雙溪溪水雙分之處,由先生親自設計興造雙層四合院建築,並搭配以中國式庭園。

「摩耶」一名出自佛教典故,為釋迦牟尼之母,腹中有三千大千世界,故「摩耶精舍」即「大千精舍」。

先生逝世百日後,家屬遵其遺願捐出精舍成立紀念館,交由國立故宮博物院管理,俾使參訪者至此故居中,不但了解其居家生活狀況,也緬懷先生一生的歷練、繪藝與風采。

一樓會客廳陳設典雅大方,牆上懸有民國71年所得中正勳章,以及和溥心畬、畢卡索的合照。緊鄰會客廳的是大畫室,先生蠟像正揮毫作畫,栩栩如生。四壁懸掛紀念性如敦煌石窟前的留影,兄長照片和母親、老師的書畫作品等。後有小會客室,為張夫人接待女賓之所,放置奇石彰顯先生愛石之癖。

先生為知名美食家,餐廳懸掛「賓筵食帖」,書寫宴請嘉賓的菜單,頗有生活情趣。

二樓裱畫室因先生考究裝裱所設,聘請師傅前來裱褙。另有小畫室陳設簡潔,應是先生悠閒創作小幅作品之所。壁上掛鐘停在上午八時一刻,乃為紀念先生辭世的時刻而設定。

庭園為先生精心所營造,其中花木,小橋流水,曲徑通幽。後園影娥池畔上登「翼然」、「分寒」兩涼亭,可盡收雙溪遠近景色,故先生嘗說:「凡我眼見,皆我所有」。另有考亭一座,是烤肉的所在。在爐架外,放置數個醃製四川泡菜的陶甕,有懷舊風味。前豎巨石摹刻「大千居士乞食圖」,足見先生之風趣。

另水池內繽紛的錦鯉、二樓活潑的長臂猿,以及鳥園中的錦雞、灰鶴,也都各具姿態。

先生愛梅之清雅堅忍,廣植庭園,立巨石其間,摹刻親書之「梅丘」二字,並為尊孔子名諱,寫「丘」為「丘」,選為長眠之所。

 

上世紀30年代,張大千名聲漸起,并與溥心畬交往密切,他們的畫經常一起在北京琉璃廠展出,銷路甚暢。有鑒于此,當時的著名畫家于非闇先生首先在《北京晨報》上著文倡言提出南張北溥。據悉,張大千對溥心畬非常敬佩,曾在其畫展自序中提到我仰溥心畬,并認為中國當代畫家只有兩個半,其中之一就是溥心畬。兩人的一次合作還被傳為佳話。一次,張大千到北京拜訪溥心畬,恰遇大風。張觸景生情,隨手畫了一棵被風吹倒的大樹,樹上還纏繞著青藤。溥心畬未走出七步,即在畫上添詩一首:大風吹倒樹,樹倒根已露。上有數枝藤,青青猶未悟。從一個封建王朝的沒落王孫,他開始了他人生的旅程;在一座感傷孤島的青山成為他人生的終點。在那些瀟洒雅逸的書畫之中蘊涵著的是溥心畬先生對人生無限的惆悵和感慨。

 

1934年春,張大千舊地重游,在恭王府萃錦園會見了溥心畬,他拿出一卷自己的《三十自畫像》請溥心畬題跋。溥心畬題道:"張侯何歷落,萬里蜀江來。明月塵中出,層層筆底開。贈君多古意,倚馬識仙才。莫返瞿塘掉,猿聲正可哀。"短短40字的一首詩,表達了對張大千到來的欣喜,對張大千人品、藝術的讚美推崇,還表示對張大千誠摯的挽留。足可看出他們之間非同尋常的關係。他們交流心得、切磋技藝、互相陶染、精進不已。同年,他們合作的《秋林高士圖》中,張大千題跋數語:"此予在萃錦園試心畬居士所制紫檀汁,寫大風人物"可見一斑。

 

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3.

[This is the answer to the question.]

Year   Age  
       
       
       
       
       
       
       
       
1927    

  丁卯春,在北平邀張大千會面。

 
       
       
       
       
       
1941    

張大千敦煌石窟

In spring, went to Dunhuang the second time; held “The Art Show of Dunhuang Outline Drawing” in Chengdu; arrived in Lanzhou in winter.

 

 

 

       
       

 

 

 

       
1956    

In April, “Works of Art from Dunhuang” held in Tokyo; traveled to Europe the first time, and went to Rome; held in Paris the art show in the Louvre Museum and “Dunhuang Paintings” in the Oriental Museum; in July, met Pablo Picasso and exchanged paintings with each other.

畢卡索曾向張大千請教中國水墨畫的技巧,因為當時畢卡索自己私下有在臨摹中國水墨畫,但他沒有毛筆,所以用水彩筆代替?!印象中張大千因此還送了文房四寶給畢卡索

 
       
       
       
       
       

 

 

 

 

1899 - (Jihai Year) born at Neijiang County, Sichuan Province, on May 19th, 1899 (first day of the fourth month, year twenty-five according to Emperor Guangxu, the Qing dynasty).

1908 - (Wushen Year) started to learn drawing after his mother: outline drawing of flowers and animals without color or shade.

1911 - (Xinhai Year) family conditions improved with the opening of “ Yi Wei Li” (profits from righteousness), a grocery store; entered the American-Chinese primary school at Neijiang run by Christians.

 

1914 - (Jiayin Year) entered Qiujing Middle School, Chongqing; house searched and property confiscated for Zhang Shanzi, his second elder brother, having participated in anti-Yuan Shikai campaign; Shanzi fled abroad. 1916 - (Bingchen Year) kidnapped by gangsters at Youtingpu, Sichuan, and forced to be an advisor there until about 100 days later when he managed to escape. 1917 - (Dingsi Year) went abroad; learnt commercial weaving and textile dyeing, and painting.

 

1919 - (Jiwei Year) returned to Shanghai to teach at a Christian school; began to study under Zeng Xi (Tseng Hsi) and changed his Given name into “Yuan;” became, in the same year, a Buddhist believer at Songjiang with the Buddhist monastic name of “Da-Chian,” but three months later resumed his secular life; returned to Neijiang and got married to Zeng Zhengrong before studying calligraphy under Li Ruiqing (Li Jui-ching) in Shanghai, and also starting to study Shi Tao (Shih Tao) and copy Zhu Da (Ba Da Shan Ren).

 

1920 - (Gengshen Year) returned to Sichuan from Shanghai after Li Ruiqing’s death. 1921 - (Xinyou Year) presented inscriptions as a gift to Zisheng Temple, Neijiang, and started to sell his paintings and calligraphy. 1922 - (Renxu Year) got married to Huang Ningsu. 1923 - (Kuihai Year) moved to Songjiang; and sold copies of Shi Tao’s paintings in Shanghai.

1924 - (Jiazi Year) Father died, and his poetry, paintings and calligraphy distinguished in the group of “Qiu Ying Society” in Shanghai.

 

1925 - (Yichou Year) the first one-man painting show held at Ningbo Guild House, Shanghai. 1926 - (Bingyin Year) first time to admit pupils; extravagantly gambled at “Shi Zhong Society,” Shanghai, but disappeared from the gambling hall soon after. 1927 - (Dingmao Year) traveled to Mount Huang the first time.

 

1928 - (Wuchen Year) shared “Da Feng House” with Shanzi, and organized “Mount Huang Society” to promote Mount Huang travel.

1929 - (Jisi Year) his two works of art entered for the First National Art Exhibition, acted as a council member for national exhibitions.

1930 - (Gengwu Year) second time to Mount Huang; held an art show in Shanghai; death of Zeng Xi. 

1931 - (Xingwei Year) accompanied the coffin of Zeng Xi to Hengyang, Hunan province; climbed Mount Heng; went abroad as a representative for the “Chinese Art Show of the Tang, Song, Yuan, and Ming Dynasties”

1932 - (Renshen Year) moved to Wangshi Garden, Suzhou, with Shanzi; traveled to Pyongan Mountains, Korea. 

 

1933 - (Kuiyou Year) art works shown at “Modern Chinese Paintings” in Paris, France; The Lotus collected by a museum in Paris, and the Scenery of Southern China collected by Moscow Museum; held art shows in Shanghai and Nanjing.

1934 - (Jiaxu Year) the one-man painting show in Peking (today’s Beijing); traveled to Mount Hua, also to Korea; invited as professor of Chinese paintings at the Department of Fine Arts, the Central University, Nanjing; the one-man painting show held in Nanjing; traveled to Mount Tai in August and held an art show in Ji’nan. 

1935 - (Yihai Year) work of art shown at a British gallery; traveled to Mount Huang the third time; resigned as the professor at the Central University; art show held at Peking and Hankou; in autumn, traveled to Mount Huang and Longmen (the Dragon Gate) on Yellow River the second time; The Art Work of Zhang Shanzi and Zhang Da-Chian (two volumes) published in Shanghai; got married to Yang Wuanjun. 

1936 - (Bingzi Year) Mother’s death; held “Recent Works By Zhang Da-Chian” in Nanjing; art shows also held in shanghai and Tianjin; moved to the Summer Palace, Peking, and held paintings-on-fans show in Peking; Zhang Da-Chian’s Anthology published for the first time; invited as adviser to “ Research Section” under Ancient Relics Exhibition Institute, Peking.

1937 - (Dingchou Year) held “The Joint Show of Paintings, Calligraphy, and Inscriptions on Bronzes and Stones” with Fang Jiekan in Peking; foreign aggressors entered Peking, China, and there Zhang felt trapped.

 

1938 - (Wuying Year) left Peking in May; an art show at Yong’an (in sound) Restaurant, French leased territory, Tianjin; arrived in Hong Kong via Shanghai by sea; an art show in Hong Kong; in August, traveled to Guilin with Xu Beihong and others; came to Chongqing and created patriotic works of art with Shanzi to call on anti-invasion action, and held “The Art Show on the Move;” besides, held “The Art Show for Contributions to Anti-Invasion Activities;” arrived in Chengdu via Neijiang; Shanzi went to West Europe and North America, presented “ Works of Art by Zhang Shanzi and Zhang Da-Chian” for contributions to anti-invasion activities.

 

1939 - (Jimao Year) lived in Qingcheng Mountain and traveled to Jiange, Sichuan; held art shows in Chengdu and Chongqing respectively; twice went to Jiajiang for the trial production of “Da Feng paper.”

 

1940 - (Gengchen Year) visited Dunhuang (Tunhuang) the first time; learnt that Shanzi died on the way back from abroad, went from Guangyuan to Chongqing for mourning.

 

 

1942 - (Renwu Year) in spring, went to Qinghai to invite Tibetan Lamas; went to Dunhuang the third time, and copied Frescoes there; as a member of the preparatory committee for the “The National Dunhuang Art Institute.”

use my bigger one

1943 - (Kuiwei Year) in summer, returned to Sichuan from Dunhuang; had stayed there and copied Frescoes for two years and seven months, with the total of over 200 copies, which were first shown in Lanzhou; lived in Qingcheng Mountain; his drastically-changed painting style resulted from the Frescoes of Dunhuang. 

 

1944 - (Jiashen Year) “The Art Show of Copies of Dunhuang Frescoes” in Chengdu in January, and, in March and May, the same show in Chongqing; admitted as research member of Chinese Fine Art Institute; An Special Anthology of Zhang Da-Chian’s Copies of Dunhuang Frescoes, and Outline Drawings Copied from Dunhuang Frescoes published; traveled to Mount Emei. 

 

1945 - (Yiyou Year) completion of the four-screen Giant Lotus and the eight-screen Scenes in the West Garden, which were exhibited in Chengdu; many paintings of beautiful ancient women created with much changed painting style; returned to his hometown after the victory of the Anti-Invasion War. 

 

1946 - (Bingxu Year) collected ancient calligraphy and paintings in Peking; art show in Shanghai; art work exhibited in a Paris museum, and also shown in “ Modern Painting Show” held at Musee national d’Art Moderne by UNESCO; the Chinese section of the Show invited to be exhibited in London, Geneva, and Prague. 

 

1947 - (Dinghai Year) color printing of Anthology of Zhang Da-Chian’s Copies of Dunhuang Frescoes published; returned to Chengdu from Shanghai, and went to Xikang province for paintings from life; “The Show of Paintings from Life in Xikang” held in Chengdu; went to Shanghai, and published lithographic printing album of Travels in Xikang, and published series of poems of the same title; married to Xu Wenbo. 

 

1948 - (Wuzi Year) traveled to West Hills, Peking with Xu Beihong and Xie Zhiliu; invited to be honorary professor of the Fine Arts College of Peking; went to Taiwan for paintings from life with Lang Jingshan. 

 

1949 - (Jichou Year) early this year, arrived from Taiwan in Hong Kong and held an art show; painted a Lotus for Chairman Mao Zedong; returned to Sichuan from Macao; near the end of the year, left Chengdu for India via Taiwan under the invitation of the University of Darjeelin to give lectures. 

 

1950 - (Gengyin Year) the one-man painting show at New Delhi; went to and stayed in Ajanta Grottoes in Maharashtra State, India for three months to make copies of frescoes, and studied the difference between them and those in Dunhuang before going to Darjeeling to live till the end of the year, when leaving for Hong Kong. 

 

1951 - (Xingmao Year) early this year, once again went to Darjeeling, and returned to Hong Kong in the summer to hold a one-man painting show; sold to the country three precious ancient paintings including Gu Hongzhong’s The Banquet in Han Xizai’s House. 

 

1952 - (Renchen Year) moved to South America, and stayed in Argentina; the one-man show held in Buenos Aires. 

 

1953 - (Kuisi Year) purchased land in Sao Paulo, Brazil and planned Ba De (Eight Virtues) Garden; moved into the Garden in March; an art exhibition in Taipei; presented 12 pieces of work of art to the City Hall of Paris.

 

1954 - (Jiawu Year) traveled in the United States while holding art exhibitions.

 

1955 - (Yiwei Year) completion of Ba De Garden; Famous Da Feng House Paintings (four volumes) published abroad; in December, “Exhibition of Zhang Da-Chian’s Paintings and Calligraphy” held and sponsored jointly by other Asian artists.

Zhang Da-Chian's Exhibition of Reproductions of the Dunhuang Fresco Mural Paintings held abroad.

1957 - (Dingyou Year) his diabetes caused eye disease, and resulted in gradual decline in eyesight. 

 

1958 - (Wuxu Year) an art show in Sao Paulo; elected as “The Best Contemporary Painter in the World” by the International Fine Arts Association in New York and gold medal granted. 

 

1959 - (Jihai Year) the permanent Chinese painting show established in the Paris Museum with 12 paintings exhibited at the closing ceremony; went to Taiwan before visiting the United States, Sweden, Switzerland, West Germany, and Spain; received the “Gold Medal for Fine Arts” by Mei Yiqi in Taipei; began to paint in the splashed-ink-and-color technique, which marked his tremendous change in painting style. 

 

1960 - (Gengzi Year) the show of recent paintings in Paris; 30 paintings exhibited in Brussels, Athens, and Madrid; Zhang Da-Chian’s Paintings published in Hong Kong. 

 

1961 - (Xingchou Year) the show of recent paintings in Geneva; the special exhibition of lotus paintings in Paris, and some of them collected by Modern Museum of New York; an art show in Sao Paulo; Anthology of Zhang Da-Chian’s Paintings published by the “ Oriental Society,” Hong Kong; several treatises including On Paintings coming out.

1962 - (Renyin Year) an invitation exhibition held in Hong Kong for the occasion of the inauguration ceremony for Hong Kong City Hall, Hong Kong.

 

 1963 - (Kuimao Year) a one-man painting show in the Victoria Memorial Hall, Singapore; art shows held in Kuala Lumpur, New York, and Hong Kong; in the United States, six huge paintings of lotus on large screens sold for US$140,000, setting the highest record of Chinese painting sale.

1964 - (Jiachen Year) an art show in Bangkok, Thailand and Cologne, West Germany; Mayor of Cologne, after the exhibition there, accompanied Zhang cruising on the Rhine, and the German Commercial Bank and an airline company bought all his exhibits to have a tour show in West Germany; presented paintings to some officials in Chongqing, Sichuan.

 

1965 - (Yisi Year) an art show in London.

 

1966 - (Bingwu Year) art shows in Hong Kong and Sao Paulo.

 

1967 - (Dingwei Year) art shows in Stanford University Museum of the United States; the show of recent works in “ National Museum of History,” Taipei; presented 62 copies of Dunhuang Frescoes to “National Palace Museum,” Taiwan; Anthology of Zhang Da-Chian’s Paintings (the new edition) published by the “ Oriental Society,” Hong Kong.

 

1968 - (Wushen Year) honorary Ph.D. in philosophy granted by “the Chinese Fine Arts College,” Taiwan; completion of the huge “Thousands of Miles on the Yangtze;” the special exhibition in “National Museum of History,” Taipei, museums in New York and Chicago; lectures at the Princeton University on Chinese fine arts; according to public opinion poll, The World Newspaper in Bangkok ranked Zhang the “best contemporary Chinese painter;” purchased some land in Carmel, California, to build his future house. 

 

1969 - (Jiyou Year) “Special Dunhuang Frescoes” in “The National Palace Museum,” Taiwan; exhibition tour in museums and galleries of Los Angeles, New York, and Boston. 

 

1970 - (Gengxu Year) an art show in San Francisco, and built a house (Huan Bi Yan) to dwell in California. 

 

 

1971 - (Xinhai Year) the show of recent paintings held in the Hong Kong City Hall, Hong Kong; frequently traveled between Ba De Garden, Brazil and Carmel, the United States. 

 

1972 - (Renzi Year) death of Zhang Weixiu, his fourth elder brother; moved from Ba De Garden, Sao Paulo to Carmel home in California; the one-man painting show in Andrew Gallery, Los Angeles, earned the title of honorary citizen of Los Angeles; “Zhang Da-Chian’s Paintings in 40-Year Retrospection (1922-1970)” in De Young Museum of San Francisco; wrote his Autobiography. 

 

1973 - (Kuichou Year) exhibition of retrospection in “ National Museum of History,” Taipei, and the Museum set up a special hall for “The World (Da-Chian’s World);” “The Art Exhibition by Zhang Da-Chian and Xinyi (the twelfth nephew)” in New York. 

1974 - (Jiayin Year) “Paintings by Zhang Da-Chian” in Hong Kong City Hall, Hong Kong, which published another Anthology of Zhang Da-Chian’s Paintings; “Paintings by Zhang Da-Chian” jointly held by “National Museum of History,” Taiwan; honorary Ph.D. in humanities granted by the Pacific University, California, the United States. 

 

1975 - (Yimao Year) death of Zhang Licheng, his third elder brother; “Early Works of Zhang Da-Chian” and “Paintings by Zhang Da-Chian” held at“ National Museum of History,” Taiwan; in September, “Famous Chinese and Western Paintings” also in the Museum, with over 80 works of art in the previous 30 years by Zhang Da-Chian on display; “Modern Paintings of Republic of China” with Zhang’s more than 60 paintings jointly held by the “National Museum of History,” Taiwan and “Korean-Chinese Fine Arts Union,” South Korea at the °ßNational Modern Gallery,” Seoul. 

 

1976 - (Bingchen Year) “Paintings in Honor of Zhang Da-Chian’s Return” at “National Museum of History,” Taiwan; Taiwan Education Administration awarded Zhang the plaque inscribed with “the great master in fine arts;” Selected Works, Zhang Da-Chian’s Anthology (the First Volume), and the Scroll on Jiu Ge published in Taiwan; the documentary of the Techniques of Zhang Da-Chian’s Paintings completed.

1977 - (Dingsi Year) made appraisal on genuine or fake ancient Chinese paintings and calligraphy in Taiwan before going back to America; invited to hold the show of recent works in Taichung in June; the five-year-compiled Paintings by Zeng Xi, the Best Hunanese Painter in Chronological Order published in Hong Kong.

 

1978 - (Xuwu Year) went from the United States to Kao-hsiung for the one-man painting exhibition in March; in August; his family moved from the California to the so-called the “Abode of Maya-Painter” at the suburb of Taipei; art shows in Tainan and Seoul; Paintings by Zhang Da-Chian published; Zhang Da-Chian’s Anthology (the Second Volume) published in Taiwan.

 

1979 - (Jiwei Year) more and more articles on Zhang’s paintings and life in Chinese Mainland; “Paintings by Three Masters in Contemporary China-Zhang Da-Chian, Pu Xinshe, and Huang Junbi” held by Chinese Cultural Association, Hong Kong; four volumes of Photo Album of Zhang Da-Chian’s Unattended Ba De Garden in Brazil coming out in Taiwan. 

 

1980 - (Gengshen Year) had correspondence and exchanged paintings with his relatives and friends in Chinese Mainland; “Paintings by Three Masters in Contemporary China-Zhang Da-Chian, Pu Xinshe, and Huang Junbi” with his 25 paintings on show at the National Gallery in the National Museum, Singapore; “Paintings and Calligraphy by Zhang Da-Chian” held by “National Museum of History,” Taiwan; jointly created “Longevity of the Precious Island”-a long scroll of landscape.

 

1981 - (Xinyou Year) five volumes of Collections of Zhang Da-Chian’s Paintings published in Sichuan; a wall calendar entitled Paintings by Zhang Da-Chian coming out in Tianjin; presented autograph to his home city and home county; the exhibition of recent works in “National Museum of History,” Taiwan; participated in “Paintings and Calligraphy by Famous Chinese Artists” in Hong Kong; invited and took part in the “New Trend of Chinese Painting” held in the Oriental Museum, Paris; in July, started his creation of Lushan Tu (The Panorama of Mount Lu)-a monumental work.

 

1982 - (Renxu Year) Zhang Da-Chian-A Master of Chinese Painting, a color documentary, shot jointly by Sichuan and Gansu television stations; “Ink and Color Paintings by Fu Baoshi, Xu Beihong, and Zhang Da-Chian” in Taipei in January; in April, Jiang Jingguo awarded Zhang the medal; invited and participated in “Modern Chinese Paintings” in Kuala Lumpur; Zhang Da-Chian’s Anthology (the Third Volume) published in Taiwan; resumed his work on The Panorama of Mount Lu.

 

1983 - (Kuihai Year) The Panorama of Mount Lu almost completed; in January, participated in “Paintings and Calligraphy by Zhang Da-Chian” held by “National Museum of History,” Taiwan; Zhang Da-Chian’s Anthology (the Fourth Volume) published in Taiwan; hospitalized on March 8th; passed away in Rongmin (in sound) General Hospital, Taipei on April 2nd, at the age of 84; funeral held on April 16th, and ashes buried on the hill in front of his residence - “The Abode of Maya-Painter,” Taipei; “Paintings by Zhang Da-Chian” exhibited in Beijing, Shanghai, and Chengdu.

 

 

 

 

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4.

[This is the answer to the question.]

 

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5. 仿摹名作﹑繪製贗品的張大千 Forgery & Duplication of Paintings

張大千是一位仿摹名作﹑繪製贗品的高手。

張大千在他成名之初﹐被人們稱奇的並不是創作作品﹐而是他摹仿名師名畫而作的贗品。他曾自嘲地說自己是個用紙用筆的「騙子」。他不僅能仿與他同代名家大師的名作﹐而且能仿摹石濤﹑八大山人等古人之名畫。除了浙江﹑梅清及清初「四王」(王鑒﹑王翬﹑王時敏﹑王原祁)以外的那些畫派﹐他大都能仿﹑幾乎以假亂真。特別是他仿摹石濤畫的贗品﹐其構圖特點﹑表現手法﹑畫意神韻﹐簡直「石濤復生」。他這種惡作劇使許多名收藏家﹑鑒賞家大上其當。

 

 

張大千假石濤換黃賓虹真石濤


誘黃賓虹中計

上海著名畫家黃賓虹和著名鑒賞家羅振玉是張大千的老師曾農髯﹑李梅庵的好朋友。黃﹑羅收藏的字畫中以石濤的作品最為豐富﹐是當時公認的收藏和鑒賞石濤作品的權威。爭強好勝的張大千一心想與二位前輩開玩笑。

有一次﹐張大千向黃賓虹求借他收藏的一幅石濤精品﹐一飽眼福﹐二可臨摹﹐卻被黃婉言謝絕。張不服氣﹐連夜仿摹了石濤一幅手卷﹐故意放在曾農髯那裡。

有天黃賓虹去看望曾農髯﹐無意間在曾的畫案上發現這幅仿石濤畫。黃賓虹以為是真跡﹐鑒賞之餘﹐愛不釋手﹐說他要收購這幅畫。曾便讓張大千去黃賓虹家﹐讓他們直接洽談。

張大千到了黃家﹐見黃賓虹捧著他的假石濤畫﹐一心要收購﹐心中不免暗暗得意。心想用假畫騙前輩的錢於心不忍﹐不是君子所為﹐還是換他的畫吧。於是對黃先生說﹕晚輩豈敢要先生的錢。這樣好了﹐我拿這幅畫換我上次要借的那幅石濤畫吧﹗黃賓虹非常爽快地答應了﹐立即將那幅真跡精品交給了張大千。

就這樣﹐張大千一幅仿摹假畫換得了著名畫家﹑鑒賞專家黃賓虹的石濤真品。

 

 

Another version:

1920年代初,遺老沈曾植送給了張大千的老師曾龍髯一幅山水橫披,作者是明末四僧之一的石谿。曾龍髯想再覓到一幅尺寸相當的石濤的山水畫,配成雙壁裱成一個手卷。有人告訴他:著名畫家黃賓虹收藏有這樣一幀石濤的山水。曾龍髯大為高興,專門寫信給黃賓虹,表示望能割愛相讓。哪知黃賓虹認為奇貨可居,竟不談這樁風雅的生意

張大千為了安慰老師,便費了好些功夫,臨摹了石濤一幅山水長卷中的一段,還仿石濤的書法,題了荊關一只眼七字,造句酷似石濤的口吻。最妙的是造假圖章,石濤的別署甚多,其中一個叫阿長,而張大千有一方圖章的印文是阿愛,去;再將一方只有一個字的圖章,截掉字旁,恰好湊成阿長二字。

張大千將這幅仿石濤的橫披裱好,呈送給了曾龍髯,懇請老師指謬。一天,曾正把這幅畫放在案頭展玩時,恰遇黃賓虹來訪。黃在案頭上發現了這幅石濤真跡,反覆欣賞,愛不釋手,誤以為是張大千的珍藏,便約見張大千說:這幅精品,是石濤平生的傑作,沒有很高鑒別、辨識能力的人是看不出來的。

張大千見黃老畫家看走了眼,便試探性地開玩笑說:大師如此識畫,真是好眼力,如果真是喜愛,晚輩意割愛相讓,不過... ...”“不過?”“要用你收藏的石濤的山水橫披來換張大千的話尚未說完,黃賓虹便爽快地答應:可以,可以!

張大千用自己仿造的假石濤換得了黃賓虹的真石濤

 

 

 


騙羅振玉上當

著名鑒賞家羅振玉精於鑒賞古玩字畫﹐大名鼎鼎﹐譽滿神州。要使羅振玉上當中計﹐是件極不容易的事﹐而年輕氣盛的張大千為此也頗費一番心思。

古時候的名畫﹐最受人看重的當然也是最有藝術價值的﹐通常是掛在主人客廳的中堂﹐而最不值錢的是掛在臥房床頭裡的畫。臥室外人不入﹐只能自賞﹐不過是填填空處﹑遮遮牆壁而已。取材往往是一些小品。

張大千心裡自然明白要想用山水大幅騙過羅振玉那是難上加難。於是便刻意仿摹了幾幅石濤的床頭小畫﹐其中一幅仿的是虎﹐其形其態與石濤真跡別無二致。畫好了後通過朋友﹐故意轉了幾個彎兒﹐在似乎不經意中讓羅振玉看了這幾幅仿畫。

羅振玉果然上當﹐並出高價收購了這幾幅「假石濤」。羅振玉新得了幾幅石濤「真跡」﹐雅興大發﹐在家中宴請畫友前來共賞﹐主客共飽眼福。張大千聞之﹐也去故意湊熱鬧。

待客人散盡後﹐張大千這才神秘兮兮地對羅振玉說﹕「羅先生﹐我看這幾幅小畫有點不妥……」話還沒說完﹐羅振玉一下想起張大千用仿石濤畫誘使黃賓虹中計之事﹐猛然醒悟﹐頓時氣得目瞪口呆﹐兩眼發直﹐大呼上當。

張大千這個玩笑未免開得有些過火。此後很久﹐羅振玉一直不理睬張大千﹐心裡耿耿於懷。


戲陳半丁難堪

畫家兼收藏家陳半丁是當時中國北方的名畫收藏鑒賞家。年過二十歲的青年張大千﹐在畫壇上還是個無名的「後生小子」。

有一次﹐陳半丁剛剛搜求到一冊石濤畫頁﹐視為精品﹐貴若掌珠。他喜不自禁﹐特地設下宴席﹐八方邀請藝林名家到家中品酒賞畫。被邀請的名家有王雪濤﹑徐燕孫﹑陳師曾等。張大千對石濤的畫向來喜愛﹐聽到這個消息後﹐自然不肯放過﹐便不請自到﹐逕直趕到陳家請教﹐要看一看他收藏的石濤畫冊﹐一飽眼福。陳半丁對這位不速之客的「後生小子」自然沒怎麼放在眼裡﹐叫他等客人來齊後一起觀看。

當陳家的客廳裡聚齊應邀來的所有嘉賓﹐陳半丁這才叫家人將畫冊取出﹐慢慢地展現在明亮的燈光下。頓時客廳裡一片讚嘆聲﹑叫好聲。陳半丁手摸下巴﹐矜持地微笑著﹐好不得意。客人們的讚嘆叫好﹐實際上是對他的畫冊鑒賞力的肯定。

張大千走過去﹐踮腳朝桌上的畫冊一瞥﹐卻「噗哧」一下笑出聲來。眾嘉賓對這位「後生小子」的無禮舉動很不高興﹐紛紛投來責備的目光。

陳半丁問張大千「有何賜教」。張大千說: 「原來是這個冊子呀﹐我早就知道了。」陳不信﹐他無法想像這麼名貴的畫冊怎麼會讓一個無名小卒輕易見到。要張大千說說畫冊內容。於是張大千馬說出第一頁畫的是什麼﹐第二頁畫的是什麼﹐第三頁畫的是什麼……題款﹐鈐印等﹐一一道來。陳半丁和客人們一邊翻看一邊對照﹐越看越驚奇。果然﹐這畫冊的內容與張大千所說毫無二致。

陳半丁百思不得其解﹐便問道﹕「這畫冊你也收藏過﹖」張大千得意地說﹕「我哪有錢買得起這價值連城的畫冊﹐這是我仿摹畫的﹗」陳半丁愣了半晌﹐接著板起臉﹐訓斥年輕人說大話﹐為人不誠實。張大千見大家都不信自己能仿真石濤畫﹐便拿起筆﹐當著眾名家的面﹐當場仿摹了一幅畫冊上的石濤畫﹐這才令陳半丁和眾賓客目瞪口呆﹐幡然信服。

這件事不僅令陳半丁尷尬得難以下台﹐連在場的所有名家大師臉上都不好看。堂堂中國北方畫壇巨匠﹑鑒賞權威﹐竟被一個無名小輩開了一個大玩笑。

類似這樣上張大千仿摹畫的故事還有很多﹐年輕氣盛的張大千無所不能仿﹐有仿必亂真﹐確是畫壇上一位仿摹高手。


然而張大千畢竟是張大千﹐他要畫自己的畫﹐師古而不泥古。有人曾請他在所仿石濤畫上題跋﹐他欣然命筆﹕「昔年唯恐其不入﹐今則唯恐其不出」。他不拘於石濤﹑八大山人等幾位清代大師﹐而進一步上溯唐﹑宋﹑元﹑明﹐縱橫百家﹐恣意揮灑﹐取唐人的氣勢﹐宋人的法度﹐元﹑明的意境﹐上下千年﹐融會貫通﹐成為飲譽國內外的中國畫一代畫家。

 

My book - Chang being ripped off by other businessmen

 

造假高手仿明清古畫揭密

古畫名作歷來是人們追捧的對象,也是進行藝術品投資的一個好項目,更是歷朝歷代造假作偽者的主要目標。魚龍混雜的書畫市場既是人們淘寶的好地方,也是造假者的天堂。只有提高自己的書畫鑒賞、辨別能力,了解歷史上書畫造假的一些內幕,才能避免上當受騙。

有人認為中國的書畫史就是一部書畫的作偽史。這話雖然有些誇大,但也揭示出了其中一部分事實真相。文獻記載,東晉時期模仿王之書法的人就已經很多了,唐代已有人專門從事鑒定流傳于世的王之書法的真假。到了近現代,中國書畫的作偽局面更是超過古人。目前的書畫市場,那些所謂下真跡一等的贗品頻繁出現,不但讓很多專家大跌眼睛,也讓一些書畫收藏家付出了慘痛的代。 

民國時期的高仿書畫 (http://www.gaofangshuhua.com/),其藝術水平和欣賞價值都很高,不明清時期的蘇州片子、揚州的皮匠刀、北京的后門造那樣,藝術水平很差,讓人一眼就能看出來。這些高仿的書畫多用分工合作、充分發揮各自勢的方式,有多人聯合完成。歷代的贗品相比,這些出自名家之手的東西,不論是畫面圖、筆墨功夫還是裝裱水平都下真跡一等,与原作十分近似。販賣這些高仿書畫的人,有的是有社會地位的人,有的甚至是當時書畫鑒定的權威。這樣的大人物參到高仿書畫的經營之中,這在明清時期是不多見的。不但書畫如此,青銅器也一樣。著名的學者容庚是研究青銅器的專家,編有《金文編》等名著。就是這樣的專家,也參到了高仿青銅器的偽造和買賣中。文化大革命中有個笑話:在一次批斗容庚的大會上,有人揭發他在解放前的哪年哪月,向外國人賣了一件青銅器絕品,是通外國;沒想到容庚很大方地承認有此事,不過又加了一句,那是我弄的一件假東西蒙外國人的,搞得眾人大笑。

起樓是上海著名的民族實業家嚴惠宇1940年代在上海開設的一家古玩店,主要以收藏、經營書畫為主,在店里工作的三位高手:劉伯年、潘君諾、尤無曲被尊為云起樓的三劍客。這三位畫家的傳統功力深厚,特別是劉伯年,在古代書畫的制、臨摹上本領高超,絲毫不讓他的同鄉張大千。他早年拜畫家王個為師,學習吳昌碩的大寫意花卉,又廣泛地學習宋元繪畫的精華,形成了自己的風格。他的畫路很寬,從宋人的工筆花鳥到清代華新羅的山水無一不能。解放,著名的鑒定家張珩想請他到北京故宮博物院從事書畫的修工作,可惜因歷史原因,他被關進了監獄。在監獄,劉伯年被放到監獄的美術改造,在這居然發揮了他的特長,三年半時間里仿了大量古畫,其水平又達到了一個新的高度。文革結束,他才真正獲得了藝術上的自由。

劉伯年的作偽古畫有主要個特點:一是他雖然拜在師傅的門下,但他的畫路更接近于他的同鄉張大千,對宋人作品揣摩的很,無論是在線條還是在設色方面都有很大程度的對應性,惟妙惟肖;二是他的做舊功夫非常高明,不論是紙上的包漿,還是紙絹的都做得非常好,可稱是天衣無縫;三是他所臨仿的對象多是選擇工筆或小寫意的花鳥、人物,沒有大寫意風格的作品。原因很簡單,工筆或是小寫意的畫繪時間較長,工序較雜,不是一朝一夕能完成的。如果摹仿者的水平高、心態穩,可較容易仿到原作相近的程度。這是他的仿古作品能夠讓很多大鑒賞家走眼被各大博物館收藏的主要原因。如建國前,他臆造了一張《梨花鱖魚圖》,托名是宋代畫家李延之的作品,這件作品生動、自然,沒有亦步亦趨摹仿古人所產生的生硬、局促之感。它先被人悄悄地弄到了北京,由畫商陸鯉庭賣給了上海博物館,把它作為精品收入《畫苑綴英》。劉伯年看到畫冊感到事態嚴重,就主動給有關部門寫信,說明他造這張假畫的情況,才真相大白 。

同樣的事情在多年,又在另外一地發生了:1982年,劉伯年應邀為矛盾紀念館作畫來到浙江桐鄉,該地博物館拿出一張古畫《金盆飼雀圖》給大家看,只見畫面上許多麻雀圍著一只精美的漆器盆嬉戲,布局生動,造形准确,線條的賦色都是一派典型的宋人風貌,眾人口同聲叫好,唯有劉伯年沉默不語。事他告訴別人,此畫是他解放前仿的一幅杰作,眾人恍然大悟。1983年,他照此畫重新畫了一張,題跋余四十年前曾有此作,滄桑后輾轉不知去向。辛酉秋在桐鄉博物館忽見之,為好事者偽托為宋人筆也,人不察視若球圖,意,鑒別之難固不易也。該畫曾在一大型美展上展出。

劉伯年親自動手做舊的畫更令人稱絕。他為我們留下了一張仿清代畫家華新羅的人物畫《老吾老圖》。這件作品布局疏朗,韻生動而平和,人物的開相和線條的勒精美絕倫。特別是山石和樹叢的畫法,更是充滿了華新羅在世之味。題字雖然是他的本款,但是明眼人一望便知是有意仿華岩筆意。如果他刻有仿華岩的款,筆者認為完全可以讓人打眼。王個先生看到這張畫,欣然題曰:伯年弟是吾門下第一人也。

第三個階段是從張大千到海外直至去世。這一時期,張大千自己的畫名很大,畫也很高,但還是和唐宋古畫無法相比。他在這個時期造了很多唐宋畫作,比如宋李公麟的人物、南朝張僧繇的羅漢等。由于海外的公私博物館中有大量的中國唐宋時期的繪畫,張大千得以飽讀之,故此時所造的假畫比在國內時期的更加老到成熟。再加上他早年在日本學習過染織,對國外新的顏色材料很熟,他用這些新材料來做舊,使他的假畫更逼真。有學生回憶,張大千在巴西居住期間,他有一間畫室和臥室相連,每天清晨四五點鐘他就進小畫室作畫。通常而言,清晨四五點鐘是不會有客人來訪的,而和臥室相連的畫室更不是誰都可以進去的。為什張大千把自己作畫的時間安排的這早,地點又是如此秘密?理由很簡單,就是為他造假畫時不受外界干。還是這個學生回憶,張大千曾經拿出來一張石濤的畫讓他看哪一段是接筆,哪一部分是石濤的真跡,因此看來,他不但在造唐宋時期的假畫,明清的老本行也沒有丟掉。

是不是張大千的假畫就真能夠真跡無?其實并非如此!錢松岩先生的女儿錢心梅曾說,有一次錢先生曾指著日本最權威的《南畫大成》中收錄的清代石溪的山水畫對她講:此畫只有三分像,肯定是贗品。事實是,這畫是張大千和他的學生何海霞一起造的,何先生為此很得意,因為他們騙過了日本的中國通,被《南畫大成》收進去。為什錢先生看印刷品就肯定石溪的畫是假的?這主要是他對石溪的山水畫下了大功夫,有的畫臨摹了上百遍,故可立見真偽。所以,張大千在各個時期所造的假畫,不是真偽莫測的,只是我們對傳統中國畫的認識還不深入,只要下夠功夫,是完全可以識破廬山真面目的。


張大千是中國近代作假書畫最有影響的一位大家,徐悲鴻說他的畫是500年來無此君。他作假畫也是500年來無此君。張大千作偽的情況有很多專家都做過專門研究,台灣的傅申先生還寫過《血戰古人的張大千》,該文對他近半個世紀的造假生涯作了全面介紹。其造假生涯大致可分為三個階段:

第一個階段是1920年代到1940年代,這是他造假畫的初始期。在此階段他仿造的主要是明清時期的書畫作品,從石濤、八大山人到唐寅、陳洪綬的作品都有。由于張大千是個收藏大家,手中藏有這些人的畫。偽造的書法往往是東拼西湊,或者是完全臆造。當時這些名家的畫作大都在私人收藏家的手中秘不示人,plus printing less 社會上沒有多少人見過名家的真跡,使他大量的仿品輕、順利地流入收藏家的手中,其中有些是日本的企業家和書畫收藏者。現在看這一時期張大千的仿品,其水平都不是很高,比較容易看出來。

第二階段是1940年代到几個前。他在這個時期到敦煌臨摹了大量的壁畫,對唐宋時期的人物畫研究得其深入。而他的書畫藏品此時也由明清擴展到唐宋,收藏有南宋董源的山水《溪岸圖》、顧閎中的《韓熙載夜宴圖》 名作。他又開始大量臆造唐宋時期的作品。由于他此時正值盛年,精力充沛,其繪畫的技法無論是人物還是山水,都以達到運用自如的境界。加之他手中有真跡可以參考,在裝裱和做舊方面都達到了亂真的地步,同那些明清時期的蘇州片子和揚州皮匠刀相比,兩者不可同語。此時很多外國的收藏家(主要是美國的收藏家們),對中國古代書畫的收藏興趣大增,而此時清宮和龐萊臣的藏品又開始紛紛流傳到市面上,張大千偽造的唐宋元時期書畫也乘這股風潮流向國外

張大千造的唐宋時期假畫在今天依舊讓鑒定家們頭痛不已。年前,在國際上鬧得沸沸揚揚的董源的《溪岸圖》是不是張大千所造的爭論就是一個例證。爭論的雙方都是當代的書畫鑒定大家,如高居翰()認為此畫就是張大千所仿。這個觀點也不是沒有道理:張大千有一習慣,他在買到一幅宋元的古畫,往往自己畫上張,也就是書畫行所說的下蛋。這些有的是通過他自己賣給別人,有的則是通過拍賣行銷貨。因為他的仿品水平高,拍賣行和鑒定家很難看出來。有過這樣一件事情,足可說明問題:張大千在建國前夕,從一位鑒定家的手中買了一張宋人的山水,買到他就造了張。40多年過去,這位鑒定家居然在境外的一家大拍賣公司,看到張大千所仿的赫然在列,且作為重點拍品被推出。而同時去的另外一位鑒定家看了這件東西拍案叫好,弄的這位先生說也不是不說也不是,最只能敷衍了事。這一時期,張大千所作的假畫還有一個特點,就是喜歡請當時的鑒定大家為他所作的贗品題跋。其中有四個人為他題的最多,他們是:葉公綽、溥儒、黃賓虹、于非庵。在故宮博物院所辦的真假畫的對比展中,有很多被現代的專家辨認出來的張大千造的假畫上往往有這些人的題跋,有的甚至三家齊具,這真是假作真時真亦假。這些人都是當時鑒定界的權威,說起話來一言九鼎,他們為什要參到張大千造假畫的混水中?是他們的眼力不濟還是另外有苦衷?我們現在無法得知。但是,這些權威人士的題跋已經成為當今辨認是否為張大千造假的旁證,成為反面教員,這是他們當初所沒有想到的事情吧。


說不清、道不明的吳湖帆:

吳湖帆是民國年間上海最有名的畫家三吳一馮之一。他的祖父是著名的書法家吳大,家中祖傳的青銅器和書畫很多,加上吳湖帆的眼力好,又收購了大量的明清書畫,成為上海最有影響的書畫收藏家之一。吳湖帆在書畫鑒定上的成就之高,可以從鑒定黃公望的兩件山水畫上現出來:清代乾隆非常喜歡歷代書畫,但在鑒定的時候有時失之于主觀的臆斷,將黃公望的《富春山居圖》看成贗品的就是吳湖帆。1930年代,吳湖帆在為中國古物赴英國展的展品審查過程中發現了自己的失誤,為這件真跡平了反。他還在朋友的書畫舊藏中偶然發現了《富春山居圖》的首卷《乘山圖》,并以高收購下來,此畫現在是浙江博物館的鎮館之寶。吳湖帆在他的收藏生涯中也存在一些問題:一是他收進了一張所謂的宋代畫家梁楷的《睡猿圖》,其實這張畫是張大千造的。他收到之,請著名的鑒定家葉公綽于該畫的詩堂上面題了天下第一梁瘋子七字跋文 (link to Liang Kai),此畫現存海外一家博物館中。從該畫的影印件上看,明顯是張大千自己的畫風,梁楷的風格差別很大。但從吳湖帆在該畫上寫的跋文來看,他很肯定地認為此畫是傳家之寶,珍貴常。以吳湖帆的鑒定水平和他對張大千畫風的熟悉,加之畫上還有張大千請葉公綽來幫忙助陣的題跋,分明是此地無銀三百兩,吳湖帆應很容易看出這是一件老朋友的杰作,上當的可能性很小,所以,這是吳湖帆明明知道是張大千的假畫,但為了經濟或其它目的,故意編出自己上當的故事來騙騙世人而已。

如果我們對此畫的懷疑尚有可懷疑之處,那麼另外一張假畫很明顯就是吳湖帆在明知假畫的情況下,故意真題。現藏劉海粟美術館,原為劉海粟舊藏的元王蒙《溪山秋霽圖》卷,是一張很明顯的贗品,其作偽的時間應該在清代中期。該畫後部的二跋不偽,應該是從他處移過來的。畫作前畫的引首和尾跋都是吳湖帆所為,細觀的確是他的親筆。這就讓人匪夷所思,吳湖帆自己的手中就藏有王蒙的真跡,他對元人的畫風和紙張等問題也是了如指掌,而此畫的仿造水平又很低劣,無論是皴法和石法無一和王蒙的風格相符,特別是整體的布局更是前後氣脈不暢,連蘇州片子的高仿都不如,以吳湖帆的鑒定水平是不會看不出來的。但他為什麼為老友劉海粟的藏品一再題跋?究其原因,可能是礙于老朋友的面子無法推脫,或許還有一些經濟方面的原因,舊時請名家為古畫題跋是有很高的潤筆費的。吳先生或許也是難以免俗。由此看來,對古代鑒定家的意見要實事求是,不能認為是大名家就一味盲從,更不能因為名家的題跋真就萬事大吉,還是要看具體畫作的真假而定。明代董其昌為一些古畫題的跋就不一定對。鑒定家也是人,生活在現實之中,我們不可能對他們求全責備。有時他們也會說些違心的話,寫一些違心的鑒定意見,對此我們這些後生除了要體諒或是揣摩他們的苦衷之外,也應警惕。

流水作業的譚敬造假集團:說起中國近代集團作偽來,是不能不提譚敬(Google book search: 百年收藏, page 12)。他的集團所作的假畫不知讓多少收藏家和博物館上當受騙。著名鑒定家張珩在主持國家文物局工作的時候,經常對周圍的人說:在海外征集書畫的時候,要特別注意從譚敬手中流出的東西。

譚敬(19111991),號和厂,祖籍廣東開平,出生于經商世家。早年他曾向著名的詞人潘飛聲學習填詞,有較高的文化修養。由于他的經濟實力雄厚,購買字畫只問好不問格,所以在很短的時間內,就收藏了很多元代的書畫,其中有張遜的《雙鉤墨竹圖》、南宋趙子固的《水仙圖》、趙子昂的《雙松平遠圖》、倪林的《虞山林壑圖》等。這些畫,有的是從龐萊臣手買來的,有的是請他的好友張珩轉讓的。雖然他的經濟實力雄厚,但眼力不是很好,經常需要別人為他掌眼。一次,有人從東北長春買回原為清宮舊藏的李唐《晉文公歸國圖》和宋高宗手書《左傳》,作品有倪云林和明代吳寬的跋尾,這兩件東西對方開100根金條,譚敬還价到70根,要求先留在他這邊鑒定天再付款。天之后,他對來人說贗品奉還。最這兩幅作品被張大千買走,并在香港公開出版。

1947年左右,譚敬和他的師兄湯安開始大量地造假畫,出售給收藏家或收藏机构。湯安找到鄭竹友、胡經、王超群等書畫界的高手來造假畫。其中許白仿畫、鄭竹友仿款字、胡經刻圖章、湯安全色做舊之再由王超群裝裱完成。他們造假的地點是今天上海的岳陽路(祁齊路)1752號譚敬的私人住宅,一座舊式花園洋房。這個造假集團在當時是其隱蔽的,外界無人知曉,平時只有譚敬和金城的女婿徐安來看看。徐家中存有很多舊印譜和舊紙、舊筆、舊墨,提供給譚敬造假集團使用。說譚對所造假畫的要求非常嚴格,很多用來造假的紙、絹、顏料都是清宮的舊物,計价要20多兩黃金,可見其成本之大。他對這個集團所造出來的假畫主要是通過洋行的買辦銷售到外國去。原為他所造的東西主要是宋元古書畫,動不動就要多少根金條,國內人是不敢染指的。曾有一位洋人仰慕譚敬的大名,通過上海的古玩商洪玉林和譚結識,一次就從他對手中以1000兩黃金的格買走了8件高仿的古畫。譚敬到底了多少高仿的古代書畫,真是一個只有他自己知道的謎了。這舉一些經他之手買到國外的贗品:宋徽宗趙佶的《四禽圖》、趙子昂的《三竹圖》、盛懋的《山水軸》、趙原的《晴川送客圖》、朱德潤的《秀野軒》卷等。

上海解放前夕,譚敬感到大勢不好,將所藏真跡和偽造的書畫裝箱帶到香港,原以為下半生不用愁了。天有不測風,他到香港因開車撞到人吃官司,為了平息此事,他只得賣掉自己的藏畫。此時,他已經不需要古玩商了,而是直接送到拍賣行拍賣,其中有文天祥、黃山谷的草書長卷,趙子昂的楷書品《妙嚴寺記》、《膽巴碑》等。之他又出人意料地回到國內,因為歷史問題,他被政府關進了監獄,在安徽的勞改農場勞教了十年才恢自由。當他1980年代又重新出現在香港的時候,國際上的中國美術史專家和收藏家們都震了,他們做夢也沒有想到讓他們大費腦筋、大跌眼鏡的譚敬居然還好好地活著。

譚敬作為一個收藏家,他到收藏也很富。他開香港之,一部分書畫放在他母親唐佩處,其中有米芾的《向太后挽詞》、趙子昂的《臨十七帖》、楊維楨的草書卷跡,通過香港的徐伯郊之手被北京故宮博物院收購,成為該院的鎮院之寶。


龐萊臣書畫高仿品:民國年間最著名的書畫收藏家自然要數龐萊臣了。他的書畫收藏是富可敵國,所著的三《虛齋名畫》圖冊在海內外影響甚遠。許多國外的中國書畫收藏家們找他購畫,他也向國外賣了許多宋元真品,但是他也做過下蛋的事情。他在其所著的《虛齋名畫續錄》中收錄有宋徽宗趙佶的《鵒圖》,這件畫作是宋徽宗傳世不多的筆墨花鳥作品之一,水墨韻味非常儒雅,用筆也瀟洒自如,非一般宮廷畫家作品可比。所以這件作品應該是宋徽宗的親筆而不是代筆。但是,因為此畫在國外展覽之影響很大,特別是日本和美國的收藏家們對這張作品特別感興趣,他們讓龐萊臣開錢。在多次被逼無奈的情況下,龐萊臣就讓他的門客,即為他掌管書畫的陸恢制了兩張,一張被賣到日本,一張被賣到美國,成為所謂的雙胞胎。而真正的原作仍在龐萊臣手中。另外有說法是因為原作的品相太差,被毀掉了,其實,這是根本不可能的事情。試想,有哪一位收藏家意將自己心愛的東西隨便毀掉?很多宋代的古畫已是千瘡百孔,但依舊作為珍品被我們收藏著。解放之,此畫的真跡被南京博物院所收藏,這是中國人的大幸。

   

 

張大千書畫真偽辨別

  第一,要牢牢掌握張大千書畫的用筆之法,或者說是他的藝術風格。一個藝術家在幾十年的藝術實踐中形成的用筆之法和習慣,一個偽手要在短期內全部學會是不可能的,即使臨摹,也只能是表面的形似,要做到處氣韻生動,神似是不可能的,偽張大千的畫也是如此。按張大千的山水,人物和花鳥畫,大致可分為三個時期:

  ()早期指張大千194143歲赴敦煌以前,山水主要學習石濤和八大山人,且大量摹仿他們的作品,其用筆利落,靈秀,畫風俊俏,爽利。而這一時期的張大千偽畫,容易在山水畫中的小人物和水邊的細草上出現破綻。張大千的作品風格雄健靈秀,人物面相圓潤,衣紋線條嚴謹流暢,與畫面整體協調;而偽張大千的作品筆力軟弱,呆板無神,極少有整體感。張大千的人物仕女畫主要學習清代畫家改琦,所畫仕女瘦削、柔弱,具有病態美。其所畫花卉、蔬果畫,主要學習明清小寫意的畫風,尤喜畫荷花、芭蕉,技法以寫意為主,但工筆兼而有之。其畫風清新活潑、俊爽,設色明淨秀潤。所畫梅花老幹如鐵,有一種耐寒喜潔的筆意。所畫蘭花,幽香清遠,處處體現一個字。所畫菊花,其葉尖是圓形的,其花態有一種凌寒傲霜之姿,絕無俯首隨人之態。其畫墨竹,竹枝吸收篆書的筆法;畫竹葉,下筆勁利,多為個()字或介字形。

http://www.members.tripod.com/~chinapen/

 

 

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6.

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7.

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8. Essays on Painting

link to PU RU 但經過若干年之後,也許我們以為極新的,哪知卻是極舊的

張大千畫論
Essays on Painting by Zhang Da-Chian


繪畫創作:

畫山水畫,一定要實際,即要多看名山大川、奇峰峭壁、危巒平坡、煙嵐云靄、飛瀑奔流。

一、山水 (Landscape)

國畫中山水的境界最為重要,然而也要筆墨來輔助。有了境界,但是沒有筆墨,或者有了筆墨,但是沒有境界,也就不成為名畫。它那結構和位置,必須特別加意,如畫寺觀,這些地方就不宜像人家的廬舍,好像和講風水一樣。這個說法,要多看古人名跡,以及名山大川、名勝古跡,自然會了解的。

假如畫了一張畫,其中主要安置人家處,卻恰恰似一塊墳地。這樣的畫,掛在中堂上面,試問別人看了,舒服不舒服呢?還能引人入勝嗎?郭河陽論畫,要可以觀,可以游,可以居。他所謂可以觀的,是令人一看這張畫,就發生興趣,要一看再看,流連不捨。第二步就想去游玩游玩,第三步就聯想到,這樣的好地方,怎樣能夠搬家去住才好呢!這樣的山水才算夠條件了。有些人說中國山水畫,是平面的,畫樹都好像是從中間鋸開來的,這話絕不正確。中國畫自唐宋而,有文人畫一派,不免偏重在筆墨方面,在畫理方面,比較失于疏忽。如果把唐宋大家名跡來細細的觀審,那畫理的嚴明,春夏秋冬,陰晴雨雪,簡直是體會無遺。董源畫樹,八面出枝,山石簡直有夕陽照著的樣子。關同畫叢樹,有枝無幹,豈是平面的嗎?畫山水一定要實際,多看名山大川,奇峰峭壁,危巒平坡,煙嵐雲藹,飛瀑奔流。宇宙大觀,千變萬化,不是親眼看過,憑著意想,是上不了筆尖的。眼中看過,胸中自然會有,一搖筆間,自然會一齊跑在你手腕下。

畫山最重要皴法,古人有種種名稱,只不過就其所見的山水而體會出來的。應該用那一種皴法傳出,那所見的形狀如何,遂名叫作某某皴,并非勉強,非用此皴法不可。如北苑用披麻皴,因為江南的山,土多過石,有因為要畫的林木蓊郁,自宜于用這皴法。若范華原畫北方的山川,太行王屋,石多過土,地也高亢,草苔也稀少,自然宜于用泥里拔釘、雨大牆頭、鬼面這些皴法。設使二公的皴法,互相變換,又成何面目?所以我的意思,山水皴法不必拘泥,只要看適于某一種,就用某一種皴法。古人皴法,略舉數種﹕荷葉皴、大小斧劈皴、披麻皴、雨打牆頭皴、泥裡拔釘皴、雲頭皴、折帶皴、鬼面皴、牛毛皴、馬牙皴、卷雲皴、此皆常用者。


二、人物 (Figures)

畫人物最重要的是精神。形態是指整個身體,精神是內心的表露。在中國傳統人物的畫法上,要將感情在臉上含蓄地現出,才令人看了生內心的共鳴,這個當然是很不容易的。然而下過功夫,自然是會成功的。杜工部說:"語不驚人死不休。"學畫也要這樣苦練才對。畫時無論任何部分,須先用淡墨鉤成輪廓,若工筆則先須用柳炭描之,由面部起先畫鼻頭,次畫人中,再次畫口唇,再次畫兩眼,再次畫面形的輪廓,再次畫兩耳,畫鬢髮等。待全體完成以後,始畫鬚眉,鬚眉宜疏淡不宜濃密,所有淡墨線條上最後加一道焦墨。運筆要有轉折虛實才可表現陰陽凹凸。有時淡墨線條不十分準確,待焦墨線條改正。若是工筆著色,一樣的用淡墨大底,然後用淡赭石烘托面部,再用深赭石在淡墨上鉤線,衣褶如果用重色,石青石綠那就用花青鉤頭一道,深花青鉤第二道,硃砂用岱赭或胭脂鉤它。不論臉及衣赭的線條都要明顯,不可含糊沒有交代。巾幘用墨或石青,鞋頭用硃砂或石青或水墨都可以,看他的身份斟酌來用。畫人身的比例,有一個傳統的方法,所謂"行七坐五盤三半",就是說站起的人除了頭部之外,身裁之長恰恰等于本人七個頭,新時代的標準美人,八頭身高比例之說,那知我們中國早已發明若干年了。


三、畫梅 (Painting Plums)

老幹上不可以著花,因為無姿態的緣故。為顯示幹的蒼老,所以不能不點苔蘚鱗皴,表示它經過雪壓霜欺,久歷歲寒,但是它的貞固精神,是超卓絕特的。點皴時,光用焦墨禿穎,依著它的背點去,一定要點圓點,若點成尖長形,那就不是樹上的苔,而是地面的草了。更不可作橫點,如山水中樹上所點。待等墨乾後,用淡墨加點一次,比較有生動的趣味,不然那就枯而燥了。若是著色的,那就用草綠加在焦墨上面,或頭二綠也可以,不是全部蓋滿,而是偶爾留幾點焦墨在上面,也自生動自然。


四 畫荷 (Painting Lotus)

中國畫重在筆墨,而畫荷是用筆用墨的基本功。畫荷主要在于畫荷葉及荷梗。

                       --《與糜耕云的談話》

畫荷,最易也最難。易者是容易入手,難者是難得神韻。

                   -- 葉淺予《張大千的藝術道路》

我的畫荷的心得便是:看上去總要使它宛如矗立在水中央一般!

                       --《與薛慧山的談話》


五、畫竹 (Painting Bamboos)

古人畫竹稱作寫竹,因為畫竹是等於寫字一樣,用筆要完全合乎書法。(The ancient Chinese called painting bamboos "writing" bamboos. Because the principles of brushwork to paint bamboos coincide with those in practicing calligraphy, painting bamboos is equivalent to writing Chinese characters with brushes.)

書法第一要訣,一定要練好永字,因為永字已包括側、勒、努、趯、策、掠、啄、磔八法。這些方法都通用於寫竹。竹枝更須用篆書的方法,畫竹葉也要寫成個()字和介字、川字開關但必須要用一二筆來破開。古人所說的:"逢個不個,逢介不介,逢川不川。"就是這個道理。畫竹應該先寫竹竿,從上寫下,像字一樣,沒有由下寫上的道理。每一竹節為一段,起筆略重,一搨直下,駐筆向左略略一踢就收,一節一節的畫下去,梢頭稍短,漸下漸長,到近根的地方,又慢慢的短下來。待畫完時,然後出枝畫葉,在離開的竹節空處,用濃墨寫一橫道,用筆要從逆勢進去然後翻出來,兩頭放起,叫做點節。竿要上下粗細差不多,切忌兩頭大,中間細,叫做蜂腰鶴膝,是不可以的。講到順勢,直的竹竿必須從上到下,這是順筆。如果竹竿倒在右邊,是應該從上而下,或從外向內呢?我以為要是竹竿偏倒在右邊,就要從下或裡向外畫了。這完全是要看情形,順著落筆勢的關係。最後就畫竹葉。竹葉必須生動,決不可將竹安排得如圖案一樣,尤忌部位一樣,必定要非常自然。

竹法有雙鉤和寫意兩種。雙鉤那就是用線條鉤成輪廓,然後再填色,這是工筆畫竹,必要充分了解竹的生長狀態和結構,一筆不得苟且,這種可以叫作畫竹。寫意的竹,也要分層次,近的竹在前,要用濃墨,遠的竹在後,要用淡墨,這才能夠分得出前後、明暗的層次,增加韻味,可是有一點要記著,每一根竹是用濃墨,就全部用濃墨,用淡墨就全部用淡墨,絕不要在一筆上弄巧,兼有濃淡二色,反為不美。

竹有風竹、雨竹、暗竹、老竹、新竹、新篁的分別。風竹是要表現竹在風中的姿態,枝葉要隨著風向,作斜橫飄動的狀態,最不易表現者,為竹竿要能夠在風中有彈性動態的感覺。雨竹的枝葉稍下垂,有濕重的意思。老竹是竿粗葉少,新篁乃是竿細枝柔,葉葉向上。還有在竹節每節上出枝及芽的問題,往往為人忽略,根據實狀,每一竹節在左發枝,一定在右發芽,第二節則一定變為在右發枝,在左發芽。作畫雖小,地方也要注意,如作詩詞,要字斟句酌。石濤寫竹,昔人稱其好為野戰,但是他的生動有風致,那種縱橫態度實在趕不上。但是我們不可以去學。畫理嚴明,應該推崇元朝李息齋算第一人,從他入門,一定是正宗大路。

(《遯山竹譜》卷首轉載元人息齋老人李衎所作「寫竹法」、「畫竹譜」、「竹態譜」、「墨竹賦」、「墨竹譜」等五篇名著。此譜湮沒無聞四百多年,由儷松居王暢安鉤摹原譜,「竹譜」上有許多寫竹「口訣」,令人一見圖訣,便能按圖起筆。)


關於畫家秘訣:

畫家自身便認為是上帝,有創造萬物的特殊本領。

有人以為畫畫是很艱難的,又說要生來有繪畫的天才,我覺得不然。我以為只要自己有興趣,找到一條正路,又肯用功,自然而然就會成功的。從前的人說:"三分人事七分天",這句話我卻極端反對。我以為應該反過來說:"七分人事三分天"才對,就是說任你天分如何好,不用功是不行的。世上所謂神童,大概到了成年以後就默默無聞了。這是什麼緣故呢?只因大家一捧,加之父母一寵,便忘乎其形,自以為了不起,從此再不用功。不進則退,乃是自然趨勢,你叫他如何得成功呢?在我個人的意思,要畫畫首先要從鉤摹古人名跡入手,把線條練習好了;寫字也是一樣。要先習勻雙鉤,接著便學習寫生。寫生首先要了解物理,觀察物態,體會物情。必須要一寫再寫,寫到沒有錯誤為止。                        

畫家自身便認為是上帝,有創造萬物的特權本領。畫中要它下雨就可以下雨,要出太陽就可以出太陽。造化在我手裡,不為萬物所驅使,這裡缺少一山峰,便加上一個山峰;那裡該刪去一堆亂石,心中有個神仙境界,就可以畫出一個神仙境界。這就是科學家所謂的改造自然,也就是古人所說的"筆補造化天無功"。總之,畫家可以在畫中創造另一個天地,要如何去畫,就如何去畫。有時要表現現實,有時也不能太顧現實,這種取捨,全憑自己思想。何以如此?簡略地說,大抵畫一種東西,不應當求太像,也不應當故意求不像。求它像,當然不如攝影; 如就它不像,那有何以畫它呢?所以一定要在像與不像之間,得到超物的天趣,方算是藝術。正是古人所謂遺貌取神,又等於說我筆底下所創造的新天地,叫識者一看自然會辨認得出來。我看到真美就畫下來,不美就拋棄了它。談到真美,當然不單指物的形態,是要悟到物的神韻。這可引證蘇軾評王摩詰的兩句話:"畫中有詩,詩中有畫。"畫是無聲的詩,詩是有聲的畫。怎樣能達到這個境界呢?就是說要意在筆先,心靈一觸,就能跟著筆墨表露在紙上。所以說"形成于未畫之先""神留于既畫之後"。近代有極多物事,為古代所沒有,並非都不能入畫,只要用你的靈感與思想,不變更原理而得其神態,畫得含有古意而又不落俗套,這就算藝術了。

一個成功的畫家,畫的技能已達到化境,也就沒有固定畫法能夠拘束他,限制他。所謂"俯拾萬物""從心所欲"。畫得熟練了,何必墨守成規呢?但初學的人,仍以循規蹈矩、按部就班為是。古人畫人物,多數以漁樵耕讀為對象,這是象徵士大夫歸隱後的清高生活,不是以這四種為謀生道路,後人不知此意,畫得愁眉苦臉,大有靠此為生,孜孜為利的樣子,全無精神寄托之意,豈不可笑!梅蘭菊竹,各有身份,代表與者受者的風骨性格,又是花卉畫法的祖宗,想不到現在竟成了陳言濫套!

現在就我個人學畫的經驗略寫幾點在下面與大家研究:

 (一) 臨摹: 鉤勒線條來就規矩法度。

 (二) 寫生: 了解物理,觀察物態,體會物情。

 (三) 立意: 人物、故事、山水、花卉,雖小景要有大寄托。

 (四) 創境: 自出新意,力去陳腐。

 (五) 求雅: 讀書養性,擺脫塵俗。

 (六) 求骨氣,去廢筆。

 (七) 布局為次,氣韻為先。

 (八) 遺貌取神,不背原理。

 (九) 筆放心閒,不得矜才使氣。

 (十) 揣摩前人要能脫胎換骨,不可因襲盜竊。

 (十一)傳情記事: 如寫蔡琰歸漢,楊妃病齒,湓浦秋風等圖。

 (十二)大結構: 如穆天子傳,屈子離騷,唐文皇便橋會盟,郭汾陽單騎見虜等圖。


《談敦煌壁畫》Essays on Dunhuang Frescoes

我以為,敦煌壁畫對于中國畫壇,有十大影響,現分述于下:

第一,是佛像、人像畫的抬頭。

中國自有圖畫以來,在我前面所述,是先有人物畫,次有佛像畫。山水不過是一種陪襯人物的。到了後來,山水獨立成宗,再加以有南宗水墨、北宋金碧的分別,而文人便以為南宗山水是畫的正宗,連北宗也被摒斥在"畫匠"之列,不只是將人物佛像花卉,看作別裁異派,甚至也認為是匠人畫。自宋元到今天,這種見解牢不可破,而畫的領域也越來越狹小。不知古代所謂大畫家,如所說的"曹衣出水,吳帶當風"這些話,都是指畫人物而言;所謂"頰上添毫""畫龍點睛"這些話,也都是指人物畫。到後來,曹、吳之作不可見,而一般畫人物的,又苦於沒有學問,不敢和山水畫爭衡,所以一天一天地衰落下去。到了敦煌佛像人像被發現之後,這一下子才知道古人所注意的,最初還是人物而不是山水,況且又是六代三唐名家高手的作品,這一下子才把人像畫的地位提高,將人物畫的本來價值恢復。因為眼前擺下了許多名跡,這才使人們的耳目視聽為之一新,才不敢輕詆人物畫,至少使人物畫的地位,和山水畫並峙畫壇。

第二,是線條的被重視。

"書畫同源"這句話,在我國藝壇極普遍地流傳著。當然,繪畫的方法和寫字也有相當的差別,如皴、擦、點、染這些方法,在書法上是絕對不能相通的;而能相通的,恐怕只有山水的畫法和人物畫的線條畫法。皴法當然是要用側鋒一筆一筆地畫下去,而人物畫的線條,尤其是要有剛勁的筆力,一條一條地畫下去,如果沒有筆力,哪能夠勝任?中國有一種白描的畫法,即是專門用線條來表現。可惜後來人物畫衰落,畫家不願意畫人物,而匠人們能畫人物,卻又不懂得線條的重要。所以一直到敦煌佛像發現以後,他們那種線條的勁秀絕倫,簡直和畫家所說的"鐵畫銀鉤"一般,這又是證明敦煌的畫壁,如果不是善書的人,線條絕對不會畫得如此的好。而畫人像、佛像最重要的便是線條,這可以說是離不開的。所以自從佛像恢復從前的畫壇地位以後,這線條畫也就同時復活了。

第三,是鉤染方法的復古。

我們中國畫學,之所以一天一天地走下坡路,當然緣故很多,不過""的一個字卻是致命傷。所謂"氣韻薄""神態薄",這些話固然近于抽象,然而我國畫家對于鉤勒,多半不肯下功夫,對于顏料,也不十分考究,所以越顯得退步。我們試看敦煌壁畫,不管是哪一個朝代,哪一派作風,但他們總是用重顏料,即是礦物質原料,而不用植物性的顏料。他們認為這是垂之久遠要經過若干千年的東西,所以對于設色絕不草率。并且上色還不只一次,必定在二三次以上,這才使畫的顏色,厚上加厚,美上加美。而他們鉤勒的方法,是先在壁上起稿時描一道,到全部畫好了,這初時所描線條,已經被顏色所掩蓋看不見,必須再在顏色上描一道,也就是完成工作的最後一道描。唐畫起首的一道描往往有草率的,第二道描將一切部位改正,但在最後一道描,卻都很精妙地全神點出。而且在部位等方面,這最後一道描與第二道描,有時也不免有出入。壁畫是集體的製作,在這裡看出,高手的作家,經常是作決定性的最後一描!有了這種鉤染方法。所以才會產生這敦煌崇高的藝術,所以我們畫壇也因此學會古代鉤染的方法了。

第四,是使畫壇的小巧作風變為偉大。

我們古代的畫從畫壁開始,然後轉到捲軸上去。以壁來論,總是尋丈或若干丈的局面,不管所畫的是人物是故事,這種場面是夠偉大的。到後來因為捲軸畫盛行,由屏風障子變而為屏幅中堂。畫壁之風衰歇以後,捲軸長的的有過丈的,但是高度不過一二尺,屏幅中堂等等也不過三四尺高一二尺寬而已,因為過于寬大,是不便于攜帶的。到後來再轉而為扇面斗方,那局面只限制到一尺見方的範圍,尺度越來越小,畫的境界也越來越隘,泱泱大風,恐怕要衰歇絕滅了。我們看了敦煌壁畫後,如畫的供養人,多半是五六尺的高度;至于經變、地獄變相、出行圖等等,那局面真是偉大,人物真是繁多;再至于極樂世界的樓台花木人物等等,大逾數丈,繁不勝數,真是嘆觀止矣!我嘗說,會作文章的一生必要作幾篇大文章,如記國家、人物的興廢,或學術上的創見特解,這才可以站得住;畫家也必要有幾幅偉大的畫,才能夠在畫壇立足。所謂大者,一方面是在面積上講,一方面卻是在題材上講,必定要能在尋丈絹素之上,畫出繁複的畫,這才見本領,才見魄力。如果沒有大的氣慨,大的心胸,哪里可以畫出偉大場面的畫?我們得著敦煌畫壁的啟示,我們一方面敬佩先民精神的偉大,另一方面卻也要從畫壇的狹隘局面挽救擴大起來,這才夠得上談畫,夠得上學畫。

第五,是把畫壇的苟簡之風變為精密了。

我國古代的畫,不論其為人物山水宮室花木,沒有不十分精細的。就拿唐宋人的山水畫而論,也是千岩萬壑,繁複異常,精細無比,不只北宗如此,南宗也是如此。不知道後人怎樣鬧出文人畫的派別,以為寫意只要幾筆就夠了。我們要明白,像元代的倪雲林、清初的石濤、八大他們,最初也都經過細針密鏤的功夫,然後由複雜精細變為簡古淡遠,只要幾筆便可以把寄托懷抱寫出來,然後自成一派,並不是一開始便隨便塗上幾筆,便以為這就是文人寫意的山水。不過自文人畫盛行以後,這種苟簡的風氣,普遍彌漫在畫壇裡,而把古人的精意苦心都埋沒了。我們看了敦煌壁畫,不只佛像衣褐華飾,處處都極經意,而出行圖、經變圖那些人物、器具、車馬的繁盛,如果不用細工夫,哪能本繪得出來?看了壁畫,才知道古人心思的周密,精神的圓到,而對于藝術的真實,不惜工夫,不惜工本,不厭求詳的精密的態度,真值得後人警省。杜工部不是有"五日畫一水,十日畫一石"的詩句嗎,畫家何以畫水畫石,要這許多工夫?這就是表示畫家矜慎不肯苟且的作風。所以我說有了敦煌壁畫的精巧縝密,這才挽救了中國畫壇苟且的風氣。

第六,是對畫佛與菩薩像有了精確的認識。

我國因後來山水畫的盛行,畫人物畫佛像畫都衰落下去,差不多淪于工匠手中,就是能夠以畫佛名家的,也不過畫達摩式的佛像、女相的觀世菩薩而已。至于天釋是個什麼樣子,飛天夜叉這兩個名詞雖然流傳人口,到底又是何種樣子,可以說是全不知道。畫壇衰落到這個地步,真是令人氣短!但在敦煌壁畫發現以後,這才給我們以佛、菩薩及各種飛天、夜叉的真像,我們才曉得觀世音菩薩在古代的男像,是有鬍鬚的,不只是後來畫一絕美女人,便指以為是觀世音菩薩。本來,菩薩男、女相本沒有什麼可以爭執的,因為《普門口》上曾說過,凡是世人應該用什形態得""的,觀世音菩薩便現何種形態給他講說佛法,有時現丈夫身,有時現女人身,有時現宰官身。這就是說,對于某界人要叫他信佛法,必定要現出那一界人的形態、服飾及語言等等,要一切相像,才能接近他們。如果現丈夫身而為女人們說法,那女人們不會被駭跑了麼?這也像後來外國人要到中國傳教,必定學中國方言,說得純熟,然後再穿長袍馬褂,這才可以和中國非知識分子接近,這才可以佈道一樣,是一個道理。我因談自敦煌佛畫而得到各種佛、菩薩像的精確性,不覺扯了一大堆的話,然而這道理是真實的啊!

第七,是女人都變為健美。

近代因為中國國勢衰弱,而畫家所畫人物,尤其是美女,無論仇十洲也好,唐六如也好,都走上文弱一條路上,多半是病態的林黛玉型的美人。因為中國一般人的看法,女人是要身段苗條,弱不禁風,才足以表現東方優美的典型。這一直相沿下來好幾百年,無人起來做一種糾正運動。到了敦煌畫面世,所有畫的女人,無論是近事女、供養人或國夫人、后妃之屬,大半是豐腴的、健美的、高大的。我們看北魏所畫的清瘦之相,而到了唐代便全部人像都變成肥大了。這也可證明唐代的昌盛,大家都夠營養,美人更有豐富的食品,所以都養的胖胖的。因為畫家是寫實的,所以就把唐人胖美人寫下來了。後來玄宗寵愛的楊貴妃,也是著名的豐腴之流,或者唐代風尚如此也未可知。但在畫壇裡,我們畫了林黛玉型的美人,差不多有好幾百年了,忽然來一個新典型,楊貴妃式的胖美人,當然可以掀動畫壇。所以現在寫美人的,也都注意到健美這一點了。

第八,是有關史實的畫走向寫實的路上去了。

中國古來作畫,沒有不是寫實的。到了寫意山水畫出世,人物的一切衣服裝飾,便多半以寫意為之。中國在胡人侵入之後,如元代畫家,因為討厭胡人衣服,所以在山水人物畫裡所表現的,都是漢代衣冠,表示不忘宗國的意思,原來是值得稱頌的。但為寫實起見,為表現時代起見,我們便不能不把當時的衣冠飾物等一切實物都繪到紙絹上面去,才能表現某一時代的人物;而人物又因服裝的不同,又可表現他們的身份。我們看敦煌壁畫,在初期六朝時期,華夷雜處,窄袖短衣,人多胡服。又唐人多用昆侖奴,而畫裡富貴人家的侍從,總有一碧眼大漢,高鼻深目,很像洋人,大概即是昆倉山脈下西域諸國的人。北魏婦女多披大衣,有反領和皮領,又披肩和圍巾,式樣簡直如近代時髦裝束。所有近代所用的手杖及推兒車,唐朝也多。如果他們不是寫實,我們又何從知道古代的風俗裝束呢?我們今天的繪畫,也是要使後來一千幾百年後的人,知道我們現在的一切制度裝束。所以敦煌壁畫給我們寫實的啟示,也是很值得去學的。

第九,是寫佛畫卻要超現實來適合本國人的口味了。

上面我們不是說過,寫史實風俗一切是要照當時描寫麼,至于畫佛像畫,在敦煌壁畫里,又適得其反。在北魏時期,所畫的佛像,還是清瘦的印度人相,這當然是依著印度攜來的佛像來畫的。但到了唐代,不只佛像完全像中國人,面圓而體胖,鼻低而目秀,就連所有的樓台宮室一切,也都畫成中國形式了。我們看極樂世界圖便可以看得很清楚。這是什麼道理呢?我以為有兩個原因:因為佛是超世界的,超現實的,所以要用超萬有、超事物的筆法來畫他,才足以表示莊嚴;第二是佛教到了中國,為使中國人發生崇敬思想而起信,虯髯瘦骨的印度人是中國人所不歡迎的,所以到了唐代,就都變成了中國人了,這也可以說是應以中國人身得度者,所以顯示出中國人的形象。又關于圖案,自漢以來,都是以超脫的意境來畫的,所表現在圖案上的,完全是站在雲端看世界,如飛鳳雲龍等等,都是超現實,是其他民族所意會不到的。到了佛教進入中國,中國圖案的作風,接著又是一變。這一變,可說是由超脫的反歸于內省的,從敏慧的進入到大徹大悟的境界。線條是動中見靜,色彩是鬧中有定,題材是廣大超逸的,拿近代的話來講,是高貴的又是大眾的,這一變動超乎于世界各國圖案之上了。這就表明:凡畫佛教的佛像和附帶的圖案畫等等,不必與現實相似,最要緊的超物的觀念,合于本國人視聽的寫法,才是最成功的!

第十,是西洋畫不足以駭倒我國的畫壇了。

在圖畫的基本上講來,我想無論古今中外,總有一個共同的原則,那就是"物極必反"。這話怎麼講呢?那便是最初的畫,一定是簡單的,後來漸漸的複雜,到了複雜之極,又要趨于簡單,但這第二個簡單所包含的意味,便不同于第一次的。最初我們總要刻意畫得像實物,太像了,我們又要把它畫得不太像,或者幾筆簡單的筆意,而控制或代表複雜的景物。前者是寫實,後者便是所謂寫意。寫意寫到太過筆簡,人們以為不夠味,又會回到寫實上面去。這就如春夏秋冬四時的循環,並沒有什麼高下、是非、好壞,只是相繼相代,去舊務新的辦法。但經過若干年之後,也許我們以為極新的,哪知卻是極舊的;以為是外國人所獨創的,哪知道就是中國古代幾千年前便有而後來被暫時揚棄的!

 

 

名家名論.畫論(摘錄)
Aesthetics on Different Aspects of Chinese Painting 
~ by various ancient masters and authors
(Some of the selected quotes are related to Zhang Da-Chian's essays.)


(一)品評論

謝赫六法

畫有六法……六法者何?一氣韻生動是也;二骨法用筆是也;三應物象形是也;隨類賦彩是也;五經營位置是也;六傳移模寫是也。

~ 南齊 謝赫《古畫品錄序》

 

荊浩六要

夫畫有六要:一曰氣,二曰韻,三曰思,四曰景,五曰筆,六曰墨。

氣者,心隨筆運,取象不惑。韻者,隱跡立形,備儀不俗。思者,刪拔大要,凝想形物。景者,制度時因,搜妙創真。筆者,雖依法則,運轉變通,不質不形,如飛如動。墨者,高低暈淡,品物淺深,文彩自然,似非因筆。

~ 五代 荊浩《筆法記》

 

品畫:

自古鑒賞家分品有三: 曰神,曰妙,曰能。獨唐朱景玄撰《唐賢畫錄》,三品之外,更增逸品,其後黃體複作《益州名畫記(錄)》,乃以逸為先,而神、妙、能次之。景玄雖雲逸格不拘常法,用表賢遇,然逸之高,豈得附於三品之末,末若休複首推之為當地。至微宗皇帝,專尚法度,乃以神、逸、妙、能為。

~ 南宋 鄧椿《畫繼卷九/雜說/論遠》


(二)形神論

畫者謹毛而失貌。

~ 西漢 劉安《淮南子卷十七/說林訓》

 

論畫以形似,見與兒童鄰。

賦詩必此詩,定知非詩人。

詩畫本一律,天工與清新。

邊鸞雀寫生,趙昌花傳神。

如何此兩幅,疏淡含精勻。

誰言一點紅,解寄無邊春。

~ 北宋 蘇軾《書鄢陵王主簿所畫折枝》二首之一

 

僕之所畫者,不過逸筆草草,不求形似,聊以自娛耳。

~ 元倪瓚《清 閣全集卷十/答張藻仲書》


(三)氣韻論

觀者先看氣象,後辨清濁。

~(傳)唐 王維《山水論》

山水之象,氣勢相生。

~ 五代 荊浩《筆法記》


(四)意境論

真山水之煙嵐,四時不同:春山淡冶而如笑,夏山蒼翠而滴,秋山明淨而如妝,冬山慘澹而如睡。畫見其大意,而不為刻畫之跡,則煙嵐之景象正矣。

~ 北宋 郭熙、郭思《林泉高致/山水訓》

春山煙雲連綿人欣欣,夏山喜木繁陰人坦坦,秋山明淨遙落人肅肅,冬山昏霾翳塞人寂寂。看此畫令人生此意,如真在此山中,此畫這景外意也。見青煙白道而思行,見平川落照而思望,見幽人山客而思居,見岩扃泉石而思遊。看此畫令人起此心,如將真即其處,此畫之意外妙也。

~ 北宋 郭熙、郭思《林泉高致/山水訓》


(五)風格流派論

禪家有南北二宗,唐時始分;畫之南北宗,亦唐時分也,但其人非南北耳。北宗則李思訓父子著色山水,流傳而為宋之趙斡、趙伯駒、伯 ,以及馬、夏輩;南宗則王摩詰始用瀉淡,一變鉤斫之法,其傳為張 、荊、關、董、巨、郭忠恕、米家父子,以至元之四大家,亦如六祖之後,有馬駒、雲門、臨濟兒孫之盛,而北宗微矣。要之,摩詰所謂雲峰石跡,回出天機;筆意縱滿,參平造化者。東坡讚吳道子、王維畫,亦吾於維也無間然。知言哉。

文人之畫自王右丞始,其後董源、巨然、李成、寬為嫡子;李龍眠、王晉卿、米南宮及虎兒,皆從董、巨得來;直至元四大家黃子久、王叔明、倪元鎮、吳仲圭,皆其正傳;吾期文、沈,則又遠接衣缽。若馬、夏及李唐、劉松年,又是大李將軍之派,非吾曹當學也。

~ 董其昌《畫旨》


(六)章法論

凡畫山水,意在筆先。

~(傳)唐 王維《山水論》

 

凡未操筆,當凝神著思,豫在目前,所以意在筆先,然後以格法推之,可謂得之于心,應之於手也。

~ 北宋 韓拙《山水純全集》

 

未落筆時先須立意,一幅之中有氣有筆有景,種種具於胸中,到筆著紙時,直追出心中之畫,理法相生,氣機流暢,自不與凡俗等。

~ 蔣和《學畫雜論/立意》


(七)筆墨論

筆以立其形質,墨以分其陰陽,山水悉從筆墨而成。

~ 北宋 韓拙《山水鈍全集》

 

以境之奇怪論,則畫不如山水;以筆墨之精妙論,則山水決不如畫。

~ 董其昌《畫旨》


(八)設色論

畫中設色之法與用墨無異,全論火候,不在取色,而在取氣,故墨中有色,色中有墨。古人眼光直透紙背,大約在此。今人但取傅彩悅目,不問節腠,不入 要,宜其浮而不實也。

~ 王原祁《麓台題畫稿/仿大癡》


(九)詩畫論

畫與詩,皆士人陶寫性情之事;故凡可以入詩者,均可以入畫。

~ 沈宗騫《芥舟學畫編卷二/山水/避俗》

 

畫筆善狀物,長於運丹青;

丹青入巧思,萬物無循形。

詩筆善狀物,長於運丹誠;

丹誠入秀句,萬物無遁情。

~ 北宋 邵雍《伊川擊壤集》卷十八


(十)書畫論

畫無筆跡,非謂其墨淡模糊而無分曉也,正如善書者藏筆鋒,如錐畫沙、印印泥耳。書之藏鋒在乎執筆沉著痛快。人能知善書執筆之法,則知名畫無筆跡之說。故古人如孫太古,今人如米元章,善書必能畫,善畫必能書,書畫其實一事爾。

~ 南宋 趙希鵠《洞天清錄/古畫辨》

 

 

Zhang Da-Chian On Figure Paintings


In his early years Zhang Da-Chian’s figure and lady paintings resembled the styles of Ming and Ching Dynasties. His figure paintings transformed and matured after his two trips to Dunhuang where he spent great efforts to copy and study the murals. He had traveled there in 1941 and 1943 and stayed there for 31 (or 32) months. He had copied more that 270 murals with his students and followers.

The Mogao Grottoes were in the southeast of Dunhuang, at the foot of Mingsha Mountain. The thousands of murals in the Mogao Grottoes ranged from Wei Dynasty to Sung Dynasty. For thousands of years, the place had been deserted until some Westerners came in 1900 and 1907 and stole the relics away, hence the treasures in Dunhuang became known to the world.

The Mogao Grottoes were built before the Sui Dynasty. All the murals in them inherited the traditional style of Han Dynasty folk paintings. Paintings in the Northern Chi Period brought forth a sudden conspicuous change which was linked to the literary paintings of the south. Gu Kai-Zhi of the Eastern Jin Dynasty became a leader of the new style.

Zhang Da-Chian said when he first encountered the Dunhuang murals, he felt dazzled and confused. He found his previous study of ancient works quite inadequate. Zhang met a number of problems when he began copying the murals. All the grottoes faced east, hence they became completely dark in the afternoon and copying work could only be done in the morning. The silk and paper they brought from Chengdu were too small and had to be sewn or glued together for the huge paintings. The seams affected the pictures. The ordinary colors they brought looked dim and gloomy when compared to the original colors of the murals.

To solve the problems, Zhang sent his son Zhang Xin-Zhu ( 張心智 ) to Xining with two other persons. They invited the lama painters from the monastery to join them in Dunhuang. The lama painters could draw religious paintings. They could also make colors and sew canvas. They treated the canvas in a special way so that it looked similar to the ancient paintings. The special colors they made were also close to those on the murals.

As there was a lot of copying work to do, Zhang could only drew the outlines himself and let the lamas did the coloring. One day when Zhang was working in grotto numbered 20, he suddenly discovered that at the right bottom corner where the mural was torn, there seemed to be colors and lines underneath. After repeated discussions with his students, they decided to tear down the outer layer. When they did, they found a richly colored Tang Dynasty mural beneath the outer layer. Zhang described the event in an article later.

Zhang Da-Chian spent a long time in Dunhuang. He was completely overcome with admiration for the glamorous Tang Dynasty murals. He studied them hard and copied them, hence his later figure paintings were in the Tang Dynasty style. They became marvelous in spirit.

Zhang Da-Chian had said that according to his own experience, one should first work on outlines, then on sketching before one turned onto freehand style. He said one should start by copying ancient masterpieces in order to develop one’s outlining skills and understand the painting rules. He summarized his experiences into the following points:

1. copy and outline to learn the rules

2. sketch, observe and understand the objects

3. set the inner meaning of the picture

4. develop an innovative atmosphere

5. pursue an elegant style

6. avoid unnecessary and improper details

7. place the spirit and mood in the first priority, the second priority is the composition

8. capture the spirit of the objects and do not contradict the natural rules

9. not to be arrogant for one’s talent

10. copy ancient masters and learn their essence, but do not steal from their works

Apart from doing ordinary lady paintings, Zhang Da-Chian had later gone to sketch in Tibet. He drew many outstanding pieces on Tibetan women which revealed techniques and atmospheres learned from the Dunhuang murals.

Zhang had said that painting should not achieve too close a likeness with the real object, yet there should not be deliberate unlikeness. One had to strike a balance between likeness and unlikeness for conveying the natural beauty. This was the art of painting.

~ Xie Zhu-Liu ( 謝智柳 )

In “Paintings of Famous Modern Chinese Artists - Zhang Da-Chian, Recluse Paintings” by Xie Zhu-Liu, recorded by Zhou Ke-Wen, published on 1 June 1994, Han Mo Xuan Publishing Co., Ltd.

 
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9.

傅申"張大千的世界"

黃天才"五百年來一大千"

梅丘生死摩耶夢 (高陽) A book about Zhang's life. 272 pages in Chinese texts. Free reading online.

Google book search: http://books.google.com/books?id=6CjvRnquphoC&pg=PA65&lpg=PA65&dq=+%22%E6%9D%8E%E9%A0%86%E8%8F%AF%22&source=web&ots=-nFioN8ulV&sig=F20RMRCalDckhC2BPBdvuiB3wVw&khl=en#PPP1,M1.

張大千常用印款 (西泠印社出版社 ISBN:c7807352300)

 

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