原创 【精品推荐】张大千仕女图赏析

Different from fu Baoshi's beautiful and elegant ladies, the style is ancient; Qi Baishi's lady's manner was vivid; Lin Feng sleep beautiful color, Zhang Daqian ladies can be said to be elegant, do not have charm. Because the beauty standard in his eyes should be much more demanding than ordinary people, not only to be beautiful, but also temperament to be "beautiful, graceful, left behind and independent posture, a touch of light, for the down."

此大千居士仕女图，图中美女端庄健康，充满青春活力，不乏当代女性的气息与风采。无论是观音、山鬼、明妃、仕女这样的古代传统女性，还是新时代的摩登女郎，所有女性的脸部结构，特别是眼睛和嘴唇的构造，基本上是一致的，是那种张大千所欣赏的理想美类型。

This is a picture of a woman of thousands of people, a picture of American women dignified and healthy, full of youthful vitality, there is no lack of contemporary female breath and style. Whether ancient traditional women like Guanyin, mountain ghosts, imperial concubines, or modern women of the new era, the facial structure of all women, especially the construction of eyes and lips, was basically the same, which was the ideal type of beauty that Zhang Daqian appreciated.

1941年5月，张大千携三夫人杨宛君（后二夫人黄凝素加入）、儿子张心智、侄儿张彼得、学生肖建初和刘力上及几个裱工，后又聘请藏画家索南丹巴的四个弟子等赴敦煌考察研究石窟壁画，面壁两年七个月，临摹了自十六国、两魏、北周、隋、唐、五代、宋、两夏、元等历朝历代的壁画作品达276幅，敦煌石窟艺术从此走向世界，也为其以后的绘画创作，尤其是人物画创作奠定了基础。

Three wife in May 1941, chang Yang Wanjun (second Mrs. Huang haemagglutinin join), Zhang Xinzhi son, my nephew Peter zhang, at the beginning of learning Chinese zodiac built and several Liu Lishang and framed, and then hired four disciple of Tibetan painter Mr. South danba, etc to the research of dunhuang grottoes murals, wall two years and seven months, copy from the sixteen, two wei, their, sui, tang and five dynasties, song, xia, two yuan dynasties such as murals of 276 works, dunhuang grotto art to the world, from now on also for painting after its creation, especially in figure painting creation laid a foundation.

张大千在1951年时得意地对人讲：“别的我不敢讲，但是我在敦煌临了那么多壁画，我对佛和菩萨的手相，不论它是北魏、隋唐，还是初唐、盛唐、中唐、晚唐以及宋代、西夏，我是一见便识，而且可以立刻示范，你叫我画一双盛唐的手，我决不会拿北魏或宋初的手相来充数，两年多的功夫没有白费哟！”叶浅予则认为，张大千的唐装仕女，造型上已渗有敦煌供养人的仪容，用笔则仿吴道子的飞动飘逸，总之超越了明人情调，向唐人追踪而去。

Chang proudly told people in 1951: "I dare not speak, but I am finally so many murals of dunhuang, my palms of Buddha and bodhisattva, whether it is the northern wei, sui and tang dynasties, tang, tang, middle tang and late tang dynasty and song dynasty, western xia, I am a see will know, and can immediately demonstration, you call me a pair of tang's hand, I will never take the northern wei dynasty or less palm who sucks, more than two years of efforts were not in vain!" Ye Xianyu thinks, Zhang Daqian's tang dress ladies, modeling has been infiltrated with the appearance of dunhuang donor, with the pen is imitating Wu Daozi flying elegant, in short beyond the Ming emotional appeal, to the Tang trace.

1949年以后，张大千开始云游世界，先后移居香港、印度、阿根廷、巴西、美国等国家和地区，晚年定居台湾营建“摩耶精舍”。由此绘画视野大开，并注意研究日本浮士绘及西方立体派艺术的技法，所绘仕女笔法生动，极具时代感，给观者似有息息相通、脉脉传情的感觉，创作风格也逐渐从古典向现实转变。期间，由于旅居海外特别是1957年突患眼疾，仕女画作品数量明显减少，但一生求变求新的张大千，却再度变法独创并成就了泼墨泼彩山水画，开一代中国画新风。

After 1949, Zhang Began to travel around the world and moved to Hong Kong, India, Argentina, Brazil, the United States and other countries and regions. Therefore, the painting field of vision is widened, and attention is paid to the study of Japanese Faustus painting and western cubist art techniques, the painting of ladies is vivid, with a sense of The Times, the audience seems to have a sympathetic feeling, the creation style has gradually changed from classical to realistic. During this period, due to his overseas residence, especially his sudden eye disease in 1957, the number of ladies' paintings decreased significantly. However, Zhang Daqian, who was seeking for changes in his life, created original Chinese ink and color landscape painting once again and created a new style of Chinese painting. 返回搜狐，查看更多