大勢至菩薩像
敦煌石窟是舉世矚目的世界文化遺產(chǎn),而張大千正是對敦煌藝術(shù)進行全面整理、臨摹、學習、繼承和發(fā)揚的第一人。1941年至1943年,張大千在敦煌共臨摹作品276件。這一經(jīng)歷,使得張大千的藝術(shù)創(chuàng)作產(chǎn)生了極大的轉(zhuǎn)變,人物形象更加飽滿生動,線條流暢而富于變化,賦色濃艷又不失端莊,與單純的文人畫風拉開了距離。經(jīng)過敦煌藝術(shù)的洗禮,他的視野更開闊,氣勢更恢宏,技巧更嫻熟,手法更多樣,藝術(shù)水平上升到一個全新的境界。從此,張大千的畫風也為之一變,善用復筆重色,高雅華麗,瀟灑磅礴,被譽為“畫中李白”、“今日中國之畫仙”。
The Dunhuang Grottoes are a world cultural heritage that attracts worldwide attention, and Zhang Daqian is the first person to comprehensively organize, copy, study, inherit and develop Dunhuang art. From 1941 to 1943, Zhang Daqian copied 276 works in Dunhuang. This experience has greatly changed Zhang Daqian's artistic creations. The characters are fuller and more vivid, the lines are smooth and full of change, the colors are rich and dignified, yet dignified. After the baptism of Dunhuang art, his vision is broader, his momentum is more magnificent, his skills are more sophisticated, his techniques are more varied, and his artistic level has risen to a whole new level. Since then, Zhang Daqian's style of painting has also changed, making good use of complex strokes to emphasize colors, elegant and gorgeous, and chic and magnificent, known as "Li Bai in painting", "China's painting fairy today".
1941年5月,張大千攜三夫人楊宛君(后二夫人黃凝素加入)、兒子張心智、侄兒張彼得、學生肖建初和劉力上及幾個裱工,后又聘請藏畫家索南丹巴的四個弟子等赴敦煌考察研究石窟壁畫。面壁近三年,他匍匐于昏暗的洞窟角落,神往于斑斕的佛教圣境,傾倒于瑰麗的藝術(shù)畫卷,如癡如醉。張大千曾在敦煌面壁兩年七個月,臨摹了自十六國、兩魏、北周、隋、唐、五代、宋、兩夏、元等歷朝歷代的壁畫作品達276幅,敦煌石窟藝術(shù)從此走向世界,也為其以后的繪畫創(chuàng)作,尤其是人物畫創(chuàng)作奠定了基礎(chǔ)。
In May 1941, Zhang Daqian brought his third wife Yang Wanjun (the second wife Huang Ningsu joined), his son Zhang Xinzhi, his nephew Zhang Peter, students Xiao Jianchu and Liu Lishang and several mounters, and later hired the Tibetan painter Sonandamba's four Disciples and others went to Dunhuang to investigate and study the grottoes in the grottoes. Facing the wall for nearly three years, he was crawling in the corner of a dim cave, fascinated by the colorful Buddhist sanctuary, and dumped in magnificent art scrolls. Zhang Daqian had faced the wall in Dunhuang for two years and seven months. He copied 276 murals from the sixteen Dynasties, the two Wei Dynasty, the Northern Zhou Dynasty, the Sui Dynasty, the Tang Dynasty, the Five Dynasties, the Song Dynasty, the Liangxia Dynasty and the Yuan Dynasty. The world has also laid the foundation for future paintings, especially figure paintings.
此圖臨摹的原壁畫位于莫高窟第57窟,為初唐時期所繪。此幅《大勢至菩薩像》重彩設(shè)色,畫面鮮艷,是張大千臨摹諸多敦煌觀音造像作品中的杰作之一。畫底為黃色,大勢至菩薩頭部兩重同心圓頭光,高發(fā)髻戴三珠冠,上飾仰月。眉眼細長,高鼻豐唇,方圓飽滿,溫和艷麗,妙相莊嚴。上身坦露,下穿紅色羅裙,飾項圈和腕釧,披帛自雙肩繞臂垂于體側(cè),兩角尖長。左手執(zhí)金蓮一蒂至肩部,代表心性本凈、救度六道眾生。赤雙足,雙腳踏藍色蓮花。身軀勻稱,體態(tài)豐滿,呈“三曲式”站立。寶像典雅慈祥,給人以莊重肅穆之感。
The original mural in this picture is located in Cave 57 of Mogao Grottoes and was painted in the early Tang Dynasty. This "Big Buddha Statue" is recolored and brightly colored, and it is one of the masterpieces in Zhang Daqian's many Dunhuang Guanyin statues. The bottom of the painting is yellow, with a double concentric round head light from the head of the Buddha, wearing a three-bead crown on the high hair, and decorated with the moon. The eyebrows are slender, with high nose and lips, full and round, gentle and beautiful, and magnificent. The upper body is exposed, wearing a red skirt, decorated with a collar and wristbands, and a cape hanging from the shoulders around the arms to the side of the body, the corners are long. Holding Jinlian in his left hand to the shoulder represents the pure nature of the mind and saves the six beings. Barefoot,
two-footed blue lotus. The body is well-proportioned, full-bodied, and stands in a "three-curved form." The statue is elegant and kind, giving a solemn and solemn feeling.
衣服紋飾色彩多用石青、石綠、土紅色,菩薩身上瓔珞珠寶點綴,畫面華麗而高貴。宗教壁畫中的人物衣冠服飾,是當時社會人物日常裝扮的現(xiàn)實反映,并隨時代的改變有所變化。唐朝初期,婦女服飾多小袖窄衣,外加半臂,肩部繞有披帛,風格較為簡約。至中晚唐日趨呈現(xiàn)衣裙寬肥,褒衣博帶的特點。
The color of the clothes decoration is mostly stone green, stone green, earth red, and the bodhisattva is decorated with jewellery. The picture is gorgeous and noble. The clothes and costumes of the figures in the religious murals are a realistic reflection of the daily dress of social figures at that time, and they have changed with time. In the early Tang Dynasty, women's clothing consisted of small sleeves and narrow coats, plus half-arms, and draped around the shoulders. Until the middle and late Tang Dynasty, the characteristics of wide and fat dresses and gigantic clothes were gradually appearing.
此副大勢至音菩薩像是龍先生收藏的珍品,此圖是張大千老先生臨摹的原壁畫位于莫高窟第57窟,為初唐時期所繪。此幅《大勢至菩薩像》重彩設(shè)色,畫面鮮艷,是張大千臨摹諸多敦煌觀音造像作品中的杰作之一。畫底為黃色,大勢至菩薩頭部兩重同心圓頭光,高發(fā)髻戴三珠冠,上飾仰月。眉眼細長,高鼻豐唇,方圓飽滿,溫和艷麗,妙相莊嚴。上身坦露,下穿紅色羅裙,飾項圈和腕釧,披帛自雙肩繞臂垂于體側(cè),兩角尖長。左手執(zhí)金蓮一蒂至肩部,代表心性本凈、救度六道眾生。赤雙足,雙腳踏藍色蓮花。身軀勻稱,體態(tài)豐滿,呈“三曲式”站立。寶像典雅慈祥,給人以莊重肅穆之感。收藏價值和升值空間都值得期待。
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