張大千是二十世紀中國畫壇最具傳奇色彩的國畫大師，無論是繪畫、書法、篆刻、詩詞都無所不通。早期專心研習古人書畫，特別在山水畫方面卓有成就。后旅居海外，畫風工寫結合，重彩、水墨融為一體，尤其是潑墨與潑彩，開創了新的藝術風格。
Zhang Daqian is the most legendary master of Chinese painting in the 20th century. He is omnipotent in painting, calligraphy, seal cutting and poetry. In his early days, he devoted himself to studying ancient calligraphy and painting, especially in landscape painting. After living abroad, he combined painting style with writing, emphasized color and ink, especially splash ink and splash color, and created a new artistic style.
張大千是全能型畫家，正如黃永玉先生曾言:“我佩服的人不是很多，但佩服張大千，張大千像鋼琴，其他人像小提琴、大提琴，就是說，他完美、全面，就像梅蘭芳一樣”;他還說“這一百年來，張大千恐怕是最重要的一個畫家”。
Zhang Daqian is an all-round painter. As Mr. Huang Yongyu once said, "I admire not many people, but I admire Zhang Daqian. Zhang Daqian is like a piano, others are like violin and cello. In other words, he is perfect and comprehensive, just like Mei Lanfang." he also said that "in the past 100 years, Zhang Daqian is probably the most important painter.".
1949年，大千先生前往海外。初至印度，次遷香港，又移南美。30余年來，大千先生往來亞、歐、美諸邦，舉辦畫展，聲噪國際，被譽為“當今最負盛名之國畫大師”;亦為介紹宣揚我國傳統文化藝術，作出了卓著的貢獻。大千先生以他淵博的識見，令人敬仰的成就，贏得了各國藝術界、評論界的尊重，增強了中國繪畫藝術的世界影響。
In 1949, Mr. Daqian went abroad. He first arrived in India, then moved to Hong Kong and then to South America. Over the past 30 years, Mr. Daqian has traveled to Asia, Europe and the United States to hold art exhibitions. He is known as "the most famous master of traditional Chinese painting today" and has made outstanding contributions to introducing and promoting Chinese traditional culture and art. With his profound insight and admirable achievements, Mr. Daqian has won the respect of the art circles and critics of various countries, and enhanced the world influence of Chinese painting art.
此幅作品，觀世音菩薩像臉龐豐腴圓潤，雙眉纖細，紅唇金冠，面容端莊，發現莊嚴，已然化身女性形象，象征平和仁愛、溫柔慈祥，與觀音菩薩悲憫護生的功德相符。整體來說，畫家線條凝練，用筆老道，在中國文化中，母親是“慈悲”的形象，二觀世音菩薩本身所體現的慈悲融入到中國文化木星的特質，也體現了社會文化的觀點。
In this work, the statue of Avalokitesvara has a plump and round face, slender eyebrows, red lips and golden crown. It is solemn and dignified. It has already incarnated into a female image, symbolizing peace, kindness, gentleness and kindness, which is consistent with the merits of Guanyin Bodhisattva's compassion and care for students. In Chinese culture, mother is the image of "compassion". The compassion embodied by Bodhisattva erguanyin is integrated into the characteristics of Jupiter in Chinese culture, which also reflects the viewpoint of social culture.
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，敦煌石窟藝術從此走向世界，也為其以后的繪畫創作，尤其是人物畫創作奠定了基礎。
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.
張大千在1951年時得意地對人講：“別的我不敢講，但是我在敦煌臨了那么多壁畫，我對佛和菩薩的手相，不論它是北魏、隋唐，還是初唐、盛唐、中唐、晚唐以及宋代、西夏，我是一見便識，而且可以立刻示范，你叫我畫一雙盛唐的手，我決不會拿北魏或宋初的手相來充數，兩年多的功夫沒有白費喲！”葉淺予則認為，張大千的唐裝仕女，造型上已滲有敦煌供養人的儀容，用筆則仿吳道子的飛動飄逸，總之超越了明人情調，向唐人追蹤而去。
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，張大千開始云游世界，先后移居香港、印度、阿根廷、巴西、美國等國家和地區，晚年定居臺灣營建“摩耶精舍”。由此繪畫視野大開，并注意研究日本浮士繪及西方立體派藝術的技法，所繪仕女筆法生動，極具時代感，給觀者似有息息相通、脈脈傳情的感覺，創作風格也逐漸從古典向現實轉變。期間，由于旅居海外特別是1957年突患眼疾，仕女畫作品數量明顯減少，但一生求變求新的張大千，卻再度變法獨創并成就了潑墨潑彩山水畫，開一代中國畫新風。
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.
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