張大千荷花圖
《張大千荷花圖》是由中國著名山水畫大師張大千所作。張大千愛荷,一生畫荷無數,他以"君子之風,其清穆如"喻荷,盛贊其高潔。每當花開時節,大千都要四處賞花、寫生,在居住的庭園內,通常要開辟池塘,遍植荷花,即便在環境稍局促的摩耶精舍,他仍用幾只大缸養滿荷花。其代表作品有1935年創作、1976年創作以及作畫年代不詳的三幅荷花圖。
Zhang Daqian's Lotus painting was painted by Zhang Daqian, a famous Chinese landscape painter. Zhang Daqian loved lotus and painted lotus countless times in his life. He compared lotus with "gentleman's style, and praised it's noble and pure". When the flowers are in bloom, Daqian would like to enjoy and sketch flowers everywhere. In the garden where he lives, he usually has to open up a pond and plant Lotus everywhere. Even in the moye house where the environment is a little limited, he still uses several large VATS to fill the lotus. His representative works include three lotus paintings created in 1935, 1976 and unknown painting time.
張大千先生的題為"孤鸞室"的《張大千荷花圖》,畫中主要的兩柄如傘之荷,通天徹地,荷梗剛勁又婀娜,其姿其態優美無比,正如高鳳翰詩中說的"五尺長",但這種感覺又何止"五尺長",簡直是石濤詩中那"十丈不勝花"。是荷,卻更是蓮,比蓮更美,更生動。那荷葉的畫法,實可說不知是怎么畫的,是極為隨意的"破筆"卻很是和諧,很是統一;是墨,是色,是從心所欲的揮灑,是天真爛漫的潑墨,反而更顯變化之無窮無盡。他一次與弟子糜耕云談話時說:"中國畫重在筆墨,而荷花是用筆用墨的基本功。畫荷,最易也是最難,易者是容易入手,難者是難得神韻。畫荷主要在于畫荷葉及荷梗。"畫作恰好說明了他自己的旨意,所以他創作了"十丈"的"不勝花"。畫家作畫是不能盲目的,必須有自己的"主見",必須要"立意",必須要"胸有成竹",必須要"意在筆先"。只有這樣,畫中的"筆和墨"才會生動,才能達意,才能至筆飛墨舞之神效。
The painting of Zhang Daqian's lotus flower, titled "guluan room", shows that the main two handles are like the lotus of an umbrella. The lotus stems are strong and graceful, and their posture is incomparably beautiful. Just like Gao fenghan's poem "five feet long", this kind of feeling is more than "five feet long", which is just like "ten feet of flowers" in Shi Tao's poems. Lotus is more beautiful and vivid than lotus. It can be said that the painting method of lotus leaf is actually unknown. It is a very random "broken brush", but it is very harmonious and unified; it is ink, color, free flowing and innocent splash ink, but it shows endless changes. In a conversation with his disciple mi Gengyun, he said: "Chinese painting focuses on brush and ink, and lotus is the basic skill of using brush and ink. Painting lotus is the easiest and the most difficult. Easy is easy to start with, difficult is rare charm. Painting lotus mainly lies in painting lotus leaves and stems. "The painting just illustrates his own intention, so he created" ten Zhang "of" endless flowers ". Painters should not be blind in painting, they must have their own "opinions", they must have their own "ideas", they must "have a plan in mind", and they must have "ideas before writing". Only in this way can the "pen and ink" in the painting be vivid, express the meaning, and achieve the magic effect of pen flying and ink dancing.
畫作中兩柄如傘之荷確是"花如今隸莖如篆,葉是分書草草書"。荷干都是兩筆完成:一筆從上至下,另一筆從下至上,兩筆自然接榫。荷心看上去宛如矗立水中央一般。兩柄如傘之荷下,有"才露尖尖角"的小荷,有始展的小荷,有漸長的小荷。三小荷姿豐態動,筆墨各異,富有變化。水紋寥寥,水草疏密,行筆疾勁,為他人所難模仿。特別是畫面最前面那水紋中的一筆淡墨,似小草,卻又更似水中之影。似,又不似;不似,又極似"影"。妙,真是妙筆生花、妙筆畫草、妙筆畫"影"。這一筆勝似多筆。
In the painting, the lotus with two stalks like an umbrella is indeed "the flower is now in the official script, and the leaf is in cursive script". He Gan is two strokes: one from the top to the bottom, the other from the bottom to the top. The two strokes are naturally connected. Lotus heart looks like standing in the middle of the water. Under the two umbrellas, there are small lotus plants with "just exposed sharp corners", some are beginning to expand, and some are gradually growing. Three small lotus posture dynamic, different ink, rich in change. There are few water lines, dense water plants and strong writing style, which is difficult for others to imitate. In particular, the ink in the front of the picture is like grass, but more like the shadow in the water. Like, not like; not like, but also like "shadow". Wonderful, it is really a wonderful brush of flowers, wonderful brush painting grass, wonderful brush painting "shadow". This one is better than many.
畫作在用筆、用墨、用色、用水、布局諸方面均極佳,堪為神逸之作。畫中一巨石,是實,而畫中卻施以清淡輕靈之筆,真可謂真可謂輕描淡寫描頑石,實為一奇。絕近處以濃墨為主、干濕濃淡變化豐富的破筆畫荷葉,既間以同前一荷花的抑揚有致的白荷花,隨襯以淡墨荷葉……石頂部又畫數片花與葉,淡淡的,筆墨生動。花作若隱若現狀,宛如含羞少女,嬌憨可愛。在墨色方面,自近而遠,由濃至淡,濃淡相間,臻于化境。在布局上,以實為虛,畫石一大塊卻施之于白,計白當黑。此畫取石濤之氣,取八大之"毅"。難怪乎徐悲鴻說:張大千的荷花為國人臉上增色。
The painting is excellent in the use of brush, ink, color, water, layout and other aspects, which can be regarded as an elegant work. In the painting, a huge stone is real, but the painting is applied with a light and light brush. It can be said that it is really understatement to describe the stubborn stone, which is really a surprise. The lotus leaves with broken strokes, which are mainly thick ink and vary in dry, wet and shade, are in close proximity. They are white lotus flowers with the same cadence as
the previous lotus, and are lined with light ink lotus leaves At the top of the stone, several pieces of flowers and leaves were painted, light and vivid. If the flowers are hidden like the status quo, like a shy girl, charming and lovely. In terms of ink color, from near and far, from thick to light, thick and light alternate, reaching the level of perfection. In terms of layout, the real is regarded as virtual, but a large piece of stone is applied to the white, and the white plan should be black. This painting takes the spirit of Shi Tao and the "Fortitude" of the eight great masters. No wonder Xu Beihong said: Zhang Daqian's Lotus adds color to China's face.
此張大千荷花圖是陳先生收藏的珍品,其畫筆大多是沒骨、寫意或潑墨潑彩,格新韻古,且依舊是恪守他一以貫之的強調物理、物情、物態,大千觀察細致入微,他筆下的荷花形態各異,或正、倚、俯、仰,或靜、動、離、合,或大、小、殘、雅,在風、晴、雨、露中展現各種姿態。整幅畫構圖飽滿,疏密有致,格調清新典雅,仿佛預示著一個新生命的誕生,具有一股強勁的蓬勃向上之勢。
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