Portrait of Zhang Daqian

Zhang Daqian (1899- 1983), a native of Neijiang, Sichuan, was a modern painter, calligrapher and collector in China. His original name was Zheng Quan, and later he was renamed Ji Ju. His name was Daqian, a posthumous title Daqian layman and Xialiba. 12-year-old can also draw landscape flowers and birds, and is called a prodigy. /kloc-entered the new school at the age of 0/3,/kloc-entered Beijing with his brother Zhang Ze at the age of 0/9, studying painting and dyeing. 19 19, he returned to Shanghai to learn from Li Ruiqing and Zeng. The man in the eight mountains is a good man, but he used to be a good stone Tao. Zhang Daqian also praised the Eighth National Congress and Shi Tao, so he often painted ink lotus flowers in the eight mountains and imitated Shi Tao's monks to make landscape paintings, which won the appreciation of the second division. I also learned many techniques of copying ancient paintings from Li Ruiqing's younger brother Li Junan, and then focused on Shi Tao's paintings, including those of Ba Da, Jian Jiang, Xi Shi, Tang Yin, Qing Teng and Bai Yang. From the Qing Dynasty to the Ming Dynasty, the art of painting was greatly improved, and the ancient imitation reached a state of chaos! These fake paintings have deceived many big collectors. 1924, the first solo exhibition was held in Shanghai. 193 1 year, my brother Zhang Ze and I went to Japan as representatives of China Tang, Song, Yuan and Ming art exhibitions. From 65438 to 0933, he served as a professor in the Art Department of Central University, and resigned the following year, specializing in creation. 1936, Zhonghua Book Company in Shanghai published Zhang Daqian's "Painting Collection", with Xu Beihong as the preface, praising him as "a great genius in the past 500 years". 1940, went to Dunhuang to copy murals of past dynasties, two years and seven months before and after. From 65438 to 0949, he temporarily lived in Hongkong, traveled to Taiwan Province Province, and went to New Delhi to hold an art exhibition the following year. 195 1 returned to Hong Kong and moved to Argentina the following year. 1953 moved to Brazil again. 1957 was selected as the greatest painter in the world by new york International Art Society and won the gold medal. Zhang Daqian moved to San Francisco in 1969 and lived in the United States for 10 years, which was the heyday of his creation. 1973 Donate works to Taipei Museum of History. 1974 was awarded an honorary doctorate in humanities by California Pacific University. 1978 moved to Taipei, homesick in his later years, and he couldn't come back. Zhang Daqian knows everything about painting, calligraphy, seal cutting and poetry, especially landscape painting. His painting art can be divided into three periods: the classical style period, the transitional period and the peak period. Before the age of 60, Zhang Daqian devoted himself to copying, from Shi Tao and the Eighth National Congress to Xu Wei, Chen Chun, Song and Yuan Dynasties to Dunhuang murals. His painting style has also changed from similar to Shi Tao and the Eighth National Congress to Jin, Tang, Song and Yuan styles. At the age of 60-70, after 10 years of exploration, Zhang Daqian finally created a magnificent new look by splashing ink on his paintings. Marked by the map of the Yangtze River 70 years ago, it entered the peak of creation, and splashing ink became the most personalized painting method. This sudden change in Zhang Daqian's later years made his art move from classical to modern. Without this change, his own personal artistic style is not outstanding, and he can only be an antique master.

Artistic status:

Among Chinese painters in the 20th century, Zhang Daqian is undoubtedly one of the best, and his paintings are beautiful and elegant. Xu Beihong said, "Zhang Daqian was the first person in 500 years." He is brilliant and well-educated. He is good at landscapes, figures, flowers, ladies and feathers, especially landscape paintings. He and many ancient painters at that time shouldered the heavy responsibility of reviving the traditional painting school prevailing in the early Qing Dynasty, that is, inheriting the excellent traditions of painters in Tang, Song and Yuan Dynasties and reviving the traditional painting school that had been weak since Qianlong. Zhang Daqian, like many China painters looking for the ancient school, also experienced the road of description, but few modern painters absorbed the nutrition of the ancients as widely as Zhang Daqian. He learned from the ancients, learned from the people, learned from everything, and learned from nature, and finally reached the realm of "for the teacher's own use." While inheriting the tradition, I also thought of innovation. Finally, on the basis of inheriting the tradition, he developed splashing ink, created the art of splashing color and colored ink, improved the texture of Chinese painting Xuan paper, and finally became a master. Zhang Daqian had many disciples all his life, and his painting style had a far-reaching influence. Cao Datie, He, Yu Zhizhen, Liu, Hu Ruosi, Mu, Mi,,, Huang Dufeng, Wang Kangle, Hu Li, Wang Yongnian, etc. Have studied in Dafeng Hall. Song Meiling, the wife of Chiang Kai-shek, once worshipped Zhang Daqian as a teacher to learn painting.

Technical features:

Brushwork: Zhang Daqian's calligraphy skill is very deep. Whether it is meticulous painting or freehand painting, its brushwork is characterized by beauty, spirit, coolness, beauty without weakness, strength in beauty and rhythm in beauty, which is extremely prominent among Chinese painters in past dynasties. Whether it is forgery or creation, there is such a sweet brushwork. His fake Shi Tao, fake Eighth National Congress, and even famous paintings in Song and Yuan Dynasties are impeccable in shape, structure and painting except for their sweet brushwork. In the traditional ancient school of painting, Wu Hufan's brushwork is beautiful, but it is weak.

Using ink and color: Zhang Daqian is good at using ink, clean, elegant and clean, and has profound skills in copying ancient paintings. His ink method combines the advantages of many ancient schools, and the use of dry and wet coke is comfortable and just right, not chaotic or turbid. Mohist school can be described as an in-depth search for the past, learning from others' strengths and having a variety of faces. Besides pen and ink, Zhang Daqian's colorful Leng Yan is also a highlight. Being good at color matching is a unique skill of Zhang Daqian's painting. Even if it is a red and green meticulous painting, a green landscape, he can handle it elegantly and clearly, without being flashy. Besides his talent, it is also related to his early study of dyeing and weaving in Japan. Zhang Daqian is good at using colors, and the key is to highlight the primary and secondary in clarity and lightness. He will never allow several heavy colors to occupy similar areas or densities, and the main color of the picture is bright. Later, painters who learned from Zhang Daqian were often colorful, confusing people's eyes and eventually vulgar. Zhang Daqian's gorgeous color features in Leng Yan continued to his later splashing ink, so this new painting style is particularly amazing. Later, Liu Haisu, Zhu Qizhan and others were influenced by it, but their styles were all fiery and enthusiastic. Although they have a sense of vastness, their splash colors are quite different from those of Leng Yan.

Modeling: Although Zhang Daqian has not received strict realistic modeling training like Xu Beihong, his modeling ability is indeed a leader in Chinese painting. His figure paintings (including many self-portraits) adopt the traditional line drawing method, which is concise and vivid. His landscape modeling is basically a fixed procedure of the ancients. Although he also went to nature to observe famous mountains and rivers, it was different from the scenery sketch in western paintings. But through visual memory, looking at the real landscape to try to figure out the ancients, and drawing according to the ancients' modelling technique. He is antique, imitative and confusing in appearance, and many collectors are deceived.

Composition: Zhang Daqian's composition basically adopts Chinese painting composition, and landscape painting likes to depict mountains and rivers. The traditional high, flat, far and scattered methods were flexibly adopted by him according to the needs of the picture. Composition is often blank, realistic and magnificent, accompanied by exquisite inscriptions.

Disadvantages and regrets:

Among the masters of modern painting and calligraphy, Zhang Daqian has the deepest search for the past and a very high artistic talent. He is close to the ancient masters and can be as confused as a family. In addition, he is very diligent, which has enabled him to accumulate comprehensive and profound traditional skills. Influenced by the ancients, his personal painting style is not obvious enough. Most of my life's works seem to only see the shadow of an ancient school, but lack my own spirit and style. Although in his later years, due to the influence of eye diseases and western modern art, he innovated the method of throwing color, but modeling, composition and program are still the traditions of the ancients, and they have never escaped from the barriers of the ancients. Although many works are gorgeous in technique, their style is not high and they lack deeper feelings. Daqian, as a professional painter who sells paintings for a living, is good at management and packaging, and his fame and fortune have influenced his higher pursuit of art, which has been criticized by many orthodox critics. However, while criticizing, I have to be impressed by his superhuman artistic talent.

Painting review:

First, Zhang Daqian wrote Imitation of Eight Mountain People in his early years (Figure 102). Zhang Daqian started out as a fake Shi Tao and an Badashan man. This painting is one of his early works and was imitated by the Eighth National Congress. From inscriptions, seals, modeling, composition and even paper, it is quite confusing. But the pen lacks conciseness and pride, which shows his personal sweetness. Based on the pen and ink of this painting, it is not difficult to find a large number of pseudo-eight masterpieces circulating all over the world.

Figure 102 Zhang Daqian imitated Badashan people in his early years.

Second, Zhang Daqian's "Lin Shitao's Painting Manuscript" in his early years (Figure 103). Zhang Daqian worked hard for Shi Tao, and this painting is a manuscript he knew in his early years. Although calligraphy and painting are very similar, the brushwork is excellent, and Shi Tao's bold and heroic brushwork is completely invisible.

The third picture is "Golden Green Landscape" (Figure 104). This painting, painted on 1938, is one of Zhang Daqian's representative works. The green hills in the picture are outlined with gold thread, and Xiangyun walks through the golden sunshine, which makes the whole picture resplendent and magnificent, showing a magnificent, simple and majestic atmosphere. The green landscape has always been regarded as a craftsman's work by ancient literati and painters, and it has been declining since Chou Ying in the Ming Dynasty. When Zhang Daqian arrived, the traditional green landscape was carried forward. How can his disciples get his true biography? He is also good at green and green, and his brushwork is light and healthy.

Figure 103 Zhang Daqian's early paintings by Lin Shitao.

Photo 104 "Jin Bi Shan Shui" by Zhang Daqian 1938

Figure 105 "Mrs. Hugging the Cat" by Zhang Daqian 194 1 year.

The fourth picture is "A lady holding a cat" (Figure 105). Zhang Daqian is also good at drawing figures and ladies. This painting was done by 194 1 with traditional sketches. The lady's shape is beautiful, serene, dignified and generous, with the unique implicit beauty of oriental women and beautiful and refreshing lines. Compared with Xu Beihong's sketch (Figure 73), this painting is more delicate and clever in brushwork. The cat in a lady's arms is also vividly painted. Although this painting is not colored, it is a masterpiece of 1000 ladies' paintings.

Fifthly, "Imitating Shitao Chaohu Lake" (Figure 106). Written in 1949, it is an imitation of Shi Tao's work. The original painting is free and unrestrained, and the shape is random, which looks * * *. Although the composition of this painting is similar to that of the original painting, it is pure, quiet and peaceful, and the pen and ink tend to be regular. It is a re-creation of ancient times and has a unique flavor.

The sixth is "Xi Lin Shan Ju" (Figure 107). Written in 1967, it is the work of Zhang Daqian in his later years. "Qi Lin" refers to Shan Ye's seclusion. This painting is obviously a copy of a landscape painting "Qiu Shan Twain" by Ju Ran in the Five Dynasties, but the pen and ink are more boundless. Daqian's eye disease caused by diabetes in his later years prevented him from drawing detailed works. The pen used in this painting has the feeling of being old, and it has the characteristics of the brushwork of Daqian in his later years.

Figure 106 Zhang Daqian's Imitation of Shitao Chaohu Weizhou Map 1949

Figure 107 Zhang Daqian's Xi Lin Shan Ju was written on 1967.

Figure 108 Zhang Daqian 1973 "Emei Cloud and Smoke Map"

The seventh picture is "Emei Cloud and Smoke Map" (Figure 108). Emei Mountain is a famous mountain where Zhang Daqian likes painting. He painted many pictures in his life. This painting was completed by Daqian from memory in 1973. Although the painting method of sketching and rubbing landscapes has not changed, the brushwork has evolved from delicate and sweet in youth to vast and sophisticated. The two peaks on the screen are facing each other, majestic and steep, and the local splash color adds to the psychedelic feeling of the screen.

Eight is yellow peony (figure 109). Zhang Daqian is also good at flower-and-bird painting and often paints. This painting "Yellow Peony" (photo 109) was painted on 1976, emphasizing freehand brushwork. The curve of the petals is very soft, and the spirit of beauty can be seen in the vitality.

Photo 109 Zhang Daqian's yellow peony +0976

Nine is "splash the color landscape" (figure 1 10). After 1979, Zhang Daqian has been living abroad, which gives him the opportunity to get in touch with a large number of modern western paintings and is influenced by them. In his later years, he began to reform, and finally founded the splash-ink method to pursue the combination of figuration and semi-abstraction. This painting was painted by 1979. Firstly, according to the composition of the picture, the approximate position of splash ink color is selected, and then a landscape painting is drawn by traditional painting method. The splash-painted part only outlines the outline, draws the shape slightly, and focuses on the part without splash-painted. Then according to the feeling, finish splashing ink and coloring; Finally, use pen and ink to do some cleaning in the nuances to complete the painting. Most colorful splashing water is done on his homemade paper, taking its special natural halo effect. The splash in this painting is a combination of ink and color. Splash ink first, then splash azurite and azurite before the ink is dry. Colorful Leng Yan, the momentum is stronger than psychedelic. This painting is Zhang Daqian's typical splash painting.

Figure 1 10 Zhang Daqian 1979 "Water-splashing Landscape"

Ten is Du Fu's poetic picture (picture 1 1 1). Daqian was sickly in his later years, but he still painted diligently. This picture of Du Fu's Poetry was painted on 1982. People and trees are still painted with traditional brushwork, but the pen and ink are much older and more vigorous.

Picture 1 1 1 Zhang Daqian 1982 Du Fu's poetic picture.

Identification point:

In recent years, with the soaring price of paintings, Zhang Daqian's fakes have emerged in the market one after another. To identify Zhang Daqian's works, from the pen and ink point of view, the forger is powerless, often hesitating whether to write, hesitating whether to write, gently collecting the pen, and revealing the corner from time to time, which is very easy to identify. The original works of Zhang Daqian's splash-ink and splash-color works are not many in China, and most of them are works returned from overseas. His splash-painted works have a unique charm, which makes the artistic feelings of nature and people blend with each other, and the fakes are loose and ethereal. In addition, when identifying Zhang Daqian's works, studying inscriptions is an important content. Zhang Daqian's early calligraphy was greatly influenced by Zeng, Li Ruiqing and Bei. This kind of calligraphy is easy to write, but difficult to write, so it is difficult for counterfeiters to create colorful calligraphy. As can be seen from Zhang Daqian's autograph, the first four words of the six words "Daqian Jushi Cheng" are connected by strokes. Even if this connection is sometimes not reflected in the pen and ink, if we carefully observe and ponder, we can still see that these four words are coherent and have been brushed aside. Because the forger is not confident, he can only copy the signature of the inscription step by step, which makes the words "Daqian Jushi" disconnected from each other and contrary to the original. At the same time, the word "Zi" is often poorly written in pseudographs, and most of the strokes are very thin and light, seemingly light, but actually hesitant.

Figure 1 12: Lotus of Zhang Daqian

Figure 1 13 Zhang Daqian's Gao Shi Shan Shui

Figure 1 14 landscape

Examples of fakes:

One is Zhang Daqian's lotus (figure 1 12). The title of this painting is 30% off, but the pen is very thin. The ink splashed with lotus leaves is frivolous and chaotic, lacking the most basic pen and ink skills. Because of the broken glass, there are many seals on the picture, but they are all forged and carved.

The second picture is Zhang Daqian's High Water (figure 1 13). At first glance, the painting seems impeccable from the title to the shape, but it can't stand careful scrutiny. Careful observation shows that although this brush method is meticulous, it is a bit stiff. The brushstrokes of distant mountains and the stippling of close-up leaves are a little stiff, lacking the refreshing feeling of Zhang Daqian's original works. The paper, ink and color of this painting are old, and it is suspected that it is a well-painted old imitation.

The third is Zhang Daqian's landscape (figure 1 14). This painting is a landscape painting imitating Shi Tao's style. The inscription is affected and coy, and the font and pen are obviously different from the original. Reed painting nearby is scattered all over the floor, and the trees in the distance are stiff and dark. The ink in the whole painting is flat, hard, dull and greasy. This painting is a copy of that old one.