- 1344
張大千 (1899-1983)
估價
2,500,000 - 3,500,000 HKD
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招標截止
描述
- Zhang Daqian (Chang Dai-chien, 1899-1983)
- 張大千 翠袖倚竹圖 設色紙本 鏡框
- ink and colour on paper, framed
款識：
寒天翠袖照明霞，倚竹伶俜日又斜；
瘦到骨時香到骨，袛因薄命似梅花。
黃莘田句。大千居士寫之。
鈐印：「張爰」、「大千」、「昵宴樓」。
寒天翠袖照明霞，倚竹伶俜日又斜；
瘦到骨時香到骨，袛因薄命似梅花。
黃莘田句。大千居士寫之。
鈐印：「張爰」、「大千」、「昵宴樓」。
Condition
-Light foxy could be found on the painting, especially near the lower border of the painting. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
註：本幅以康熙時期詩人黃任七絕句意入畫，惟畫家下筆時毋受原詩
束縛，借鑑中復參以己意而發揮，別辟蹊徑。畫中佈局處理，一洗幽
怨自歎之抑鬱，改以清雅秀麗之景致，襯托坐於石上之仕女。其開臉
之半月彎眉、結髻上繫鳳冠、束腰之紋飾等，皆是其筆下仕女畫發展
至成熟時期之特色，也是敦煌歸來所吸收提鍊而成圓融貫通之風格。
仕女雙手合攏，罩袖內，置腿上，坐姿見自然隨意。一腿長伸於前，
一腿微曲於後，非正襟肅然，亦非慵懶無聊，似在倚竹賞花。蓋其背
倚翠綠琅玕，瘦枝隨風搖曳飄動，傍有石竹帶紅，勿忘草染藍，高低
參差間生。佈置如此，自是引領觀者想及畫中人物賞花閒適之情。
畫家處理時，慮及畫境之體現，礦物顏料如石青石綠俱用，且帶鈎
金，但用色濃淡控制得宜，均薄染而非厚叠，色彩依然豐富悅目，清
麗雅緻，卻無穠艷斑斕之突兀，秀逸之氣溢於畫面。選用紙材細滑，
利於行筆暢達，較宜以淡雅之法作畫，故捨重彩取薄染。大千下筆前
實慎思矣！
所配裝裱之綾布，紋飾簡潔大方，色澤與畫面調協，其圖案樣式應屬
東瀛所出。畫上無署年，若從佈局、仕女處理手法，以至紙張材質之
選用，似屬寫於一九五一至五三年間。是時，畫家多次造訪日本，筆
端所出多幀仕女畫，與本幅頗有類近，或可推為居停當地時之作。
參考資料：
「癸巳春暮」寫於「東京客舍」之仕女可參見〈張大千畫〉（台北，雅蘊堂，
一九七○年七月），圖版39
「癸巳初夏」寫於「日本西京」之〈柳蔭凝思〉，可參見〈江左風流．十四
至二十世紀的江南繪畫〉，揚州博物館編（上海書畫出版社，二○一三
年三月），頁402
束縛，借鑑中復參以己意而發揮，別辟蹊徑。畫中佈局處理，一洗幽
怨自歎之抑鬱，改以清雅秀麗之景致，襯托坐於石上之仕女。其開臉
之半月彎眉、結髻上繫鳳冠、束腰之紋飾等，皆是其筆下仕女畫發展
至成熟時期之特色，也是敦煌歸來所吸收提鍊而成圓融貫通之風格。
仕女雙手合攏，罩袖內，置腿上，坐姿見自然隨意。一腿長伸於前，
一腿微曲於後，非正襟肅然，亦非慵懶無聊，似在倚竹賞花。蓋其背
倚翠綠琅玕，瘦枝隨風搖曳飄動，傍有石竹帶紅，勿忘草染藍，高低
參差間生。佈置如此，自是引領觀者想及畫中人物賞花閒適之情。
畫家處理時，慮及畫境之體現，礦物顏料如石青石綠俱用，且帶鈎
金，但用色濃淡控制得宜，均薄染而非厚叠，色彩依然豐富悅目，清
麗雅緻，卻無穠艷斑斕之突兀，秀逸之氣溢於畫面。選用紙材細滑，
利於行筆暢達，較宜以淡雅之法作畫，故捨重彩取薄染。大千下筆前
實慎思矣！
所配裝裱之綾布，紋飾簡潔大方，色澤與畫面調協，其圖案樣式應屬
東瀛所出。畫上無署年，若從佈局、仕女處理手法，以至紙張材質之
選用，似屬寫於一九五一至五三年間。是時，畫家多次造訪日本，筆
端所出多幀仕女畫，與本幅頗有類近，或可推為居停當地時之作。
參考資料：
「癸巳春暮」寫於「東京客舍」之仕女可參見〈張大千畫〉（台北，雅蘊堂，
一九七○年七月），圖版39
「癸巳初夏」寫於「日本西京」之〈柳蔭凝思〉，可參見〈江左風流．十四
至二十世紀的江南繪畫〉，揚州博物館編（上海書畫出版社，二○一三
年三月），頁402