拍品 1419
  • 1419

張大千 (1899-1983)

估價
5,000,000 - 7,000,000 HKD
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描述

  • Zhang Daqian (Chang Dai-chien, 1899-1983)
  • 張大千 秋山夕照
  • splashed ink and colour on paper mounted on cardboard, framed
潑墨潑彩紙本裱於紙版 鏡框 一九六八年作

款識:
爰翁。戊申四月作。

鈐印:「大千唯印大年」。

來源

美國著名中國文學研究學者韓南收藏
一九六八年購於美國艾博山公司(Alberts-Langdon, Inc),並附當年之收據,上列作品名稱、展覽編號、價格,及購買者姓名,日期為一九六八年十二月十七日,即〈張大千近作展〉在該畫廊展覽期間。

韓南(Patrick Hanan),一九二七年生於紐西蘭。早歲修讀英國文學,負笈英倫進修,因受中國小說之異國情調影響,轉研中國古代文學,並以〈金瓶梅〉為專題,在倫敦大學攻讀博士課程。五十年代後期赴北京進修一年,期間向鄭振鐸、吳曉鈴等專家學者請益。是時,尚處「冷戰」期間,東歐陣營以外之歐洲學生,得獲接納在華留學者甚稀,韓南得此際遇,實屬異數!

畢業後,先後在倫敦大學及美國史丹佛大學任教。六八年起,任哈佛大學東亞語言與文明系教授。他專治中國古典小說,如〈金瓶梅〉、〈紅樓夢〉,並及現代作家如魯迅、茅盾等作品。他長於考證,兼用西方批評、敘事學入手,對中國古典小說和近代文學研究,多有建樹,享譽國際學術界,並有學術著作多種付梓,部份作品為海峽兩岸譯為中文。

展覽

紐約,Frank Caro Gallery,〈張大千近作展〉,一九六八年十月五至廿六日
芝加哥,S. H. Mori Gallery,〈張大千近作展〉,一九六八年十一月二至廿三日
波士頓,Alberts-Langdon, Inc,〈張大千近作展〉,一九六八年十一月三十至十二月十四日

出版

〈張大千近作展〉展覽目錄,(台北,一九六八年印行),刊於展品目錄,編號11

Condition

-Generally in good condition. - Border of the painting appears to be slightly more yellowish than the rest of the painting due to aging of the paper due to its original frame.
"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:「我最近已能把石青當作水墨那樣運用自如,而且得心應手,這是我近來唯一自覺的進步,很高興,也很得意。」

大千先生在一九六八年初曾對採訪他的記者謝家孝作上述表示。他所謂將石青運用自如,即指其對潑彩技法的掌握。自受目疾所困,他的畫風已漸有改變,在身處西方社會受現代藝術的直接或間接影響,兼且性格機巧靈活具豐富創造力,在主客觀因素結合下,遂開拓了晚期獨特的潑墨潑彩技法。其實,自一九六五年以降,他對這種半自動性技巧已操控自如。如〈幽谷圖〉、〈瑞士雪山〉、〈山雨欲來〉、〈四天下〉等名作相繼面世。他在是年講出以上一番話,說明自己也認為六八年是潑墨潑彩創作的成熟期。這年的同類代表作包括〈灧澦雲帆〉、〈謫仙詩意〉等,本幅即為其中之一。


本幅創作特點見於色彩運用上。他以極濃厚的石青石綠,反覆潑灑於山體上,結成大塊面的色層。石青石綠礦物顏料的厚實質感,營造了如寶石般的色澤,直如平面畫作上鑲嵌了立體透凸的寶石而色澤璀璨耀目。左上方一角,輕抹殷紅,頓見夕陽潑灑之色。下方紅花綠葉掩映,小橋穿插,輕舟盪漾,高士攜僕出遊。全畫以半抽象為主,輔以筆墨點景,傳統創新,共冶一爐,足見畫家心思靈巧,運用自如!