張大千 (1899-1983) 紈扇秋風

款識：
願在竹而為扇，含淒於柔握；
悲白露之晨零，顧襟袖以綿邈。
拈泉明語。甲申九月。青城山居。大千居士爰。

鈐印：「張爰」、「大千父」。

前台北國立歷史博物館館長何浩天家族舊藏

展覽及著錄：
紐約，文良精美中國畫廊，〈The Cultivation of Elegance: Paintings by Chang Dai-chien〉，一九九二年三月至四月，並刊於目錄，圖版3

-Signs of restoration can be found on the painting, where there appears to be paper crack and signs of abrasion previously. The restored paper cracks can be found in the lower section of the painting, where the left eye of the lady is slightly affected. Generally in fair to 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."

註：一九四三年，張大千相繼在蘭州、成都、重慶舉辦臨摹敦煌壁畫展，翌年夏，展事結束後，大千再上青城山，仍借居上清宮，直至是年十一月，應是畫家數年來難得的閑適日子。本幅寫於這段期間，若與同期〈青城崔生婦〉、青城山上清宮內現存大千石刻仕女互證，皆取盈盈而立之姿態，本幅畫風更結合唐寅筆調輕盈與敦煌設色古雅，可見大千博納眾長，融匯古今之靈巧。

畫中仕女右手托腮，左手柔握湘竹紈扇，目光微微垂視，若有所思。頭簪燒藍鳳搖冠、點以翠鈿，身著黃襦藍邊，灰綠披帛，裙間繫以牡丹紋黑地錦帶，蓮花紋地綠裳罩以淺灰羅綺，一派清貴嫻靜。畫上題句節自陶淵明〈閑情賦〉，句中曲盡麗情，深入冶態，呈現一位「淡柔情於俗內，負雅志於高雲」的美人，只願化其手中竹扇，扇出凄凄微風；白露之後天氣幽涼，扇子收起，只能遙看佳人襟袖，不得再相伴。大千論仕女畫容貌需具遺世而獨立之姿，有林下風度，此文此圖恰得此意。

參考資料：
〈青城崔生婦〉可參見〈張大千的世界〉，傅申著（台北，羲之堂文化出版事業有限公司，一九九八年），頁139