張大千 墨竹

款識：
古稱喜氣畫蘭，怒氣畫竹，予有何怒，槎槎枒枒，如在萬馬軍中矣。
此先師李文潔公題所畫竹語，謹錄以壯吾畫。己未十二月，大千張爰。

鈐印：「張爰之印」、「大千居士」、「摩耶精舍」。

著錄：
〈張大千書畫集〉第二集（台北，國立歷史博物館，一九八○年十二月），圖版5
〈張大千書畫集〉下集（人民美術出版社，一九九一年），圖版400

-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."

竹葉必須生動，決不可將竹安排得如圖案一樣，尤忌部位一樣，必定要非常自然。……寫意的竹，也要分層次，近的竹在前，要用濃墨，遠的竹在後，要用淡墨，這才能夠分得出前後、明暗的層次，增加韻味，可是有一點要記着，每一根竹是用濃墨，就全部用濃墨，用淡墨，就全部用淡墨，絕不要在一筆上弄巧，兼有濃淡二色，反為不美。竹有風竹，雨竹，晴竹，老竹，新竹的分別。風竹是要表現竹在風中的姿態，枝葉要隨著風向，作斜橫飄動的狀態，最不易表現者，為竹竿要能夠在風中有彈性動態的感覺。……

畫葉下筆要勁利，實按而虛起，一抹便過，稍微遲留，那就鈍厚不會銛利了。這是寫竹最難的一關，虧了這步功夫，那要不能算是墨竹了。在畫竹方法有所不宜，而應忌的，學者應當知道，粗枝忌像桃幹，細的忌像柳枝，第一忌一竿孤立而生，第二忌兩竿並排而立，第三忌好似叉形，第四忌好像井字，第五忌好似手指和像蜻蜓一樣。所有竹的反、正、向、背、轉、側、低、昂，雨打風翻都各有它的姿態，但要細心去領會，然後畫出，才能盡善盡美。
─ 節錄自〈張大千畫〉

註：大千先生在〈畫說〉中闢有一章，述其寫竹心得，蓋竹中通外直，以喻君子，故屢寫之。本幅錄「喜氣畫蘭，怒氣畫竹」句，出自元代詩僧覺隱，亦為李瑞清好題之畫竹語，大千寫竹，亦多迻錄於上。

畫中所寫叢竹高低佈列，墨分濃淡，顯其前後遠近，或矗立，或斜伸，似堅挺，似搖曳，姿態各異，諸般情狀，恰似化〈畫說〉中之文字解說為圖象，直如畫家寫竹之範本。