The Mei Yun Tang Collection Of Paintings By Chang Dai-chien — From Heritage to Breakthrough
The Mei Yun Tang Collection Of Paintings By Chang Dai-chien — From Heritage to Breakthrough
梅雲堂藏張大千畫 — 不負古人告後人︳The Mei Yun Tang Collection Of Paintings By Chang Dai-chien — From Heritage to Breakthrough
Zhang Daqian (Chang Dai-chien, 1899-1983)
張大千 黃山第一境 | Zhang Daqian, The Premier Scenery of Mount Huang
Auction Closed
December 9, 10:09 AM GMT
Estimate
3,800,000 - 6,000,000 HKD
Lot Details
Description
張大千 (1899-1983)
黃山第一境
設色紙本 立軸
高嶺梅署簽
簽書：大千居士〈黃山第一境〉。高嶺梅藏。
款識：
求放心疑騎日月，得閒身已到蓬萊。朝元仗侶若可覩，手折芙蓉歸去來。黃山文殊院，左天都、右蓮花、玉障其後，衆峰拜其下，山中第一境也。大千居士爰。
鈐印：「張爰」、「大千」、「兩到黃山絕頂人」。
藏印：「嶺梅珍藏」、「高」（鈐於簽條）。
100.2 x 51 cm. 39½ x 20 in.
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Zhang Daqian (Chang Dai-chien, 1899-1983)
The Premier Scenery of Mount Huang
ink and colour on paper, hanging scroll
with three seals of the artist, and two collector’s seals, including one on titleslip. Titleslip by Kao Ling-mei
Inscription:
In pursuit of relief, my mind wonders as if it's a ride on the sun and the moon;
In possession of leisure, my body has already come to the Penglai immortal land.
If the immortals and deities can be seen, I'll come back with the lotus flowers I picked.
The Manjusri Temple of Mount Huang has Tiandu (Capital of Heaven) Peak on its left, Lianhua (Lotus) Peak on its right and Yuping (Jade Screen) Peak behind. With other peaks bowing down, this is the first and foremost scene among the mountains. Dai-chien Jushi Yuan.
100.2 x 51 cm. 39½ x 20 in.
〈張大千近作展〉（香港，大會堂美術博物館，一九六二年四月），目錄編號94
〈梅雲堂藏張大千畫〉目錄，高美慶編（香港，香港中文大學文物館，一九九三年四月），圖版88
〈香港梅雲堂所藏張大千之繪畫〉目錄（東京，澀谷區立松濤美術館，一九九五年），圖版88
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Exhibition of Recent Works by Zhang Daqian, exhibition catalogue, Exhibition Gallery of the City Hall, Hong Kong, April 1962, no. 94
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, edited by Kao Mayching, The Chinese University of Hong Kong, Art Gallery, Hong Kong, April 1993, pl. 88
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, Shoto Museum of Art, Japan, 1995, pl. 88
香港，大會堂美術博物館，〈張大千近作展〉，一九六二年四月廿一日至五月九日
香港，香港中文大學文物館，〈梅雲堂藏張大千畫〉，一九九三年四月十七日至五月二十三日
日本，東京，澀谷區立松濤美術館，〈香港·梅雲堂所藏張大千之繪畫〉，一九九五年四月五日至五月二十一日
新加坡，新加坡美術館，〈梅雲堂藏張大千畫〉，一九九七年二月二十八日至四月二十七日
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Hong Kong, City Hall Art Gallery, Recent Paintings by Chang Dai-chien, 21 April-9 May 1962
Hong Kong, The Chinese University of Hong Kong, Art Gallery, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 17 April-23 May 1993
Japan, Tokyo, Shoto Museum of Art, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 5 April-21 May 1995
Singapore, Singapore Art Museum, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 28 February-27 April 1997
「淺絳山水，大多數用在秋景。這是創始於黃大癡，後來南宗一派把它作爲標準，用色拿赭石做主體，在林木上面略略施點花青就是了。淺絳不是單用來表示秋景，大凡石質的山，都宜採用這方法，如像畫黃山，是最宜於此法的。中國畫，光和色是分開來用的，要拿顏色做主體的地方，便用色來表現，不必顧及光的一方面。所以只説淺絳兩個字，便可表現山的季節了。淺絳畫的畫法，畫時仍和墨筆山水一樣，先用淡墨畫就大體，再用較深的墨加以皴擦，分開層次，等它乾了之後設色。在景物上，由淡到深渲染數次，等到全乾，再用焦墨渴筆，加以皴擦鈎勒。樹木苔點，拿淡花青或汁綠一處一處的暈出來，當向陽的地方，用赭石染醒它，這是最緊要的。屋宇上色拿淡墨或淡花青代表瓦屋，拿赭石來代表土屋和草屋。」
── 節錄自〈張大千畫〉
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