“大千世界”里的民族艺术

　　临摹五代水月观音图轴（中国画） 张大千

　　他与齐白石并有“南张北齐”之誉，被徐悲鸿誉为“五百年来第一人” ，他是张大千。1月16日至3月4日，中国国家博物馆携手国内收藏张大千作品最多的博物馆——四川博物院，以及荣宝斋联合主办的“张大千艺术展”在中国国家博物馆展出。

　　作为“中国国家博物馆20世纪名家系列展”中的重要项目，展览共计展出132件作品，以“集古得新”“临摹敦煌”“大风堂收藏”“大千师友”“大千用印”五个单元，系统展示了张大千一生的创作历程。

　　集古人之大成，创今人之新

　　张大千出生于四川省内江县，早年从母与兄习画， 1919年拜海上画坛曾熙、李瑞清为师学习书画诗文。他饱览了众多名家收藏，遍学明清文人高士画风，尤崇尚石涛。在追摹前人作品时，他真正做到了学古、融古、化古，所作“临仿作品”许多都与原作难分真赝，足见他对古人作品观察之细、领会之深。20世纪40年代后，在山水画方面，张大千以学习王蒙为门径，继而开始追摹五代董源、巨然的画风，以高远、平远的图式和独特的笔墨技法为手段，形成了一种崭新的、充满古意的山水画风格。在花鸟画中，他一方面追求宋代院体富丽金碧的风格，一方面也多作大写意泼墨荷花和“没骨”花卉。在人物、走兽作品中兼取敦煌艺术与五代两宋绘画特点，以极富力量感的线条和惊艳的色彩塑造形象，与之前清新简淡的风格相比产生了很大变化。20世纪50年代后，张大千旅居印度、美欧，广泛接触西方艺术，博采中西艺术之长，以中国传统泼墨为基础，开创出以泼墨、泼彩为主要艺术语言的张大千绘画风格。

　　“张大千的创作兼及释道、山水、人物、花鸟、走兽各门类，既精于工笔小品，也擅长写意巨作，在广泛深入吸收传统艺术养分的基础上，化古出新形成了当代巨匠的风貌。理解张大千的艺术，必须着眼于中国古代艺术体系，尤其是要放在唐宋以来绘画发展的大背景中加以考量。他一生创作勤奋，约有三万余件作品存世，其中尤以‘集古得新’与‘泼墨泼彩’的作品最能代表其个人化古出新的艺术风格。 ”中国国家博物馆馆长王春法表示。

　　“集古得新”单元重点呈现张大千从文人绘画、宫廷绘画、宗教绘画甚至民间绘画中汲取营养广收博览，加之其个人的艺术领悟力和创造力，使得作品能够集古人之大成，并有所创新。

　　实地钻研，用绘画书写敦煌

　　提及张大千的艺术成就绕不开敦煌。为得魏晋唐宋艺术之真谛， 1941年他远赴敦煌，历时三载，临摹敦煌壁画，这使他的艺术创作产生了极大的转变——人物形象更加饱满生动，线条流畅而富于变化，赋色浓艳又不失端庄。“临摹敦煌”单元系统展现张大千临摹敦煌的经历。

　　长期从事敦煌壁画及传统装饰图案的研究和临摹的原中央工艺美术学院院长常沙娜介绍，老一辈艺术家结合实践将临摹敦煌的方式分为三种：一种是客观临摹，即破损、开裂、剥落的地方都要如实临摹下来；一种是整理临摹，就是根据有据可循的图像，对局部缺损的艺术形象进行恢复；一种是复原临摹，即张大千所用的方式。

　　“他有一种观念，现在看起来壁画是黑的，实际上是氧化了，原来肯定是红的，所以他的临摹作品颜色大部分是红色和绿色，这成为张大千临摹的一个重要特色。 ”常沙娜说。张大千的临摹带有更多职业画家工细，富丽的风貌，与单纯的文人画风拉开了距离，这部分作品分别在20世纪四五十年代，展出于兰州、成都、重庆、日本东京、法国巴黎等地，为世人了解敦煌艺术的伟大成就提供了契机。

　　名家往来，同构艺术世界

　　“大千师友”单元着重梳理了张大千的画坛师友。他与当时许多著名书画家交往密切，有些成为一生挚友，他们互相交流艺术观点，品评、交换书画藏品，甚至合作作品，如吴昌硕、黄宾虹、徐悲鸿等大师的作品在这一部分均有显现。了解张大千的画坛师友，是全面梳理他的艺术观念、艺术风格发展脉络的前提，更是客观评价其成就的基础。

　　篆刻与书法、绘画一同被视为中国书画艺术“三绝” ，“大千用印”单元较为全面地展现了张大千的篆刻艺术。“万里写入”“大风堂长物”“大千供养”“蜀客”“老弃敦煌” ……他一生中所用印章多由陈巨来、方介堪、顿立夫、王壮为等名家所制，材质多为寿山石、青田石等，偶用昌化鸡血石，印文以姓名、斋馆、成语、诗词、收藏、鉴赏等内容为主，多出于其对某一阶段创作、经历或心境的体悟，且钤盖颇具章法，与画作相得益彰。

　　除了书画创作，张大千还身兼鉴赏家、收藏家等多重身份，其书画收藏与创作有着紧密的联系，“大风堂收藏”单元主要展出张大千有代表性的藏品，包括陈洪绶《右军笼鹅图》、石涛《长安雪霁图》等重要的古代绘画藏品。与一般收藏家、鉴赏家的不同之处在于，张大千不仅要了解古代书画的风格特征和传承源流，更要扩展自身的视野，扩大师承的对象，使历代名家、名作能为其创作所用。

　　在中西艺术碰撞、融合的历史语境中，本次展出的作品既体现了张大千深厚的传统艺术底蕴，以及对民族艺术的强烈自信，同时也展现出他对艺术创新与发展方向的非凡创造力。在这一点上，张大千将民族艺术赋予了新的时代特征，在20世纪中国画坛具有标志性意义。

来源：光明网

National Art in the "great world"

Copy the five generation figure axis (China elegant and delicate painting) Zhang Daqian
He and Qi Baishi and the "south Zhang Qi" reputation, praised by Xu Beihong as "the first five hundred years", he is Zhang Daqian. From January 16th to March 4th, China National Museum in domestic Zhang Daqian works up to the museum - Sichuan Museum, and jointly sponsored by rongbaozhai "Zhang Daqian Art Exhibition on display at the National Museum China.
As an important project of National Museum in twentieth Century China Masters Series exhibition in the exhibition a total of 132 works, to "set a new" Dunhuang ancient "copying" "fact" of "Daqian" friends "Daqian seal" of five units, the system shows the creation course of Zhang Daqian's life.
The great achievements of the ancient people set up a new new man
Zhang Daqian was born in Neijiang County, Sichuan Province, from the early mother and brother of painting, painting, cengxi sea in 1919 thanks to Li Ruiqing for the study of calligraphy and poetry. He enjoyed a great number of famous collections of famous scholars, and studied the painting style of the scholars of the Ming and Qing Dynasties, especially Shi Tao. In the chase of previous works, he truly learn the ancient, ancient, ancient harmony, the "Pro imitation works" and many of the original hard truth, which shows his ancient works fine, deep understanding of observation. After 1940s, in landscape painting, with Zhang Daqian Wang Meng as the approach of learning, then began to chase the five generation of Dong Yuan and Ju ran to Pingyuan style, lofty, schema and unique painting techniques as a means to form a new, full of ancient landscape painting style. In the flower and bird paintings, he pursue Song academy richly layered style, hand made freehand ink and "lotus flower" ". Taking the characters of Dunhuang art and the five generation and the two song paintings in the characters and beasts, the image is molded by the lines with strong sense of power and the striking colors, which has changed greatly compared with the fresh and simple style. After 1950s, Zhang Daqian lived in India, the United States and Europe, extensive contact with Western art, from Chinese and Western art, to China traditional ink based ink, to create a splash of color as the main artistic language of Zhang Daqian's painting style.
"The creation of Zhang Daqian and Taoism, landscapes, figures, flowers and birds, beasts of all categories, which is also good at freehand sketch delicate, epic, based on extensive absorption of nutrients of traditional art, a new form of contemporary masters of ancient style. To understand the art of Zhang Daqian, we must focus on the ancient Chinese art system, especially in the background of the development of painting since the Tang and Song dynasties. He wrote about 30000 works hard to survive in the world, especially in the "collection of ancient works and the" new "ink splash of color" is the most representative of the ancient new personal artistic style." Wang Chunfa, the director of China's National Museum, said.
"Ji Gu De Xin" unit focuses on Zhang Daqian's absorption of nutrition from literati painting, court painting, religious painting and even folk painting, plus his personal artistic understanding and creativity, so that his works can collect the great achievements of the ancients and make innovations.
Study in the field and write Dunhuang by painting
The mention of Zhang Daqian's artistic achievements does not revolve around Dunhuang. For the true meaning of art in Tang and Song Dynasties, in 1941 he went to Dunhuang, which lasted three years, copying the Dunhuang frescoes, which makes his art creation -- characters change greatly more full and vivid, smooth lines and full of changes, the color bright and dignified. The "copy of Dunhuang" unit system shows Zhang Daqian's experience of copying Dunhuang.
Chang Shana, former president of the central Academy of Fine Arts has long been engaged in the research and copying the Dunhuang frescoes and traditional decoration pattern is introduced, combined with the practice of the older generation of artists copy Dunhuang is divided into three types: one is the objective that copying, breakage, cracking, peeling places such as real copy down; a copy is finishing, according to there is evidence of local defect image, artistic image restoration; one is the restoration copy, namely the Zhang Daqian way.
"He has an idea that now it looks black, actually it is oxidized. It must have been red. So the color of his copy is mostly red and green, which is an important characteristic of Zhang Daqian's copying. Said Chang Sha Na. Zhang Daqian's copy with more occupation painter works fine, rich style, distance and literati painting style simple, this part of the work in twentieth Century 40s and 50s, Lanzhou, Chengdu, Chongqing exhibition in Tokyo, France, Japan, Paris and other places, and provides an opportunity for people to understand the great achievements of Dunhuang art.
Intercourse of famous people, isomorphic art world
"A mentorship unit focuses on combing Zhang Daqian's painting friends. He had many close contacts with many famous calligraphers and calligraphers at that time. Some of them became close friends in their lives. They exchanged views on art, commenting and exchanging paintings and collections. Even the works of great masters such as Wu Changshuo, Huang Binhong and Xu Beihong appeared in this part. Understanding of Zhang Daqian's painting friends, is a precondition to comb his artistic conception and artistic style development, is based on the objective evaluation of achievement.
Carving and calligraphy and painting together are regarded as Chinese painting and calligraphy art "Sanjue", "Chang India" unit comprehensively shows Zhang Daqian's carving art. "Miles" write "fact," "Daqian" support "Shu guest" abandoned "old Dunhuang"...... In his life he used by Chen Julai, Fang Jiekan, seal, Wang Zhuang and other famous for his meal preparation, material