拍品 1025 芙蓉，高貴而優雅。即使沒有任何背景的襯托，依然傲然綻放於紙端。憑藉在敦煌臨摹壁畫所訓練出的細膩筆觸，這件繪於1949年的《芙蓉花》無論是花瓣、葉片還是莖脈都被完美的呈現出來。這種類型的花卉作品之淵源可上溯至明朝後期的陳洪綬(1598-1652)。他的作品帶有敘事性插畫風格，高度程式化，尤其是在他所擅長的肖像畫中，此法易於把握畫作的精髓。與陳洪綬的筆法相似，張大千用一種近乎於書法的筆觸真實生動的描繪芙蓉，像標本般精緻，追求現實主義的表達，這極大地區別於他筆下追求情緒化的自我表達的寫意荷花。

ZHANG DAQIAN (1899-1983)

張大千芙蓉花設色紙本鏡框一九四九年作

已結束2013年5月28日

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張大千芙蓉花設色紙本鏡框一九四九年作題識：己丑 (1949年) 秋日，蜀郡張大千，爰。大風堂作。鈐印：張爰私印、千秋願又題：倣滕昌𧙗筆。寫奉翠華夫人清正。大千，張爰。鈐印：張爰私印

Hibiscus expresses the elegance and stunning beauty of the flower with delicately rendered leaves, meticulously executed petals and buds devoid of any background. Painted in 1949, it hints at Zhang's training in meticulous brushwork from his time in Dunhuang - in the same way he records the different styles of drawing fingers and postures in portrait paintings, Zhang was equally meticulous in rendering the different species of flowers, the turns of their petals, the shape of the leaves and the firmness of their stems.

This type of flower painting also harks back to the style of Chen Hongshou (1598-1652), the late-Ming narrative illustrator. Chen's style was highly stylized and linear, as he specialized in portrait painting, using easy but controlled sweeping brushstrokes to grasp the essence of his subject. Like Chen, Zhang's hibiscus is delineated in detail, through calligraphic, scholarly-like brushstrokes to evoke the spirit of the flower with an overt expression of realism. The composition, almost photograph-like, has a sense of a specimen rather than an emotive expression of self, such as his xieyi lotus compositions.

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ZHANG DAQIAN (1899-1983)

張大千芙蓉花設色紙本鏡框一九四九年作

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ZHANG DAQIAN (1899-1983)

張大千 芙蓉花 設色紙本 鏡框 一九四九年作

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張大千芙蓉花設色紙本鏡框一九四九年作