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ZHANG DAQIAN: FRAMED INK ON PAPER PAINTING 'LADY'

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ZHANG DAQIAN: FRAMED INK ON PAPER PAINTING 'LADY'
Item Details
Description
Ink on paper, framed. The painting depicts a lady standing dressed in long robe, arms held together, head tilted slightly sideways, artist colophon, signature and mark Zhang Daqian on the left side.

Height: 27 in (68.6 cm) Width: 11 1/2 in (29.2 cm)


張大千 仕女
釋文:蓬萊弱水三千里,王母蟠桃一萬年。鳳鳥自歌鸞自舞,直教銜到壽杯前。爰。印文:大千大利(白)、大風堂長物(朱)、長壽(朱)張大千先生在中國畫壇中久負盛名,其畫路之廣,有目共睹:花鳥、山水、人物無一不精,工寫具佳、南北兼善。特別是其仕女畫,最為畫道人讚賞,謂能大膽別創新意。上世紀三拾年代,大千往上追尋研究人物畫史,發現了明人唐寅、仇英,同時也接觸到了浙派的吳偉、郭詡、以及兩派間的杜堇,於是改攻“減筆仕女”的繪畫路線,自此大千筆下的仕女畫線條,從清代的柔媚型式漸漸趨向勁爽有力。到三拾年代末期,元代的趙孟頫和錢選都成為大千學習繪畫的對象,衣紋取向接近鐵線和春蠶吐絲,衣著紋飾也更為工細講究。
據考證,張大千的畫早期仕女多為細臉,後在抗戰時期,大千到敦煌一段時間,從敦煌的壁畫中,他學到很多臉和手腳的圓潤線條畫法,以體現人物莊嚴之感。先生曾就如何畫鬚髮有明確的闡述:畫人物鬚髮,畫得不好的話,就像是一團水泡了的黑棉花,勉強粘在頭上。正確方法是用濃墨細筆,依著面形方位,疏疏落落略撇十幾筆,後用淡墨渲染二三遍,顯得柔和而潤澤,有根根見肉的意思,自然清秀可愛。此幅張大千所繪水墨仁女,秉承古時文人畫工筆仕女或道釋題材佛像菩薩的風格,描繪華麗,身穿衣帔十分精細。可是文人水墨畫風卻是不施重彩,這幅仁女圖就是以水墨風格所表現,在典雅素靜之中別有一種清逸幽嫻的韻致。畫家的線條用筆十分流暢生動,墨韻淡雅,以抒情意境為主;這種運筆用墨的方式,即是著重水墨趣味的文人寫意畫風。
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ZHANG DAQIAN: FRAMED INK ON PAPER PAINTING 'LADY'

Estimate $20,000 - $30,000
Mar 11, 2017
See Sold Price
Starting Price $400
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7882: ZHANG DAQIAN: FRAMED INK ON PAPER PAINTING 'LADY'

Sold for $4,500
41 Bids
Est. $20,000 - $30,000Starting Price $400
2017 Spring Chinese Fine Art Auction Day 1
Mar 11, 2017 6:00 PM EST
Buyer's Premium 25%

Lot 7882 Details

Description
...
Ink on paper, framed. The painting depicts a lady standing dressed in long robe, arms held together, head tilted slightly sideways, artist colophon, signature and mark Zhang Daqian on the left side.

Height: 27 in (68.6 cm) Width: 11 1/2 in (29.2 cm)


張大千 仕女
釋文:蓬萊弱水三千里,王母蟠桃一萬年。鳳鳥自歌鸞自舞,直教銜到壽杯前。爰。印文:大千大利(白)、大風堂長物(朱)、長壽(朱)張大千先生在中國畫壇中久負盛名,其畫路之廣,有目共睹:花鳥、山水、人物無一不精,工寫具佳、南北兼善。特別是其仕女畫,最為畫道人讚賞,謂能大膽別創新意。上世紀三拾年代,大千往上追尋研究人物畫史,發現了明人唐寅、仇英,同時也接觸到了浙派的吳偉、郭詡、以及兩派間的杜堇,於是改攻“減筆仕女”的繪畫路線,自此大千筆下的仕女畫線條,從清代的柔媚型式漸漸趨向勁爽有力。到三拾年代末期,元代的趙孟頫和錢選都成為大千學習繪畫的對象,衣紋取向接近鐵線和春蠶吐絲,衣著紋飾也更為工細講究。
據考證,張大千的畫早期仕女多為細臉,後在抗戰時期,大千到敦煌一段時間,從敦煌的壁畫中,他學到很多臉和手腳的圓潤線條畫法,以體現人物莊嚴之感。先生曾就如何畫鬚髮有明確的闡述:畫人物鬚髮,畫得不好的話,就像是一團水泡了的黑棉花,勉強粘在頭上。正確方法是用濃墨細筆,依著面形方位,疏疏落落略撇十幾筆,後用淡墨渲染二三遍,顯得柔和而潤澤,有根根見肉的意思,自然清秀可愛。此幅張大千所繪水墨仁女,秉承古時文人畫工筆仕女或道釋題材佛像菩薩的風格,描繪華麗,身穿衣帔十分精細。可是文人水墨畫風卻是不施重彩,這幅仁女圖就是以水墨風格所表現,在典雅素靜之中別有一種清逸幽嫻的韻致。畫家的線條用筆十分流暢生動,墨韻淡雅,以抒情意境為主;這種運筆用墨的方式,即是著重水墨趣味的文人寫意畫風。

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