张大千（1899年5月10日—1983年4月2日），原名正权，后改名爰，字季爰，号大千，别号大千居士、下里港人，斋名大风堂。四川内江人，祖籍广东省番禺，1899年5月10日出生于四川省内江市市中区城郊安良里（现市中区公园湾半坡井“芭蕉井”）的一个书香门第的家庭，中国泼墨画家，书法家。Zhang Daqian (May 10, 1899 - April 2, 1983), formerly known as Zhengquan, later renamed "Yu", with the word "Jiyuan", the name "Daqian", the name "Daqian" as well as "Daqian" as a resident, Xiali Hong Kong person and Zhaiming hall. Born in Panyu, Guangdong Province, Neijiang, Sichuan Province, on May 10, 1899, he was born in anlianli, the suburb of Shizhong District, Neijiang City, Sichuan Province (now known as "Bajiao well" in gongyuanwan Banpo well of Shizhong District). He is a Chinese ink splasher and calligrapher.
20 世纪50年代，张大千游历世界，获得巨大的国际声誉，被西方艺坛赞为“东方之笔”。
In the 1950s, Zhang Daqian traveled around the world and gained a huge international reputation. He was praised as "the pen of the East" by Western art circles.
他与二哥张善子昆仲创立“大风堂派”，是二十世纪中国画坛最具传奇色彩的泼墨画工。特别在山水画方面卓有成就。后旅居海外，画风工写结合，重彩、水墨融为一体，尤其是泼墨与泼彩，开创了新的艺术风格，因其诗、书、画与齐白石、溥心畲齐名，故又并称为“南张北齐”和“南张北溥”，名号多如牛毛。与黄君璧、溥心畲以“渡海三家”齐名。二十多岁便蓄著一把大胡子，成为张大千日后的特有标志。1983年4月2日逝世。
He and his second brother, Zhang Shanzi, Kunzhong, founded the "lobby school", which is the most legendary ink splashing painter in the 20th century. Especially in landscape painting. Later, he lived abroad, combining painting style with work and writing, emphasizing color and ink, especially splashing ink and splashing color, creating a new artistic style. Because his poems, books and paintings are as famous as Qi Baishi and Pu Xinyu, he is also called "South Zhangbei Qi" and "South Zhangbei Pu", with many names. Huang Junbi and Pu Xinyu are equally famous for "crossing the sea". In his twenties, he had a big beard, which became a unique symbol of Zhang Daqian in the future. He died on April 2, 1983.
他曾与齐白石、徐悲鸿、黄君璧、黄宾虹、溥儒、郎静山等及西班牙抽象派画家毕加索交流切磋
He had exchanges with Qi Baishi, Xu Beihong, Huang Junbi, Huang Binhong, Pu Ru, Lang Jingshan and other Spanish abstract painters Picasso
张大千一生最喜荷花，尤以画荷著称于世。他植荷观荷，与荷为友，对荷的真实形态与生长规律了然于心，他认为“中国画重在笔墨，而画荷是用笔用墨的基本功”，他笔下的风荷、晴荷、雨荷、秋荷千姿百态，白荷、粉荷、红荷、墨荷万紫千红，无论是早年的水墨写意、中年的工笔没骨，还是晚年的泼墨泼彩，都各具特色。他尤喜在绘荷之作上题诗，如“不施脂粉不浓妆，水殿风微有暗香。要识江妃真颜色，晚凉新浴出兰汤”，诗句清雅秀逸，书法妙趣横生，从中亦可见其对荷花性情的理解之深。“入莲塘，忍剜朱耷之心”，这是徐悲鸿上世纪30年代对张大千所画荷花的评价，“大千荷”的雅号由此得名，为世人所敬。
Zhang Daqian likes lotus the most in his life, especially is famous for painting lotus. He planted lotus to view lotus, and he was a friend of lotus. He knew the true shape and growth law of lotus. He thought that "Chinese painting focuses on ink, and painting lotus is the basic skill of using ink". In his works, wind lotus, sunny lotus, rain lotus, autumn lotus are various, white lotus, pink lotus, red lotus, and ink lotus are colorful, no matter in the early years of freehand brushwork of ink and wash, in the middle of life, or in the late years of ink splashing Every color has its own characteristics. He especially likes to write poems on the paintings of lotus, such as "no powder, no makeup, and the wind in the water hall is slightly fragrant.". It is necessary to know the color of the river concubine, cool in the evening, and bathe in the blue soup. "The poem is elegant and elegant, and the calligraphy is full of fun, from which we can see the deep understanding of lotus temperament. "Go to the lotus pond and bear to gouge out Zhu Da's heart". This is Xu Beihong's evaluation of the lotus painted by Zhang Daqian in the 1930s. The nickname of "daqianhe" is thus named and respected by the world.
张善子、张大千昆仲共同创建了大千画派，它是中国综合性绘画流派之一。二十世纪20年代，张善子、张大千在上海西门路西成里“大风堂”开堂收徒，传道授艺，所有弟子们皆被称为“大风堂门人”。它是一个有别于“长安画派”、“海上画派”、“京津画派”等唯一不墨泼彩等画法，大风堂画派的画风都呈现出百花齐放的景象，是一支生生不息、代代传承的中国画画派。
Zhang Shanzi and Zhang Daqian Kunzhong jointly founded Daqian painting school, which is one of the comprehensive painting schools in China. In the 1920s, Zhang Shanzi and Zhang Daqian opened the "lobby" in Xicheng, Ximen Road, Shanghai, to receive their apprentices and teach their skills. All the disciples were called "lobby disciples". It is different from "Chang'an painting school", "sea painting school", "Beijing Tianjin painting school" and other unique painting methods, such as no ink splashing and color splashing. The painting style of the Hall painting school presents a scene of blooming flowers, and it is a Chinese painting school that lives and inherits from generation to generation.
和许多画家一样，张大千也同样经历了描摹之路。在近代像大千那样广泛吸收古人营养的画家是为数不多的，他师古人、师近人、师万物、师造化，才能达到“师心为的“的境界。他师古而不拟古，在继承传统文化的同时，他还想到了创新，最后在继承传统的基础上发展了泼墨，创造了泼彩、泼彩墨艺术，同时还改进了国画宣纸的质地，然而思想的先行者往往是孤独的，在他五言绝句《荷塘》有“先生归去后，谁坐此船来”之句，似乎暗示着后来者继续他的道路。
Like many painters, Zhang Daqian also experienced the road of tracing. In modern times, there are only a few painters who absorb the nutrition of the ancients as widely as Daqian. Only by learning from the ancients, from the people close to them, from all things and from the nature, can they reach the realm of "learning from the heart". He learned from the ancients rather than imitating the ancients. While inheriting the traditional culture, he also thought of innovation. At last, on the basis of inheriting the tradition, he developed ink splashing, creating the art of color splashing and ink splashing. At the same time, he also improved the texture of the traditional Chinese painting Xuan paper. However, the forerunner of thought is often lonely. In his five character quatrain "lotus pond", there is a sentence "who will come in this boat after your return", which seems to suggest that Follow his path with the latecomers.
他曾用大量的时间和心血临摹古人名作，特别是他临仿石涛和八大山人的作品更是惟妙惟肖，几近乱真，也由此迈出了他绘画的第一步。他从清代石涛起笔，到八大山人，陈洪绶、徐渭等，进而广涉明清诸大家，再到宋元，最后上溯到隋唐。他把历代有代表性的画家一一挑出，由近到远，潜心研究。然而他对这些并不满足，又向石窟艺术和民间艺术学习，尤其是敦煌面壁三年，临摹了历代壁画，成就辉煌。这些壁画以时间跨度论，历经北魏、西魏、隋、唐、五代等朝代。如多年前香港市场中曾出现一件署名为元四大家之一的古画，便是张大千“仿古作”，拍出接近200万元的高价。
He has used a lot of time and effort to copy the ancient masterpieces, especially his works imitating Shitao and Badashan people, which are lifelike and almost unreal, thus taking the first step of his painting. From Shi Tao in Qing Dynasty to Badashan people, Chen Hongshou and Xu Wei, he extended to all the people in Ming and Qing Dynasties, then to song and Yuan Dynasties, and finally to Sui and Tang Dynasties. He selected the representative painters of all ages, and studied them from near to far. However, he was not satisfied with these, and learned from the grottoes and folk art, especially the Dunhuang face wall for three years, copying the frescoes of previous dynasties, and achieved brilliant achievements. These murals have experienced the Northern Wei, Western Wei, Sui, Tang and Five Dynasties. For example, many years ago in the Hong Kong market, there was an ancient painting signed as one of the four masters of the Yuan Dynasty. It was Zhang Daqian's "antique work", which was sold at a high price of nearly 2 million yuan.
为了考验自己的伪古作品能否达到乱真的程度，他请黄宾虹、张葱玉、罗振玉、吴湖帆、溥儒、陈半丁、叶恭绰等鉴赏名家及世界各国著名博物馆专家们的鉴定，并留下了许许多多趣闻轶事。张大千许多伪作的艺术价值及在中国美术史上的地位较之古代名家的真品已有过之而无不及。现世界上许多博物馆都藏有他的伪作，如华盛顿佛利尔美术馆收藏有他的《来人吴中三隐》，纽约大都会博物馆收藏有他的《石涛山水》和《梅清山水》，伦敦大英博物馆收藏有他的《巨然茂林叠嶂图》等等。
In order to test whether his pseudo ancient works can reach the level of falsehood, he invited Huang Binhong, Zhang Congyu, Luo Zhenyu, Wu Hufan, Pu Ru, Chen banding, ye gongchuo and other connoisseurs and experts from famous museums around the world to identify, and left many interesting stories. Many of Zhang Daqian's fake works have more artistic value and position in the history of Chinese fine arts than the authentic works of ancient masters. At present, many museums in the world have his fake works, such as the freer Art Museum in Washington has his "three hidden places in the middle of Wu", the Metropolitan Museum of New York has his "mountains and rivers of stone" and "mountains and rivers of Meiqing", the British Museum in London has his "mountains and mountains of great trees" and so on.
大千在学习石涛的同时，也深得古人思想精髓，并能身体力行。张大千说：“古人所谓‘读万卷书，行万里路’，这是什么意思呢？因为见闻广博，要从实际观察得来，不只单靠书本，两者要相辅而行的。名山大川，熟于胸中，胸中有了丘壑，下笔自然有所依据，要经历的多才有所获。山川如此，其他花卉、人物、*兽禽**都是一样的。”他又说：“多看名山巨川、世事万物，以明白物理，体会物情，了解物态。”他平生广游海内外名山大川，无论是辽阔的中原、秀丽的江南，还是荒莽的塞外、迷蒙的关外，无不留下他的足迹。他在一首诗中写道：“老夫足迹半天下，北游溟渤西西夏。
At the same time of learning from Shi Tao, Daqian also got the essence of ancient people's thoughts and was able to practice. Zhang Daqian said, "what does the ancients mean by reading thousands of books and traveling thousands of miles?"? Because we have a wide range of knowledge, we should not only rely on books, but also complement each other. Famous mountains and rivers, familiar in the chest, there are gullies in the chest, there is a natural basis for writing, to experience a lot of talent and gain. The mountains and rivers are like this. Other flowers, people and animals are the same. " He added: "look at the famous mountains, rivers and everything in the world, so as to understand the physics, understand the material situation and understand the physical state." He traveled all his life to famous mountains and rivers at home and abroad. No matter in the vast central plains, the beautiful south of the Yangtze River, or in the wild areas outside the great wall and the confused customs, he left his footprints. In a poem, he wrote: "I have traveled in half the world, traveling in the north to the west of the Ming sea.
在大千游历过的名山大川中，他始终把黄山推为第一，曾三次登临。大千之所以偏爱黄山，主要来自于石涛的影响，黄山既为石涛之师，又为石涛之友。大千说“黄山风景，移步换形，变化很多。别的名山都只有四五景可取，黄山前后数百里方圆，无一不佳。但黄山之险，亦非它处可及，一失足就有粉身碎骨的可能。”大千在50岁之前遍游祖国名山大川，50岁之后更是周游欧美各洲，这是前代画家所无从经历的境界。张大千先后在香港、印度、阿根廷、巴西、美国等地居住，并游遍欧洲、北美、南美、日本，朝鲜、东南亚等地的名胜古迹。所到之处，他都写了大量的纪游诗和写生稿，积累了取之不尽、用之不竭的创作素材，同时为他日后艺术的创新创造了良好的条件。
Among the famous mountains and rivers that Daqian has visited, he has always pushed Huangshan to the first place and visited it three times. The reason why Daqian prefers Huangshan is mainly due to the influence of Shi Tao, who is both Shi Tao's teacher and Shi Tao's friend. Daqian said, "the scenery of Huangshan has changed a lot. Other famous mountains have only four or five sceneries to choose from. There are hundreds of miles around Huangshan. But the danger of Huangshan is not beyond our reach. If we miss it, we may be crushed to pieces. " Before the age of 50, Daqian traveled all over the famous mountains and rivers of China, and after that, he traveled all over Europe and America, which was beyond the experience of the previous generation of painters. Zhang Daqian has lived in Hong Kong, India, Argentina, Brazil, the United States and other places, and traveled to Europe, North America, South America, Japan, North Korea, Southeast Asia and other places of interest. Everywhere he went, he wrote a lot of travel poems and sketches, accumulated inexhaustible creative materials, and created good conditions for his future artistic innovation.
读书对画家来说是非常重要的。他平时教导后辈：“作画如欲脱俗气、洗浮气、除匠气，第—是读书、第二是多读书，第三是须有系统、有选择地读书。画画和读书都是大千的日常生活。过去是如此，借居网狮园后更是这样，朝夕诵读，手不释卷。在外出旅途的车中船上，大千也都潜心阅读。一次，大千从成都到重庆，友人托他带一本费密的《荒书》。到家后，大千即把路上看完的《荒书》内容、作者的见解、生平以及这位明末清初的四川学者和石涛的关系，如数家珍地娓娓道来，实在令人惊讶。因为这是一本艺术之外的学术著作。读书的习惯一直伴随到大千晚年。他常说，有些画家舍本逐末，只是追求技巧，不知道多读书才是根本的变化气质之道。大千读书涉猎很广，经史、子、集无所不包，并不只限于画谱、画论一类的书。
Reading is very important for painters. He usually taught the younger generation: "if you want to get rid of vulgarity, wash floating air and eliminate craftsmanship, the first is to read, the second is to read more, and the third is to read systematically and selectively. Painting and reading are both big everyday life. It used to be so, even more so after living in the net Lion Garden. I can't get rid of it. In the car and boat on the journey, Daqian is also absorbed in reading. Once, when Daqian went from Chengdu to Chongqing, his friend asked him to bring a Fermi's "the book of famine". When he got home, Daqian explained the contents, the author's opinions, his life and the relationship between the Sichuan scholar and Shi Tao at the end of Ming Dynasty and the beginning of Qing Dynasty. It was amazing. Because this is an academic work other than art. The habit of reading has been accompanied by thousands of old age. He often said that some painters only pursue skills and don't know that more reading is the fundamental way to change their temperament. Daqian has a wide range of books, including classics, history, books and collections. It is not limited to books such as picture books and painting theories.
张大千除了擅长山水、人物、花卉、翎毛以外，在书法方面比较欠缺，这应是他的遗憾。他早期师从清代晚期的著名书法家李瑞清、曾农髯，形成自己细秀，方平，略带隶书味的书风，二十世纪三十年代以后，张大千先生的书法开始酝酿变化。他转学多师，学习魏碑，《瘗鹤铭》，参以宋代大家黄山谷的笔势，学习石涛笔法刚劲，不拘一格的书风。他的书法艺术在继承传统的基础上，融合了山水画的意境，不是一味地追求表面上的张扬外露和剑拔弩张，而是使力与感情相融合，平中求奇，使他的书法劲拔飘逸，外柔内刚，张大千笔力遒劲而秀逸的自家风格，被后人称为“大千体”。
Apart from being good at landscapes, figures, flowers and feathers, Zhang Daqian is short of calligraphy, which should be his regret. In the early stage, he learned from Li Ruiqing and Zeng NONGRAN, the famous calligraphers in the late Qing Dynasty, and formed his own fine, square and slightly official style. After the 1930s, Zhang Daqian's calligraphy began to change. He transferred to other schools, studied Wei Bei, bury crane Ming, and studied Shi Tao's forceful brushwork with the brushwork of Huangshan Valley in Song Dynasty. On the basis of inheriting the tradition, his calligraphy art integrates the artistic conception of landscape painting. Instead of blindly pursuing the ostensible publicity and tension of the sword on the surface, he integrates the strength with the emotion, and seeks the wonder in the middle, so that his calligraphy is vigorous and elegant, soft in the outside, and strong in the inside. Zhang Daqian's strong and elegant style is called "daqianti" by later generations.
专家推荐：张大千爱荷，一生画荷无数，他以“君子之风，其清穆如”喻荷，盛赞其高洁。画中主要的数柄如伞之荷，通天彻地，荷梗刚劲又婀娜，其姿其态优美无比，正如高凤翰诗中说的“五尺长”，但这种感觉又何止“五尺长”，简直是石涛诗中那“十丈不胜花”。是荷，却更是莲，比莲更美，更生动。荷干都是两笔完成：一笔从上至下，另一笔从下至上，两笔自然接榫。荷心看上去宛如矗立水中央一般。荷姿丰态动，笔墨各异，富有变化。行笔疾劲，为他人所难模仿。画作在用笔、用墨、用色、用水、布局诸方面均极佳，堪为神逸之作。整幅画，构图饱满，疏密有致，用笔豪放大气，格调清新典雅，仿佛预示着一个新生命的诞生，具有一股强劲的蓬勃向上之势。尤其是其纯熟的功底与老辣的技法，于浑朴中见清秀，于洒脱中含缜密，于酣畅中寓意蕴，令人称道折服。其用笔鲁朴疏狂，持搏雪傲霜之气；架构自然忘形，汲天地灵气之精；泼墨淳厚飘逸，拥潇洒儒雅之神，让人叹为观止。
Experts recommend that: Zhang Daqian loves lotus, and has painted countless lotus in his life. He praised his holiness by describing lotus as "the style of a gentleman, and its purity". The main handle in the painting is like the lotus of an umbrella. The lotus stem is vigorous and graceful, and its posture is very beautiful. It's just like the "five feet long" in Gao fenghan's poem, but this feeling is more than the "five feet long", which is just the "ten feet are too long for flowers" in Shi Tao's poem. Lotus is more beautiful and vivid than lotus. He Gan is done in two ways: one is from top to bottom, the other is from bottom to top, and the two are naturally tenoned. The lotus heart looks like standing in the middle of the water. The lotus posture is full of movement, and the strokes are different and varied. It's hard for others to imitate. The painting is excellent in pen, ink, color, water and layout. It can be a masterpiece. The whole picture is full of composition, dense and thoughtful, bold and generous with pen, fresh and elegant in style, as if it indicates the birth of a new life, with a strong momentum. In particular, its skillful foundation and sophisticated techniques are admirable for their elegant appearance in simplicity, meticulous in free and easy, and implied meaning in heartiness. His pen is simple and unsophisticated, holding the spirit of fighting snow and being proud of frost; his structure is natural and forgetful, absorbing the spirit of heaven and earth; his ink is simple and elegant, holding the God of natural and elegant, which is amazing.