Zhang Daqian (Chang Dai-chien, 1899-1983) 張大千　花開十丈影參差 | Zhang Daqian (Chang Dai-chien, 1899-1983), Pink Lotuses on Gold Screen Zhang Daqian (Chang Dai-chien, 1899-1983) 1899 - 1983 Pink Lotuses on Gold Screen splashed ink and colour on gold paper, two-panel screen signed YUANWENG , dated mid-autumn festival of guichou year, 1973, with six seals of the artist 170 x 176 cm 67 x 69¼ in. ---------------------------------------------- 張大千　花開十丈影參差 潑墨潑彩金箋　雙摺屏風　一九七三年作 款識： 「六十二年」(1973) 癸丑中秋，寫於大風堂。爰翁七十有五歲。 鈐印： 「張爰之印」、「大千居士」、「金石同壽」、「大風堂」、「環蓽庵」、「得心應手」。 170 x 176 cm 67 x 69¼in. 展覽： 香港蘇富比藝術空間，〈無象之象︰張大千精品展〉，二○一九年十月十二日至十一月九日 香港藝術館，〈聚道傳承─敏求精舍六十周年〉，二○二一年二月十九日至六月十六日 著錄︰ 〈無象之象︰張大千精品展〉展覽圖錄（香港蘇富比有限公司，二○一九年十月），頁56-57 〈聚道傳承─敏求精舍六十周年〉（香港，敏求精舍，二○二○年十二月），頁128-129 來源：陸菊森伉儷收藏，經李祖萊夫婦直接購自畫家，由家族遞藏 註︰大千一生鍾愛荷花，喻其「君子之風，其清穆如」，寫荷之作多不勝數。每屆花開，總不忘四方出遊尋覓荷蹤；萬里投荒，水土未合，仍堅持鑿池移植，日夕為鄰。他早年從仿古入手，青藤八大，盡攝神髓；西涉敦煌後線條功力大進，工筆繪荷越見嫻熟；中年後偏向大寫意，復融合潑墨潑彩技法，寓有形於無形，「直到古人不到處」。從弱冠到耄耋六十年間，孜孜不倦反覆鑽研，成就此極具代表性之題材。 他筆下偶見尺幅碩大之荷花巨製，惟如本幅取材日本屏風，則亟稀也，從公開資料中僅見如下: 〈潑墨荷花〉金屏風，一九六五年作，寫予五女張心沛作嫁妝 〈夏山隱居〉潑彩山水屏風，一九六八年作，寫予四女張心嫻作嫁妝 〈潑彩朱荷〉金屏風，一九七五年作 （此作在香港蘇富比二○○二年十月釋出，以2,022 萬港幣成交，創畫家拍賣紀錄、中國近代畫家拍賣成交價紀錄） 〈潑墨荷花〉金屏風，一九五八年作，寫予友好曾憲七 本屏 從上可見，採日本屏風之作屈指可數，而〈夏山隱居〉寫於紙屏風，故取金屏風者，袛得四副矣！蓋其用料講究，金箔滿紙，珍貴非常，因屬特別訂製，成本高昂，且在㩗帶、運輸上頗為不便，如非為至關重要之人或事，畫家非輕易動筆。且金箔表面滑，不吸水，難吃墨，控制色墨濃淡上較尋常宣紙更具難度，且行筆運墨痕跡分明，稍一不慎，畫面即大為失色。 本幅寫於一九七三年，大千先以淡墨打底，復以濃墨積叠於上，大片荷葉頓現，復以礦物顏料潑灑，令色墨暈然一氣，入眼盡是一片氤氳淋漓。左方荷梗數杆，挺拔秀立，破水而出，右見繁枝縱放，茂葉重重，上覆下蓋，粉荷數朵，或盛開，或待放，益顯嬌柔欲滴。畫家心思細膩，擅於捕捉荷花瞬間動態，利用層層淡墨形成之墨暈，巧妙地半透紙上金光，光影交錯間，營造恍如風吹葉搖之動感。其用色對比強烈，瑰麗的石青石綠、黝然深邃的濃墨，於金光璀璨的背影上，斑斕耀眼。惟見粉荷，似漫不經意地探首其中，淡妝素淨，與大片濃郁色墨虛實互生，儼如林間清泉帶來縷縷清風，令畫面絢麗而不艷俗，格調高雅，別具匠心。 畫上鈐「環蓽庵」印，可知畫家自日本購入屏風後，運至美國加州寓所中完成。時屆七十五，然身體狀態甚佳，下筆時成竹於胸，氣勢如虹，行筆蒼勁有力，肆意灑脫間收放自如。畫面張力滿盈，似頃刻間一氣呵成，氣派堂皇，大開大闔間，盡顯大千豪邁磊落之性情。寫畢，鈐「得心應手」印於右下，自滿之情，不言而喻！ 来源: From the Family Collection of C.S. Loh (1913-1992), who acquired the work directly from the artist, referred by the artist’s agent Li Zulai and his wife Li Deying C. S. Loh (1913-1992), originally from Wuxi, Jiangsu, was a successful businessman and an art collector of exceptional taste. His career began in the 1940s when he followed in his father F.C. Loh (1884-1963)’s footsteps to run textile businesses in Shanghai. His father had studied abroad in the UK, and later managed the Mow Sing Flour Mills in China for the entrepreneur Yung Tsoong-King (Rong Zongjing). Similarly, C.S. Loh managed the Sung Sing Cotton Mills for the Yung family and achieved remarkable results. After relocating to Hong Kong in 1947, he founded the Wyler Textiles Limited, which quickly prospered and became an industry leader in the 1950s and 1960s. In 1979, he was appointed to be the chairman of the Hong Kong Cotton Spinners Association. His achievements in the industry earned him accolades such as the Presidential Medal and the Honorary Doctor of Business Administration Degree from Tufts University in 1984 and 1987 respectively. As an avid art collector, Loh had a particular interest in Chinese paintings and calligraphy. He co-founded the illustrious Min Chiu Society in 1960 with other like-minded collectors in the business communities. It continues to be a very active society of collectors in the present day. Loh was also an ardent admirer of Peking and Kun opera. He was longtime friends with Zhao Peixin, and received training from operatic luminaries such as Jiang Miaoxiang and Yu Zhenfei. To preserve Yu’s school of thought, Loh sponsored him to print “The Sulu Qupu” (Music Notations of Yu Sulu). Through Yu, Loh met and befriended other opera performers and literati, thus sharing the same social circle with Zhang Daqian, who was also a keen enthusiast of traditional opera. According to the Loh family, Mrs. Loh and Li Deying, the wife of Li Zulai, both came to Hong Kong from Shanghai in the late 1940s and were great friends. Li Zulai was born to a wealthy family in Ningbo, and his father Li Weizhuang and his siblings Li Zuhan, Li Qiujun, and Li Zutong were all close friends of the artist. Zhang entrusted the Li couple with important matters, including buying and selling paintings, forwarding letters, and handling remittance. In the 1970s, the Lis were appointed by the artist to coordinate his several large-scale exhibitions in Hong Kong. In 1973, Li Deying mentioned a rare recent work of Zhang Daqian painted on a Japanese gold screen to Mrs Loh. She happily purchased the piece and asked the artist to add a simple inscription that would complement the composition. The screen has since graced the Loh family room with its shimmering beauty for half a century and still looks as new as ever. Despite relocating multiple times, Zhang Daqian kept in touch with the Loh family. He invited them to visit Huanbi’an, and gifted them paintings as tokens of their friendship. ---------------------------------------------- 來源：陸菊森伉儷收藏，經李祖萊夫婦直接購自畫家，由家族遞藏 陸菊森（C.S. Loh 1913-1992），又名菊生、菊笙，號率齋，別署率齋主人，室名陸率齋，江蘇無錫人。上世紀四十年代，隨父陸輔臣（F.C. Loh 1884-1963，一名輔仁）於滬上經營紡織業。其父曾留學英國，返國後為榮宗敬家族管理茂新麵粉廠。陸菊森主理榮氏申新紗廠，成績斐然，影響尤鉅。一九四五年，他與徐舜如、虞洽卿之子虞順慰共同持有上海華山路名園「周家花園」（又名純廬，舊名蕊園，後為華山花園）。一九四七年遷港後，開辦偉倫紗廠，業務發展方興未艾，五、六十年代為業界翹楚。一九七九年被推任為香港棉紡業公會主席，八四和八七年更獲美國塔夫茨大學 (Tufts University) 頒授總統勳章及工商管理榮譽博士學位。一生砥礪前行，成就卓著。 經商之餘，陸氏耽於書畫雅翫，風鑒明遠，廣結墨緣，收藏甚豐。自明至清，以迄近代，無不孜孜汲引。一九六○年，滬港工商界巨頭所創之敏求精舍成立，創會成員名單中，即見陸氏與陳光甫、黃秉章、趙從衍、徐士浩、葉義、王統元、林伯壽、郭正達、朱孔嘉、袁虬初、霍寶材、利榮森、劉漢棟、胡惠春共十五人，正是最早倡設此儔侶雅集者。以藝論交，至今蔚為佳話。 他篤嗜京劇崑曲，公餘之暇，不廢咀嚼吟詠。與京劇老生趙培鑫有舊誼，遂得梨園泰斗姜妙香及俞振飛親自授業數載。為保存俞派家學精粹，曾出資承印俞氏所編之《粟廬曲譜》。他與俞振飛相交甚契，在滬或港，往來密切，故俞氏相熟之梨園友人或藝林文人如程硯秋、沈葦窗等，與陸氏亦有過從。又因李祖萊、李德英夫婦之故，與孟小冬時相聚晤。大千好傳統戲曲，故與上述諸位皆具交情。 據陸氏家人憶述，陸夫人與李祖萊太太李德英同在四十年代末自滬來港，常相過從。李祖萊出身寧波富族，父薇莊、長兄祖韓、三姐秋君、四兄祖桐等，與大千兩代交誼，關係親若家人。畫家與李祖萊伉儷情同手足，不少瑣事雜務委付二人在港代為張羅處理，舉凡書畫買賣、轉達家書、匯款等，極得信任。七十年代，先生在港舉辦數次大型畫展，則全權交由李氏伉儷負責。 一九七三年，李德英向陸夫人提及大千此稀有近作，乃畫家特別在日本訂製金屏風精繪而成。陸夫人喜而購之，是時畫上尚未落款，大千遂應其所求，簡略題之，以配合畫面佈局。入藏後，此屏懸於陸府廳堂，一室煥然生輝，如今已屆半世紀，神采依舊，保存如新。大千移家多處，與陸氏家人仍保持聯繫，曾在環蓽盦設宴款待，並再贈佳作以誌舊誼。 文学: Zhang Daqian: The Master exhibition catalogue, Sotheby's Hong Kong Ltd., Oct 2019, p.56-57 Honouring Tradition and Heritage: Min Chiu Society at Sixty , Min Chiu Society, Hong Kong, 2020, p.128-129 ---------------------------------------------- 著錄︰ 〈無象之象︰張大千精品展〉展覽圖錄（香港蘇富比有限公司，二○一九年十月），頁56-57 〈聚道傳承─敏求精舍六十周年〉（香港，敏求精舍，二○二○年十二月），頁128-129 展出: Sotheby’s Hong Kong Gallery, Zhang Daqian: The Master , Oct 12 – Nov 9, 2019 Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty , Feb 19 – Jun 16, 2021 ---------------------------------------------- 展覽： 香港蘇富比藝術空間，〈無象之象︰張大千精品展〉，二○一九年十月十二日至十一月九日 香港藝術館，〈聚道傳承─敏求精舍六十周年〉，二○二一年二月十九日至六月十六日