Beschreibung:

Zhang Daqian (1899-1983)Woman Holding a Flower, 1948 Hanging scroll, ink and color on paper, inscribed by the artist with a dedication, dated wuzi, and signed Daqian jushi Yuan, with four artist's seals Zhang Yuan zhi yinxin, Daqian, chun chou zen hua and Yun ao jinse zheng wei shou. 51 3/8 x 27 1/8in (130.5 x 68.9cm) Footnotes張大千 仕女持花圖 設色紙本 立軸 一九四八年作 款識：臨波照晚妝，猶怯胭支濕。試問畫眉人，此意何消息。希山仁兄法家正。戊子六月大千居士爰。 鈐印：張爰之印信、大千、春愁怎畫、雲璈錦瑟爭為壽 Provenance/來源: Far East Fine Arts, San Francisco, California, 28 February 1997 加州舊金山遠東藝術中心，1997年2月28日 Published/出版: Johnson, Mark Dean and Fan Jeremy Zhang. Chang Dai-Chien Painting from Heart to Hand, Asian Art Museum, San Francisco, 2019, Cat. no 5 Johnson, Mark Dean and Fan Jeremy Zhang，《得心應手：張大千繪畫展》，亞洲藝術博物館，舊金山，2019年，圖錄編號5 Teisuke Toda and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-167, p.216 戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-167，頁216 Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp.568-569 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁568-569 Andrews, Julia Frances, Michael Knight, and Pauline Yao. Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979, San Francisco: Echo Rock Ventures, in association with the Asian Art Museum-Chong-Moon Lee Center for Asian Art and Culture, 2000, p.236 Andrews, Julia Frances, Michael Knight, and Pauline Yao,《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，李鐘文亞洲藝術文化中心，舊金山，加州，2000年，頁236 Exhibited/展覽: Chang Dai-Chien Painting from Heart to Hand, Asian Art Museum of San Francisco, November 26 2019 – March 16, 2020 《得心應手：張大千繪畫展》，亞洲藝術博物館，舊金山，2019年11月26日-2020年3月16日 New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007 《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日 Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001 《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年10月25日至2001年1月14日 In his 1961 study On the Art of Painting, Zhang Daqian enumerated twelve essential principals. Primary on his list was the copying of ancient models. Twenty years prior, Zhang Daqian's research into the roots of Chinese figural painting found him at the Dunhuang caves in Gansu Province. Studying and reproducing these magnificent Sui and Tang dynasty (589-906) murals opened a window into the aesthetics of a golden age of Buddhist art and figural painting, and influenced Zhang Daqian's paintings in the decades that followed. Exhibiting his Dunhuang reproductions in Chengdu in 1944, Zhang Daqian noted the incredible opportunity to study these early works: "I have always admired the ancient masters and have seen nine-tenths of those works of Song and Yuan artists still extent; however people thought me too ambitious when I wished to see works of the Six Dynasties, Sui and Tang. Those frescoes in the caves were not described in historical records and were unknown to past scholars." While in residence among these cultural treasures, the artist not only carefully reproduced the images, but he examined the original works with an art historian's sensibility. His empirical observations and stylistic analysis of the evolving aesthetics by artists who were demonstrably part of the tradition--but excluded from the traditional Chinese figure painting canon--are a valuable contribution to our understanding of Buddhist painting. Zhang Daqian's meticulously recorded observations included such details as how figures' hands were drawn from the 6th to 10th centuries, with precise notations of how fingernails and joints were delineated. The Dunhuang period is evident in Woman