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民國張大千乞食圖 軸

Self-Portrait Begging

繪畫

文物統一編號 贈畫000106N000000000
作品號 贈畫00010600000
品名 民國張大千乞食圖 軸
Self-Portrait Begging
分類 繪畫
作者 張大千
創作時間 中華民國六十二年(1973)
數量 一軸
位置 尺寸(公分)
本幅 135.9x69.1
全幅 253x82.8
質地位置 質地
本幅
題跋類別 作者 位置 款識 書體 全文
作者款識 張大千 印記 expand_more 本幅 大千居士自寫乞食圖。 行書
印主 印記
張大千 張爰私印
張大千 大千
作者款識 張大千 印記 expand_more 本幅 左持破缽右拖笻。度陌穿衢腹屢空。老雨甚風春去盡。從君叫啞破喉嚨。癸丑(西元一九七三年)四月初一日。爰翁七十有五歲環蓽菴題。 行書
印主 印記
張大千 老好
張大千 游戲神通
張大千 大風堂
主題類別 主題(第一層) 主題(第二層) 主題說明
主要主題 人物 畫師 張大千自畫像
其他主題 器用 枴杖
其他主題 器用 飲食器
技法 技法細目
人物衣紋描法(粗細線條)
寫意
類別 參考資料
內容簡介 張大千(一八九九-一九八三)從年輕時期開始,就對傳統的繪畫藝術很感興趣。他專心致意地學習,尤其對石濤的風格最有心得,有些模仿石濤的作品,連專家都無法分辨真假。他也曾經住在敦煌數年,潛心摹寫壁畫,又收藏歷代名家書畫,看過不少重要的精彩繪畫作品,而且勤於臨摹,所以能夠綜合古人筆墨的精華。到了晚年,更開創出潑墨、潑彩的畫法,從傳統中創新,是中國當代最重要的畫家之一。 像許多其他當代的藝術家一樣,張大千對自我的意識較強,曾經創作過很多張自畫像。這幅是在一九七三年,他七十五歲生日時,作於美國加州的環蓽庵居所。畫中的老人右手扶杖,左手托碗,是自畫像中少見的造型。從他自己的題詩(圖一)和「乞食圖」之名,我們知道其中另有特別的寓意。 張大千從一九四九年以後長年旅居於海外,輾轉遷徙於多國之間,在此畫完成後的第二年,才申請到臺灣定居,重返中文世界。對畫家而言,脫離原鄉而漂泊他方並不是太愉快的經驗。他早在一九五○年代,就在詩中自嘲以辦展覽賣畫的生活是「人間乞食」,甚至托人以此刻了方印章。歷經二十多年的滄桑,還是難以釋懷。不過他心中雖有無限感慨,畫中人物卻仍然是精神健碩、氣度雍然,可見他依然自尊自信,絕對沒有希望別人憐憫的意思。(圖二) 這幅畫原先送給前故宮博物院院長蔣復璁先生,再由他捐贈給故宮。故宮在接管大千最後居所的摩耶精舍之後,並且將這幅畫摹刻在園中的石碑上,以供遊客瞻仰。大家下次到摩耶精舍參觀時,不妨找一找這個特別的自畫像落腳於何處。
內容簡介 張大千(西元一八九九-一九八三年)自少精研傳統畫藝,尤其專意學石濤。他曾到敦煌潛心摹寫壁畫,又收藏歷代名家書畫,而且勤加臨寫,所以能綜合古人筆墨的精華。晚年更開創潑墨潑彩新畫法。 大千曾多次作自畫像。本幅是在一九七三年七十五歲生日時作於美國。他長年旅居海外,自嘲是以辦展覽賣畫來「乞食」。雖有無限感慨,畫中老人卻仍精神健碩、氣度雍然。本幅為蔣復璁先生捐贈。
內容簡介 大千先生不但長於山水,舉凡人物、仕女、花卉翎毛、走獸等無一不通,且無一不精,是少數精通多種畫科的畫家之一。 本幅半身自畫像為畫家七十五歲之寫照,描繪雖甚簡略,然極為傳神。畫時先以簡捷挺拔的筆墨勾畫臉部、手部、杖缽及衣紋,再以淺赭色略施襯染。畫中人物頭已半禿,髯亦花白,左手持缽,右持筇杖,眼神凝注,表情肅穆。自題云:「左持破缽右拖筇,度陌穿衢腹屢空;老雨甚風春去盡,從君叫啞破喉嚨。」大千畫藝精絕,一生以畫為業,從題句看頗有自嘲之意。
Description From his youth, Chang Dai-chien was rooted in the traditional arts. He went to Tunhuang and copied ancient wall paintings, and he was also a collector of painting and calligraphy. Gifted at copying, he was able to learn the secrets of the ancients. In later years, he created a technique of splashed ink and colors combining old and new. Chang often did self-portraits. This work was done in 1973 at the age of 74 on his birthday while in the U. S. He spent many of his later years abroad, and he often said that he held exhibits to sell paintings as a way to “beg for offerings.” Although elderly, Chang Dai-chien still appears spirited and energetic here. This painting was donated to the National Palace Museum by Mr. Chiang Fu-ts’ung.
Description From his youth, Chang Dai-chien was interested and became grounded in the traditional arts. He appreciated Shih-tao's (1642-1708) style and often imitated his works so well that connoisseurs could not tell the difference. Chang spent time at Tunhuang and copied the ancient wall paintings there, and he was also a collector of ancient painting and calligraphy. Gifted at copying, he was able to learn the secrets of the old masters. In his later years, he achieved international fame for his innovative technique of splashed ink and colors based on traditional Chinese painting. Conscious of himself as artist and subject, Chang Dai-chien often did self-portraits. This work was done in 1973 at the age of 74 on his birthday while living in California. After 1949, Chang spent many years living around the world. The year after this work was done, he applied for residency in Taiwan and finally returned to the land of his mother tongue. Holding a cane and a bowl, this image is unusual among Chang's self-portraits. This theme, judging from his inscribed poem and the title (“Begging”), seems to have had special meaning to him. As early as the 1950s, he wrote that holding exhibits to sell paintings for a living was like “begging”. After more than 20 years, he evidently still felt that way. Despite his age and this underlying sentiment, the figure here still appears spirited and confident. This work was originally presented by Chang to Mr. Chiang Fu-ts’ung, the late former director of the National Palace Museum, who then donated it to the Museum. After the Museum assumed management of Chang Dai-chien's last residence nearby, this work was engraved on stone in the garden in dedication and for the appreciation of visitors.
參考書目 劉芳如,〈民國張大千乞食圖 軸〉,收入劉芳如主編《巨匠的剪影─張大千120歲紀念大展》(臺北:國立故宮博物院,2019.04),頁198-199、335。
收藏著錄 張大千先生紀念展圖錄,頁43、92
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