1976年以前，張大千雖長年旅居海外，始終與臺灣保持密切聯繫，時常返臺舉辦畫展，同時也捐贈不少畫作。
由於張群等許多老友都居住在臺灣，加上健康欠佳，才會在好友們的勸說下，積極思考返臺定居事宜，最後選址臺北士林的外雙溪，構築其晚年安居的摩耶精舍。
台灣的優美環境以及溫暖人情，加上當時藝壇的多元繁榮景象，相對安穩且多采的生活無疑提供一個嶄新的創作氛圍，讓他得以在藝事上繼續締造佳績。大師的〈蘇花攬勝〉直接將島上迷人風光景點幻化至紙面上，反映出張大千與這塊土地的情感與互動。透過這些作品，觀眾必能更加瞭解大千如何心繫臺灣及其心中的美麗寶島印象。
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【張大千 蘇花攬勝圖 (局部)】
形式：卷，35.6 x 286.8 cm
Panoramic View of the Suao-Hualien Roadway (part)
Chang Dai-chien (1899-1983)
Handscroll, ink and colors on paper, 35.6 x 286.8 cm
看全圖：https://theme.npm.edu.tw/exh108/ChangDaichien/en/page-8.html
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巨匠的剪影—張大千120歲紀念大展（2019/04/01~2019/06/25）
網站：https://theme.npm.edu.tw/exh108/ChangDaichien/ch
Silhouette of a Great Master: A Retrospective of Chang Dai-chien's Art on the 120th Anniversary of His Birth ( 01 April 2019 ~ 25 June 2019)
Website: https://theme.npm.edu.tw/exh108/ChangDaichien/en
巨匠の面影─張大千生誕120年記念特別展（2019-04-01~2019-06-25）
日本語：https://theme.npm.edu.tw/exh108/ChangDaichien/jp
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大千曾於1960、64兩遊蘇花公路，皆因雨霧難窺全貌，此卷乃透過張維翰（1886－1979）〈蘇花行〉的描繪，加上自己的印象才完成。1965年，他已回到巴西靜養數月，才有空閒為老友完成此畫，成為他蘇花遊的傳世名作。此卷以表達詩境為主，描繪公路環山蜿蜒於峭壁、山洞與雲霧中，其下則是巨浪翻滾，最後沒入迷濛。本幅為中國國民黨黨史委員會捐贈。
Prior to 1976, Chang Dai-chien had lived for many years outside of China. However, he always maintained close contact with Taiwan, often returning to the island to hold exhibitions of his paintings, which he also often donated. Since many old friends such as Chang Chun were living in Taiwan, combined with Chang Dai-chien's declining health, he took the advice of friends and started to seriously consider living in Taiwan. He finally settled on a small plot of land in Waishuangxi not far from the National Palace Museum and had the Abode of Maya built there as the studio-residence of his later years. The fine surroundings and affection of friends in Taiwan, together with the opening and rise of the local art scene, led to a relatively stable and active lifestyle that undoubtedly was conducive to a new stage in Chang's career, allowing him to continue creating masterpieces into his old age. Here, Chang Dai-chien's "Panoramic View of the Suao-Hualien Roadway" and "Morning View at Alishan" capture the alluring beauty of Taiwan's scenery, while "Letter to the Wife of Chang Chi-cheng on Pineapple Paper" shows how much he appreciated and promoted this kind of paper. Such works demonstrate Chang Dai-chien's affection for and engagement with the land of Taiwan, most certainly offering viewers a greater understanding of how his heart was with Taiwan and the impressions he had of this "Ilha Formosa.”
1976年以前、張大千は海外で長期間過ごすこともありましたが、台湾とは頻繁にやり取りがあり、しばしば台湾に戻っては個展を開催し、多数の画作を寄贈しました。張群などの親しい友人らの多くが台湾在住だった上、健康状態も思わしくなかったことから、友人たちの勧めもあって、台湾での定住を考え始め、台北市士林の外双渓に終の棲家となる摩耶精舎を建てたのです。台湾の美しい自然や温かな人情に加え、当時の美術界の多元的な発展が、穏やかながらも多彩な魅力に溢れる暮らしに、斬新な創作を促す雰囲気をもたらしたのは間違いなく、優れた作品が次々に発表されました。「蘇花攬勝」と「阿里山暁望」は、台湾島の名勝地を紙上に表現した作品です。「致張継正夫人鳳梨紙函」は、お気に入りだった鳳梨紙への愛着や普及への願いが感じられます。こうした作品には、張大千と台湾とを繋ぐある種の情感や相互の関わりが反映されています。これらの作品を通して、張大千と台湾との結び付きや、張大千の胸中にあった美麗島のイメージを、より深く理解していただけるでしょう。
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