張大千善於畫美麗的女子，所以曾經有「張美人」的外號。
大師描繪的仕女有的偏向削肩柳腰，嫋娜婉約的樣貌（如右圖）；於1940年代赴敦煌臨習唐人壁畫後，也有轉而像左邊的「散華圖」一樣偏向健美和端莊秀麗的作品。每幅作品都值得細細品味～～一定要看的大千展您看過了嗎？
#大千展只剩最後一週
#張大千120歲紀念大展只到6月25日
同場加映：「散華圖」有著30年的命運與轉折，想看的請滑到下方
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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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左：【散華圖】Left: Scattering Flower Petals, 1937
(散華圖)按照左上角大千的題跋，初作於1937年。當時的畫面可能只有水墨線條和局部渲染，從人物削瘦的身段和下眼袋的畫法，仍然可以看出是清末時的仕女畫風。
後來大千把這張畫帶到中國成都，1947年售出，約10年後，1957年又從香港購回，之後的1967年又帶往日本重新裝裱。大約是在重裝前才添入青、綠、硃砂等色，又用泥金局部勾勒，風格仿自敦煌壁畫風，像是天女散花一樣，天女的姿態婀娜嫵媚，顯現臨摹敦煌壁畫對他的影響。
這幅畫作30年的命運與轉折，呈現大師歷經敦煌之前與之後仕女畫的混合樣貌！
Scattering Flower Petals Chang Dai-chien (1899-1983), Republican period Hanging scroll, ink and colors on paper, 176 x 93 cm According to the inscription written in the upper left by Chang Dai-chien, this work was painted in 1937 as Japanese forces were advancing on the city of Beiping (Beijing). The painting at the time perhaps only consisted of ink lines and a few washes for the details, the more slender figure and line under the eye revealing traces from the style of lady painting practiced in the late Qing dynasty (1644-1911). Chang then took this painting with him to Chengdu and sold it in 1947. However, in 1957 he bought it back and took it with him in 1967 to Japan, where he had it remounted. Around that time, before the remounting, he added blue, green, and cinnabar hues, also applying gold lines for the details, revealing the influence of his copying wall paintings at Dunhuang in earlier years.
右：【大千狂塗冊(一)第11開—不是天寒翠袖薄】Right: Cursory Sketches by Dai-chien (I)-11, 1956
此畫繪一持扇女子背著站立園中，她頭上的雲髻半偏，腰枝纖細，衣紋飄灑，線條具有飄逸的粗細變化，雖然是1956年所作，無論是造型或意境，都偏向大師早期仕女畫。
Right:【Cursory Sketches by Dai-chien (I)】
Chang Dai-chien (1899-1983)
Album leaf, ink (and colors) on paper, 23.8 x 35.8 cm
This album consisting of twelve leaves, ranked as a Significant Historic Artifact, was mostly painted in 1956. That year marked Chang Dai-chien's first trip to Europe, and he stayed at the apartment of his cousin, Kuo Yu-shou (1901-1978). Chang inscribed the album again at the end of 1960, when a few paintings may have also been done. In most leaves, Chang compares himself to the early thirteenth-century artist Liang Kai (also known for ink painting), even claiming to have surpassed him. The brushwork is here free and unbridled, Chang excelling at the use of ink tones in varying shades and moisture to create forms bold and animated. The eighth leaf depicts a large mountain form in swaths of ink, the blank areas representing water; it is a technique that foreshadows the more abstract developments in Chang Dai-chien's later painting.
This album is from the collection of the National Museum of History. *For another leaf from the album, see "My Little Monkey and I" on display in Gallery 208.
