The Life and Art of Chang Dai Chienzhang Daqian Free Online

Chang Dai-chien Zhang Daqian
張大千
Born	Zhāng Zhèngquán (張正權) (1899-05-10)x May 1899 Neijiang, Sichuan, Red china
Died	ii Apr 1983(1983-04-02) (aged 83) Taipei, Taiwan
Nationality	Republic of Cathay (ROC)
Known for	Painting
Motility	guohua, impressionism, expressionism
Spouse(s)	謝舜華, 黃凝素, 曾慶蓉, 楊婉君, 徐雯波
Chinese name
Traditional Chinese	張大千
Simplified Chinese	张大千
Transcriptions Mandarin Hanyu Pinyin Zhāng Dàqiān Wade–Giles Chang Ta-ch'ien IPA [ʈʂáŋ tâ.tɕʰjɛ́n]

Chang Dai-chien
Children	長女張心瑞、子張心澄、么女張心聲

Chang Dai-chien or Zhang Daqian (Chinese: 張大千; Wade–Giles: Chang Ta-ch'ien ; 10 May 1899 – 2 April 1983) was ane of the best-known and nearly prodigious Chinese artists of the twentieth century. Originally known equally a guohua (traditionalist) painter, by the 1960s he was likewise renowned every bit a modern impressionist and expressionist painter. In addition, he is regarded every bit 1 of the most gifted master forgers of the twentieth century.

Background [edit]

Chang was born in 1899 in Sichuan Province to a financially struggling just artistic family, whose members had converted to Roman Catholicism.^[1] His outset committee came at age 12, when a traveling fortune-teller requested he paint her a new set of divining cards. At historic period 17 he was captured past bandits while returning dwelling house from boarding school in Chongqing. When the bandit chief ordered him to write a letter dwelling demanding a ransom, he was then impressed past the boy'south brushmanship that he made the boy his personal secretarial assistant. During the more than three months that he was held captive, he read books of poesy which the bandits had looted from raided homes.^[2]

In 1917, Chang moved to Kyoto to larn textile dyeing techniques. He after returned to Shanghai in 1919 and established a successful career selling his paintings.^[iii]

The governor of Qinghai, Ma Bufang, sent Chang to Sku'bum to seek helpers for analyzing and copying Dunhuang's Buddhist art.^[four]

Due to the political climate of China in 1949, he left the land and so moved to Mendoza, Argentina in 1952. Ii years after, he resided in São Paulo, Brazil. In the 1960s he settled in Carmel, California and toured extensively effectually Northern California. Chang's offset California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a k.^[5] Finally he settled in Taipei, Taiwan in 1978.^{[6] [7]} During his years of wandering he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He as well kept a pet gibbon. He affected the long robe and long beard of a scholar.^[two]

A coming together between Chang and Picasso in Nice, France in 1956 was viewed equally a pinnacle between the preeminent masters of Eastern and Western art. The 2 men exchanged paintings at this coming together.^[6]

Artistic career [edit]

In the early on 1920s, Chang started pursuing professional studies in Shanghai, where he studied with two famous artists, Zeng Xi and Li Ruiqing. His elder brother Zhang Shanzi, who was a famous painter at the time, brought him to a literary salon in 1924 where his showtime appearance impressed the attendants. His first exhibition of 100 paintings was in 1925 at Ningbo Association in Shanghai.^[8]

In the late 1920s and 1930s, Chang moved to Beijing where he befriended other famous artists, including Yu Feian, Wang Shensheng, Ye Qianyu, Chen Banding, Qi Baishi, and Pu Xinyu. Chang had collaborated with Pu on painting and calligraphy. At the time, at that place was an idiom "Chang from the south, Pu from the north (南張北溥)" for those two of the well-nigh renowned artists in China. There was also a proverb that Chang was "southern counterpart of Pu Xinyu in shan-shui painting, Qi Baishi in flower-and-bird painting, and Xu Cao in figure painting".^[eight]

In the 1930s he worked out of a studio on the grounds of the Chief of the Nets Garden in Suzhou. In 1933, while an exhibition of modern Chinese paintings organized by Xu Beihong was held in Paris, France, and Zhang's exhibited painting "Golden Lotus (金荷)" was purchased by the French government. In 1935, he accustomed the invitation from Xu Beihong to be a professor at National Central Academy Art Department in Nanjing. In the aforementioned year, his portfolio was published in Shanghai. In 1936, his personal exhibition was held in the United Kingdom.

In the early 1940s, Chang led a group of artists in copying the Buddhist wall paintings in the Mogao and Yulin caves. In order to copy the inner layer of the multilayered murals in the Mogao Caves, Chang removed and damaged several outer layers of the paintings in Cavern 108, 130 and 454. In 1943, he exhibited his copies of murals and supported the establishment of the Dunhuang Fine art Institute, the predecessor of the Dunhuang Research Academy. In 1945, Chang's works, as a part of a UNESCO'due south touring contemporary fine art exhibition, were shown in Paris, London, Prague and Geneva.^[9]

In the belatedly 1950s, his deteriorating eyesight led him to develop his splashed color, or pocai, style, which combines abstract expressionism with traditional Chinese styles of painting.^[ten] In the 1970s, he mentored painter Minol Araki.

In 1957, Zhang Daqian was invited to hold exhibitions in The Louvre and Musée Guimet in Paris, where Picasso was also belongings a bear witness. Zhang seized this opportunity to run across the him. Picasso was delighted to meet Zhang and even asked him to criticise his Chinese paintings. Zhang directly told Picasso that he did not have the right brushes to exercise Chinese art. 10 years after, Picasso received a gift from Zhang– ii Chinese writing brushes fabricated from the hair of 2500 three-year-old cows.^[10]

Forgeries [edit]

Chang'due south forgeries are difficult to detect for many reasons. Beginning, his ability to mimic the corking Chinese masters:

So biggy was his virtuosity within the medium of Chinese ink and colour that it seemed he could paint anything. His output spanned a huge range, from archaising works based on the early masters of Chinese painting to the innovations of his tardily works which connect with the language of Western abstract fine art.^[11]

Second, he paid scrupulous attention to the materials he used. "He studied paper, ink, brushes, pigments, seals, seal paste, and scroll mountings in exacting item. When he wrote an inscription on a painting, he sometimes included a postscript describing the type of paper, the age and the origin of the ink, or the provenance of the pigments he had used."

Third, he often forged paintings based on descriptions in catalogues of lost paintings; his forgeries came with prepare-fabricated provenance.^[12]

Chang's forgeries have been purchased equally original paintings by several major art museums in the The states, including the Museum of Fine Arts, Boston:

Of particular interest is a primary forgery acquired by the Museum in 1957 as an authentic work of the tenth century. The painting, which was allegedly a landscape past the Five Dynasties catamenia main Guan Tong, is one of Chang's well-nigh ambitious forgeries and serves to illustrate both his skill and his audacity.^[13]

It can exist hard to aspect works to Chang since his style was and so varied. Non just did he create his ain work too as forging other artists, simply others would forge his originals.

Additionally, in China, "forgery" does not hold the same nefarious connotation as information technology does in Western culture. What would exist considered illegal forgery in the Usa is not necessarily every bit criminal in China. Actions he took to autumn under the Western definition of forgery include aging piece of work with electrical hairdryers, and creating fake provenance with his collection of seals that he could use to marker past "owners" of the work. To further this provenance, his friend Puru would provide a colophon authenticating the work's imperial origins.^[xiv]

Fine art historian James Cahill claimed that the painting The Riverbank, a masterpiece from the Southern Tang dynasty, held by the New York Metropolitan Museum of Art, was likely another Chang forgery. The silk the piece is painted on could be carbon dated to help authenticate it, withal since there has been some restoration on it -- the edge repaired and the painting remounted and reglued -- not only would getting a sample to test be hard, but at that place would be no guarantee the sample only contains original material.^[15]

Museum curators are cautioned to examine Chinese paintings of questionable origins, peculiarly those from the bird and flower genre with the query, "Could this be past Chang Dai-chien?"^[13] Joseph Chang, Curator of Chinese Fine art at the Sackler Museum, suggested that many notable collections of Chinese art contained forgeries past the main painter.^[15]

Information technology is estimated that Chang made more than than ten meg dollars selling his forgeries.^[16]

Notable works [edit]

• 1932 "Meditating at Lakeside"
• 1941 "Flight Deity"
• 1944 "Lady Crimson Whisk" （《紅拂女》）
• 1944 "Reproduction of Dunhuang Fresco-Mahasattva"
• 1944 "Tibetan Women with Dogs" （《番女掣厖图》）^[17]
• 1947 "Living in the Mountains on a Summer Day after Wang Meng"
• 1947 "Lotus and Mandarin Ducks"
• 1947 "Sound of the Flute on the River"
• 1948 "Children Playing under a Pomegranate Tree"
• 1949 "Dwelling in the Qingbian"
• 1949 "Refreshments below a Pine"
• 1950 "Indian Dancer"
• 1953 "Ancient Beauty"
• 《金箋峨嵋記青山中花》(pocai Shan Shui)
• 1960 "Lotus "
• 1962 "Panorama of Blueish Mountains"
• 1962 "Strange Pines of Mount Huang"
• 1964 "The Poet Li Bai"
• 1965 "Cottages in Misty Mountains"
• 1965 "Kickoff Light in the Gorges in Autumn"
• 1965 "Snowy Mount"
• 1965 "Splashed-color" landscape^[18]
• 1965 "Leap Clouds on State River"
• 1966 "Spring Mist"
• 1966 "Woman with Screen Painted with Lotus Blossom"
• 1967 "Rain and Fog"
• 1967 "Waterfall on a Mountain in Bound"
• 1968 "Mist at Dawn" 《春雲曉靄》
• 1968 "Aafchen See" (《愛痕湖》)
• 1968 "Morning Mist"
• 1968 "Poetic Landscape"
• 1968 "Swiss Peaks"
• 1968 "The Great Yangtze River" (《長江萬里圖》)
• 1968 "The Lake of the Five Pavilions"
• 1968 "Tormented Landscape"
• 1969 "Manchurian Mountains"
• 1970 "Secluded Valley "
• 1970 "Vast Landscape with Waterfalls and Pines"
• 1971《可以橫絕峨嵋巔》(pocai Shan Shui)
• 1972 " Lakeshore"
• "Scenery by the Lake"《湖畔風景》(pocai Shan Shui)：張大千於1972年74歲時，於美國加州十七哩海岸(17 Mile Drive)小半島所繪之公園湖畔風景潑彩山水圖(住居環蓽盦附近)
• 1973 "Sailing in the Wu Gorges"
• 1973《青城天下幽》潑彩山水圖^[19]
• 1974 "Dark Strolling in Xitou"
• 1978《長江江靜瀨船秋水釣魚》(pocai Shan Shui)
• 1979《闊浦遙山系列》潑彩山水圖、《摩耶精舍外雙溪》(pocai Shan Shui)、巨幅金箋《金碧潑彩紅荷花圖》
• 1980 "Clouds at Mountain Ali"
• 1981《台北外雙溪摩耶精舍》(pocai Shan Shui)
• 1981 "Blue and Dark-green Landscape"
• 1981 "Majestic Waterfall"
• 1982 "Peach Blossom Spring" 《桃源圖》
• 1982《人家在仙堂》潑彩山水圖、《春雲曉靄》(pocai Shan Shui)、大風堂作潑彩山水圖、《水殿幽香荷花圖》、《水墨紅荷圖》等作品。
• 1983《廬山圖》(pocai Shan Shui)

Meet too [edit]

• National Palace Museum
• Yu Youren

Bibliography [edit]

• Shen, Fu. Challenging the by: the paintings of Chang Dai-chien. Washington, D.C.: Arthur Thou. Sackler Gallery, Smithsonian Institution; Seattle: University of Washington Press, c. 1991. (OCLC 23765860)
• Chen, Jiazi. Chang Dai-Chien: the enigmatic genius. Singapore : Asian Civilisations Museum, ©2001. (OCLC 48501375)
• Yang, Liu. Lion amongst painters: Chinese master Chang Dai Chien. Sydney, Australia: Art Gallery of New Southward Wales, ©1998. (OCLC 39837498)

References [edit]

1. ^ "Chang Dai-chien Biography". asianart.com . Retrieved 26 May 2021.
2. ^ ^{a b} {{He was a Panthera leo Amid Painters, Constance A. Bond, Smithsonian, January 1992, p. ninety}}
3. ^ Bennett, Elizabeth F. (2003). "Zhang Daqian". Grove Art Online. doi:10.1093/gao/9781884446054.article.t093394. ISBN978-1-884446-05-4 . Retrieved 28 Apr 2020.
4. ^ Toni Huber (2002). Amdo Tibetans in transition: lodge and civilisation in the mail service-Mao era: PIATS 2000: Tibetan studies: proceedings of the 9th Seminar of the International Association for Tibetan Studies, Leiden 2000. BRILL. p. 205. ISBN90-04-12596-five.
5. ^ "Chang Dai-chien: Painting From Heart to Hand".
6. ^ ^{a b} Encyclopædia Britannica
7. ^ Sullivan, Michael (2006). Mod Chinese artists: a biographical dictionary. Berkeley, California: Academy of California Printing. p. 215. ISBN0-520-24449-four. OCLC 65644580.
8. ^ ^{a b} Zhu, Haoyun (2012). "Zhang Daqian: A World-renowned Artist". China & the World Cultural Exchange. 12: 18–23.
9. ^ Bennett, Elizabeth F. (2003). "Zhang Daqian". Grove Art Online. doi:10.1093/gao/9781884446054.article.T093394. ISBN978-1-884446-05-iv . Retrieved 4 May 2020.
10. ^ ^{a b} "viii Facts Yous Need to Know About Zhang Daqian, the Picasso of the East | Characteristic Serial | THE VALUE | Fine art News". TheValue.com . Retrieved 16 June 2020.
11. ^ Jiazi, Chen; Kwok, Ken (2001), Chang Dai-Chien: The Enigmatic Genius, Singapore: Asian Civilisations Museum, p. nine, ISBN981-4068-21-7, OCLC 48501375
12. ^ Fu, Shen CY (1991). "3. Painting theory". Challenging the Past: The Paintings of Chang Dai-Chien. Seattle, Washington: Arthur M Sackler Gallery, Smithsonian Establishment; Academy of Washington Press. pp. 37–38. ISBN0-295-97125-viii. OCLC 23765860.
13. ^ ^{a b} "Zhang Daqian — Main Painter/Primary Forger". Fine art Noesis News. Art Appreciation Foundation. 2006. Retrieved 24 March 2010.
14. ^ Richard, Paul (24 November 1991). "THE Astonishing CHANG DAI-CHIEN, FORGING TIES TO THE Past". Washington Post. ISSN 0190-8286. Retrieved xiv May 2020.
15. ^ ^{a b} Pomfret, John (17 January 1999). "The Primary Forger". The Washington Post Mag: W14.
16. ^ "Authentication in Art Unmasked Forgers".
17. ^ "Zhang Daqian". Benezit Lexicon of Artists. 2011. doi:10.1093/benz/9780199773787.commodity.b00201544. ISBN978-0-xix-977378-vii . Retrieved four May 2020.
18. ^ "Zhang Daqian | "Splashed-color" landscape | Red china | The Met". Retrieved 28 April 2020.
19. ^ 參閱 "图片展示". 卓克艺术网. Retrieved four October 2013.

External links [edit]

• Chang Dai-chien Residence Memorial Hall at National Palace Museum
• Chang Dai-chien in California at San Francisco State University
• Chang Dai-chien at the Cultural Affairs Bureau of Macao
• Video tour of the Chang Dai-chien Residence Memorial Hall on YouTube
• Annotated list of Chang Ta-ch'ien's Forgeries by James Cahill
• Straddling East and West: Lin Yutang, a modern literatus: the Lin Yutang family unit drove of Chinese painting and calligraphy, an exhibition catalog from The Metropolitan Museum of Art Libraries (available online as PDF), which contains material on Chang Dai-chien (meet tabular array of contents)

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Source: https://en.wikipedia.org/wiki/Chang_Dai-chien

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