一个传统画家眼中的“抽象”--对张大千艺术观的考察  

Abstraction in the Eyes of a Traditional Painter:An Examination of ZHANG Daqian’s Artistic Views

作　　者：周芳利[1] ZHOU Fangli(The Research Center for Zhang Daqian,Neijiang Normal University,Neijiang,Sichuan 641100,China)

机构地区：[1]内江师范学院张大千研究中心,四川内江641100

出　　处：《内江师范学院学报》2024年第11期28-32,共5页Journal of Neijiang Normal University

基　　金：四川省教育厅人文社会科学一般项目“传统的延展--张大千对抽象概念理解的本质及影响”(ZDQ2015-12)。

摘　　要：张大千以辩证的观点和圆融的态度来理解西方抽象概念。他认为,抽象是从“纯熟优美的具象”中来。在公开场合,张大千宣称西方抽象观念源于中国,但在私人信件中又承认中西方抽象有所不同。他不认可西方抽象极端变形的风格,转而强调中国画抽象中的“美”。作为一名实践型艺术家,张大千对抽象概念的解释并非为了指导其艺术实践,而是为了确立中国画传统的当下价值与文化自主性。对于泼墨泼彩风格的来源,张大千坚决否认受到西方抽象艺术影响,而是将其置于中国画“源”与“流”的传承链条之中进行考察。他通过这一独具面貌的绘画风格,实现了他“法备众体”的价值观与追求个人面貌之间的平衡。ZHANG Daqian approached the concept of abstraction in the West from a dialectical perspective and with a synthesizing mindset.ZHANG believed that abstraction emerges from mature and beautiful representations.In public,he asserted that the concept of abstraction in the West originated from China.However,in private correspondence,he acknowledged that abstraction in the East and West differed.He did not endorse the extreme distortions characteristic of the Western abstraction and instead emphasized the beauty within the abstraction of Chinese painting.As a practical artist,ZHANG’s interpretation of abstraction was not intended to guide his artistic practice but to establish the contemporary value and cultural autonomy of traditional Chinese painting.Regarding the origins of his painting techniques of ink splashing and color pouring,ZHANG firmly denied any influence from the Western abstract art.Therefore,he embedded his artistic endeavors within the unbroken lineage of Chinese painting,embodying both the foundational source and the dynamic flow that characterize its tradition.Through this distinctive painting style,he achieved a balance between his value system of drawing upon various traditions and his pursuit of personal expression.

关 键 词：张大千 抽象 泼墨泼彩 

分 类 号：J203[艺术—美术]