大势至菩萨像

大势至菩萨像

敦煌石窟是举世瞩目的世界文化遗产,而张大千正是对敦煌艺术进行全面整理、临摹、学习、继承和发扬的第一人。1941年至1943年,张大千在敦煌共临摹作品276件。这一经历,使得张大千的艺术创作产生了极大的转变,人物形象更加饱满生动,线条流畅而富于变化,赋色浓艳又不失端庄,与单纯的文人画风拉开了距离。经过敦煌艺术的洗礼,他的视野更开阔,气势更恢宏,技巧更娴熟,手法更多样,艺术水平上升到一个全新的境界。从此,张大千的画风也为之一变,善用复笔重色,高雅华丽,潇洒磅礴,被誉为“画中李白”、“今日中国之画仙”。

The Dunhuang Grottoes are a world cultural heritage that attracts worldwide attention, and Zhang Daqian is the first person to comprehensively organize, copy, study, inherit and develop Dunhuang art. From 1941 to 1943, Zhang Daqian copied 276 works in Dunhuang. This experience has greatly changed Zhang Daqian's artistic creations. The characters are fuller and more vivid, the lines are smooth and full of change, the colors are rich and dignified, yet dignified. After the baptism of Dunhuang art, his vision is broader, his momentum is more magnificent, his skills are more sophisticated, his techniques are more varied, and his artistic level has risen to a whole new level. Since then, Zhang Daqian's style of painting has also changed, making good use of complex strokes to emphasize colors, elegant and gorgeous, and chic and magnificent, known as "Li Bai in painting", "China's painting fairy today".

1941年5月,张大千携三夫人杨宛君(后二夫人黄凝素加入)、儿子张心智、侄儿张彼得、学生肖建初和刘力上及几个裱工,后又聘请藏画家索南丹巴的四个弟子等赴敦煌考察研究石窟壁画。面壁近三年,他匍匐于昏暗的洞窟角落,神往于斑斓的佛教圣境,倾倒于瑰丽的艺术画卷,如痴如醉。张大千曾在敦煌面壁两年七个月,临摹了自十六国、两魏、北周、隋、唐、五代、宋、两夏、元等历朝历代的壁画作品达276幅,敦煌石窟艺术从此走向世界,也为其以后的绘画创作,尤其是人物画创作奠定了基础。

In May 1941, Zhang Daqian brought his third wife Yang Wanjun (the second wife Huang Ningsu joined), his son Zhang Xinzhi, his nephew Zhang Peter, students Xiao Jianchu and Liu Lishang and several mounters, and later hired the Tibetan painter Sonandamba's four Disciples and others went to Dunhuang to investigate and study the grottoes in the grottoes. Facing the wall for nearly three years, he was crawling in the corner of a dim cave, fascinated by the colorful Buddhist sanctuary, and dumped in magnificent art scrolls. Zhang Daqian had faced the wall in Dunhuang for two years and seven months. He copied 276 murals from the sixteen Dynasties, the two Wei Dynasty, the Northern Zhou Dynasty, the Sui Dynasty, the Tang Dynasty, the Five Dynasties, the Song Dynasty, the Liangxia Dynasty and the Yuan Dynasty. The world has also laid the foundation for future paintings, especially figure paintings.

此图临摹的原壁画位于莫高窟第57窟,为初唐时期所绘。此幅《大势至菩萨像》重彩设色,画面鲜艳,是张大千临摹诸多敦煌观音造像作品中的杰作之一。画底为黄色,大势至菩萨头部两重同心圆头光,高发髻戴三珠冠,上饰仰月。眉眼细长,高鼻丰唇,方圆饱满,温和艳丽,妙相庄严。上身坦露,下穿红色罗裙,饰项圈和腕钏,披帛自双肩绕臂垂于体侧,两角尖长。左手执金莲一蒂至肩部,代表心性本净、救度六道众生。赤双足,双脚踏蓝色莲花。身躯匀称,体态丰满,呈“三曲式”站立。宝像典雅慈祥,给人以庄重肃穆之感。

The original mural in this picture is located in Cave 57 of Mogao Grottoes and was painted in the early Tang Dynasty. This "Big Buddha Statue" is recolored and brightly colored, and it is one of the masterpieces in Zhang Daqian's many Dunhuang Guanyin statues. The bottom of the painting is yellow, with a double concentric round head light from the head of the Buddha, wearing a three-bead crown on the high hair, and decorated with the moon. The eyebrows are slender, with high nose and lips, full and round, gentle and beautiful, and magnificent. The upper body is exposed, wearing a red skirt, decorated with a collar and wristbands, and a cape hanging from the shoulders around the arms to the side of the body, the corners are long. Holding Jinlian in his left hand to the shoulder represents the pure nature of the mind and saves the six beings. Barefoot,

two-footed blue lotus. The body is well-proportioned, full-bodied, and stands in a "three-curved form." The statue is elegant and kind, giving a solemn and solemn feeling.

衣服纹饰色彩多用石青、石绿、土红色,菩萨身上璎珞珠宝点缀,画面华丽而高贵。宗教壁画中的人物衣冠服饰,是当时社会人物日常装扮的现实反映,并随时代的改变有所变化。唐朝初期,妇女服饰多小袖窄衣,外加半臂,肩部绕有披帛,风格较为简约。至中晚唐日趋呈现衣裙宽肥,褒衣博带的特点。

The color of the clothes decoration is mostly stone green, stone green, earth red, and the bodhisattva is decorated with jewellery. The picture is gorgeous and noble. The clothes and costumes of the figures in the religious murals are a realistic reflection of the daily dress of social figures at that time, and they have changed with time. In the early Tang Dynasty, women's clothing consisted of small sleeves and narrow coats, plus half-arms, and draped around the shoulders. Until the middle and late Tang Dynasty, the characteristics of wide and fat dresses and gigantic clothes were gradually appearing.

此副大势至音菩萨像是龙先生收藏的珍品,此图是张大千老先生临摹的原壁画位于莫高窟第57窟,为初唐时期所绘。此幅《大势至菩萨像》重彩设色,画面鲜艳,是张大千临摹诸多敦煌观音造像作品中的杰作之一。画底为黄色,大势至菩萨头部两重同心圆头光,高发髻戴三珠冠,上饰仰月。眉眼细长,高鼻丰唇,方圆饱满,温和艳丽,妙相庄严。上身坦露,下穿红色罗裙,饰项圈和腕钏,披帛自双肩绕臂垂于体侧,两角尖长。左手执金莲一蒂至肩部,代表心性本净、救度六道众生。赤双足,双脚踏蓝色莲花。身躯匀称,体态丰满,呈“三曲式”站立。宝像典雅慈祥,给人以庄重肃穆之感。收藏价值和升值空间都值得期待。

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