张大千书法分期考述

A Study of Stages of ZHANG Da-qian’s Calligraphy

张大千书法艺术可分为四期。青少年时期的张大千书法属典型的帖学书风。海上拜师后,书法除深受曾、李二师影响外,还受到过何绍基等书法家及八大、石涛、金农等画家书法的影响,体现为典型的碑学书风。30年代后期至40年代大千书风有较大变化,以独具自家面貌的"大千体"形成并臻于成熟为显著特征。"大千体"是大千在前期家学、师学、金文、魏碑等基础上融会帖学传统而推陈出新的结果。大千书法刚柔相济、心手相应的理想状态约出现在50年代以后,经50年代初在印度大吉岭的沉潜反复,至后来行遍"欧西南北美",眼界、心胸进一步开阔、拓展,"大千体"随之迎来新境。

The development of Z HANG Daq-qian＇s calligraphy can be divided into four stages. In his adolescence, his writing was characterized by the typical copying. After he became a pupil of two masters in Shanghai, his calligraphy was influ- enced by ZENG Xi and LI Rui-qing as well as HE Shao-ji and some painters as Bada, SHI Tao and JIN Nong. His calligraphy of this period had the typical features of stone inscriptions. From the late 1930s to 1940s, his calligraphy had notable change： the unique Da-qian style came into being and tended to be mature. Such style of calligraphy was the innovative result of combi- nation on basis of his learning from his family and teachers, inscriptions on ancient bronze objects and on stones of Wei period. The ideal Da-qian style combining vigor and suppleness appeared after 1950s. After his painstaking research in India and trave- ling to Europe and South America, his horizon became much wider and his calligraphy got to its summit.