张大千泼墨泼彩画风演变中的中庸心理

On the Mean Doctrine in the Evolution of ZHANG Da-qian's Ink&color-splah Painting Style

张大千是20世纪杰出的画家,声誉遍及世界,他的泼墨泼彩艺术极具创造性与感染力,为中国画的现代转型提供了可供参考的样本。张大千泼墨重彩阶段精品迭出,但他很快就放弃了艺术特色鲜明的以大泼墨大泼彩为特征的"泼墨重彩",转向风格较为中庸,以淡墨淡彩为特征的"泼写兼施"阶段,其中原因值得深究。张大千泼彩回归中庸风格是中国画内在本体需要和适应年老身心变化的结果,也是在"通会"基础上的人书俱老,反映了他在中国传统绘画向现代转型过程中的理性思考和智慧选择。

ZHANG Da-qian was a prominent painter in the 20^th century and was well-known all over the world. His ink- splash and color-splash art is quite creative and infective and has offered a model of reference for the modern transformation of the Chinese painting. In the ink-splash and strong co^or period, he created masterpieces one after another. However, he soon abandoned such heavy ink-splash and color-splash style with striking artistic characteristics and turned to mean style of combi- nation of splash and painting with light ink and color as the main characteristics. The reasons are worthy of study. His retur- ning to the mean style was the result of the internal need of the Chinese painting and his adaptation to an old man＇s psychology as well as the aging of both painter and his painting on the basis of his versatility. This reflected his rational thinking and wise choice in the transformation of the Chinese painting from its traditional style to the modern one.