張大千是個天才，但他更是個非常努力的天才，同時又具有雄厚的企圖心，積極地想在藝壇嶄露頭角。
他曾強調：「畫以表現美為主。」
對於美如何落實於畫面，才能成為觀眾可以感知的視覺形式，他提出一幅畫應具備「曲」、「大」、「亮」三種條件，即意境深遂、氣勢宏大、畫面亮眼吸睛。這件〈墨荷四聯屏〉巨幅佳構，正是大師藝術思想與企圖心的具體呈現。
#天才也要努力
#每個人都需要努力
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巨匠的剪影—張大千120歲紀念大展（2019/04/01~2019/06/25）
網站：https://theme.npm.edu.tw/exh108/ChangDaichien/ch
Silhouette of a Great Master: A Retrospective of Chang Dai-chien's Art on the 120th Anniversary of His Birth ( 01 April 2019 ~ 25 June 2019)
Website: https://theme.npm.edu.tw/exh108/ChangDaichien/en
巨匠の面影─張大千生誕120年記念特別展（2019-04-01~2019-06-25）
日本語：https://theme.npm.edu.tw/exh108/ChangDaichien/jp
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【張大千 墨荷四聯屏】Four Panels of Lotuses in Ink, 1945
Chang Dai-chien (1899-1983)
重要古物，形式：軸，尺寸：359.6 x 148.6 cm
Hanging scroll, ink and colors on paper, 359.6 x 148.6 cm
國立歷史博物館寄存
此聯屏於1945年在成都昭覺寺作。時大千剛受敦煌洗禮，激起創造偉大藝術之心，遂以五尺身高伏地作丈二巨幅。自題「以大滌子寫此」，指學石濤用淡墨畫花瓣，濃墨勾瓣尖。構圖恢宏如盛唐壁畫，筆觸強勁如「吳家樣」，花葉翻動如敦煌「飛天」翩翩起舞，令滿壁生風，則非石濤可擬。故云：「一花一葉西來意，大滌當年識得無？」自豪如此。本幅為國立歷史博物館藏。
This set of hanging scroll panels that form a consecutive scene was done at the Zhaojue Temple in Chengdu in 1945. At the time, Chang Dai-chien had not long beforehand returned from his trip to study and copy the wall paintings at Dunhuang. Perhaps inspired to recreate the grand paintings he had seen there, Chang did these large hanging scroll paintings reaching more than three meters in height. This monumental work is signed as "Painted in the manner of Dadizi," referring to the early Qing artist Shitao (1642-1707) when painting the petals in light ink and using dark ink for the hooked tips. The composition here indeed suggests the grandeur of wall paintings from the High Tang, the taut and powerful brushwork similar to the "Wu Style" of the Tang master Wu Daozi (680-740). The leaves and flowers twist and turn like the dancing movements of the flying heavenly maidens at Dunhuang, filling the composition with breezy animation, something perhaps beyond Shitao. This is why Chang Dai-chien proudly wrote, "The idea of a flower and a leaf from the west, is this something that Dadi (Shitao) would have recognized at the time?"
This set of paintings, ranked as a Significant Historic Artifact, is from the collection of the National Museum of History.
1945年に成都の昭覚寺で制作された屏風。その頃、敦煌の洗礼を受けた張大千は大いなる芸術の精神をもって、150cmほどの身体を地に伏して3mを超える巨幅を描いた。自ら書き入れた「以大滌子写此」（大滌子：石涛の号）という題に関しては、石涛は淡墨で花を描き、濃墨で花弁の先を描いたと、専門家が指摘している。雄大な構図は盛唐の壁画のようで、力のこもった筆致は「呉家」（呉道子）のようである。翻る花や葉は、敦煌の石窟で軽やかに舞い飛ぶ「飛天」の姿にも似ており、石涛にはないものがあるようにも思える。故に張大千は、「一朶の花であれ一枚の葉であれ、その発想は西からもたらされた。当時の滌子はこれを知っていただろうか？」と誇らしげに述べている。
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