张大千绘画艺术摘要大风堂画斋由张善子先生、张大千先生,昆仲先生在上海学习画技时一起组建的。在1920年左右,张善子、张大千以客人身份住在上海西门路的时候,因为有缘分得到明朝画家张大风所画《诸葛武侯出师图》,当时就对这画爱不释手,另一方面对画家张大风的画技十分倾慕又都姓张,所以在十分得意的时候,张善子、张大千和昆仲又将居住的西成里居室的厅堂命名为“大风堂”。这可以从1932年张大千于一次寿宴之后和来宾的谈话之中了解大风堂的来源。引文在其年龄迈入60以后在先前的绘画的风格下创作出泼彩画法,那种结合抽象于具象的墨彩交融呼应效果,让他的绘画技术在深远的历史艺术长河中独具一格。张大千先生作为其中代表他的艺术人生和绘画方式,其经历了3个阶段:第一阶段是师古;第二阶段称之为师自然;第三阶段为师心。在他40岁前之前"以古人为师",在40至60之间的年龄段,将自然作为老师,60岁之后以心为师。年轻时观以前各大家的著作,由石涛、八大到徐渭、郭淳还有后来宋元时期的各类著名的作品。关键词:大风堂;张大千;张善子;张大风ArtforZhangDaQianAbstractDafengtangpaintingstudiowasestablishedbyMr.ZhangShanzi,Mr.ZhangDaqianandMr.KunzhongwhentheywerestudyingpaintingskillsinShanghai.Around1920,whenZhangShanziandZhangDaqianlivedinshanghaixigatewayasguests,theywerefondlyimpressedbythepaintingzhugewuhoumasterplanpaintedbyMingdynastypainterZhangDafengbecauseoftheirpredestination.ontheotherhand,theyadmiredthepainterZhangDafeng'spaintingskillsandallsurnamedZhang,sowhentheywereveryproud,ZhangShanzi,ZhangDaqianandKunzhongnamedthehallwheretheylivedinthewestintoabedroom"windhall".ThiscanhelpustoknowthesourceofDafenghallfromtheconversationZhangDaqianhadwiththeguestsafterabirthdaypartyin1932.TheartisticlifeandpaintingstyleoftherepresentativeZhangDaqianexperiencedthreeimportantstages:learningfromthepast,learningfromnatureandlearningfromtheheart:beforehewas40yearsold,learningfromtheancients,learningfromnaturebetween40and60yearsold,andlearningfromtheheartafter60yearsold.WhenIwasyoung,Iwatchedallthefamousancientmasters,fromShiTao,theeighthnationalcongressofthecommunistpartyofChinatoXuWei,GuochunandworksofsongandyuandynastiesandevenDunhuangmurals.After60yearsold,hecreatedsplashpaintingmethodonthebasisoftraditionalink,whichcombinedabstractandconcreteinkandcolorblendingandechoeffect,makinghispaintingtechnologyuniqueinthelongriveroffar-reachinghistoryandart.Keywords:DaFengTang;ZhangDaQian;ZhangShanZi;ZhangDaFeng;目录摘要------------------------------------------------------1Abstract-------------------------------------------------Ⅱ目录-----------------------------------------------------Ⅲ一、借古以开今-------------------------------------------1二、张大千青绿之美----------------------------------------1三、张大千抽象之美---------------------------------------3四、张大千阳刚大气之美----------------------------------------------------------4五、张大千对泼彩艺术的影响----------------------------------------------------------5参考文献-------------------------------------------------6一借古以开今张大干先生之所以在山水画方面得法非常大成功,因为吸取了我国早期的绘画的优点,结合所有画家长处于一身,又敢于创新的结果。其向别人诉说其对于传统的学习,和外出进行实地绘画的时候说:“薄负时誉,逐事壮游。凡举名山大川,幽岩绝壑,南北二京,东西两海,笠屐所至,舟舆所经又无不接其胜流,睹其名迹’可见张大千非常注重临摹古代名家和推陈出新之间的关系。张大千先生临摹古代名家和推陈出新,达到“借古以开今”作画高度。他讲:“继承传统,不能亦步亦趋。仅限于摹拟为足,则无画矣!”随后...