【作品基本信息】
| 作者 | 张大千 |
| 图名 | 乞食图轴 |
| 朝代 | 近现代 |
| 文件大小 | 18.0MB |
| 分辨率 | 300×300 |
| 像素大小 | 1785×3363 |
| 编号 | 15.11×28.47 |
| 创作时间 | 民国六十二年（1973） |
| 数量 | 1 |
| 馆藏信息 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 民国张大千乞食图 轴 Self-Portrait Begging |
| 分类 | 绘画 |
| 作者 | 张大千 |
| 创作时间 | 中华民国六十二年（1973） |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 135.9×69.1 |
| 全幅 | 253×82.8 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋资料【题跋类别】【作者】【位置】【款识】【书体】【全文】作者款识张大千本幅大千居士自写乞食图。行书
印记：
张爰私印、大千作者款识张大千本幅左持破钵右拖笻。度陌穿衢腹屡空。老雨甚风春去尽。从君叫哑破喉咙。癸丑（公元一九七三年）四月初一日。爰翁七十有五岁环荜庵题。行书
印记：
老好、游戏神通、大风堂
印记资料
| 【印记类别】 | 【印记】 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 人物 | 画师 | 张大千自画像 |
| 其他主题 | 器用 | 拐杖 | |
| 其他主题 | 器用 | 饮食器 | 碗 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 人物衣纹描法(粗细线条) |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 张大千先生纪念展图录，页43、92 |
| 内容简介（中文） | 张大千（一八九九－一九八三）从年轻时期开始，就对传统的绘画艺术很感兴趣。他专心致意地学习，尤其对石涛的风格最有心得，有些模仿石涛的作品，连专家都无法分辨真假。他也曾经住在敦煌数年，潜心摹写壁画，又收藏历代名家书画，看过不少重要的精彩绘画作品，而且勤于临摹，所以能够综合古人笔墨的精华。到了晚年，更开创出泼墨、泼彩的画法，从传统中创新，是中国当代最重要的画家之一。 像许多其他当代的艺术家一样，张大千对自我的意识较强，曾经创作过很多张自画像。这幅是在一九七三年，他七十五岁生日时，作于美国加州的环荜庵居所。画中的老人右手扶杖，左手托碗，是自画像中少见的造型。从他自己的题诗(图一)和「乞食图」之名，我们知道其中另有特别的寓意。 张大千从一九四九年以后长年旅居于海外，辗转迁徙于多国之间，在此画完成后的第二年，才申请到台湾定居，重返中文世界。对画家而言，脱离原乡而漂泊他方并不是太愉快的经验。他早在一九五○年代，就在诗中自嘲以办展览卖画的生活是「人间乞食」，甚至托人以此刻了方印章。历经二十多年的沧桑，还是难以释怀。不过他心中虽有无限感慨，画中人物却仍然是精神健硕、气度雍然，可见他依然自尊自信，绝对没有希望别人怜悯的意思。(图二) 这幅画原先送给前故宫博物院院长蒋复璁先生，再由他捐赠给故宫。故宫在接管大千最后居所的摩耶精舍之后，并且将这幅画摹刻在园中的石碑上，以供游客瞻仰。大家下次到摩耶精舍参观时，不妨找一找这个特别的自画像落脚于何处。 |
| 内容简介（英文） | From his youth, Chang Dai-chien was interested and became grounded in the traditional arts. He appreciated Shih-tao’s (1642-1708) style and often imitated his works so well that connoisseurs could not tell the difference. Chang spent time at Tunhuang and copied the ancient wall paintings there, and he was also a collector of ancient painting and calligraphy. Gifted at copying, he was able to learn the secrets of the old masters. In his later years, he achieved international fame for his innovative technique of splashed ink and colors based on traditional Chinese painting. Conscious of himself as artist and subject, Chang Dai-chien often did self-portraits. This work was done in 1973 at the age of 74 on his birthday while living in California. After 1949, Chang spent many years living around the world. The year after this work was done, he applied for residency in Taiwan and finally returned to the land of his mother tongue. Holding a cane and a bowl, this image is unusual among Chang’s self-portraits. This theme, judging from his inscribed poem and the title (“Begging”), seems to have had special meaning to him. As early as the 1950s, he wrote that holding exhibits to sell paintings for a living was like “begging”. After more than 20 years, he evidently still felt that way. Despite his age and this underlying sentiment, the figure here still appears spirited and confident. This work was originally presented by Chang to Mr. Chiang Fu-ts’ung, the late former director of the National Palace Museum, who then donated it to the Museum. After the Museum assumed management of Chang Dai-chien’s last residence nearby, this work was engraved on stone in the garden in dedication and for the appreciation of visitors. |
| 内容简介（中文） |
【作品展示】
民国张大千乞食图轴
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