張大千（1899－1983）是二十世紀中國畫家中使用色彩最為成功的畫家之一，他晚年所發展的潑彩山水，色彩鮮豔大膽，形式或狂飆湧動，或沉潛深邃，時人皆以為受到當時席捲全球之抽象表現主義（Abstract Expressionism）之影響，然而回顧他一生風格的形塑，就會發現實則他早年約1930年代左右，就已開始有系統的將中國歷史上的用色方法，一一吸收至自己的「青綠山水」中，因之他一生所繪的著色山水，放在歷史的脈絡中，既可視為一項傳統「青綠山水」在二十世紀的復古，也可視為「青綠山水」在二十世紀的復興。

他早期（1920－1940）的青綠山水深受石濤（1642－1707）及董其昌（1555－1636）的影響，從前者他得到線條與結構，從後者他習得用色的方法，尤其是仿古人—唐代揚昇（活動於713－741），六朝張僧繇（活動於500－550）的「沒骨」山水，也就是不見線條，只重顏色的山水。除此而外，晚清自海上畫派以來至民國，畫壇上重視色彩的風氣有增無減，張大千此時期青綠山水中的紅色山頭，很可能便是受到任伯年（1840－1896），與齊白石（1864－1957）重用硃砂及洋紅的影響。而廣泛吸收學習的他，又繼金城（1878－1926）、吳湖帆（1894－1968）之後，向唐代李思訓（651－716）及宋代王詵（1048－約1104）之青綠山水取經。所以此時張大千醒目耀眼的大紅（硃砂）與大綠（石綠）堆疊之青綠山水，反映的正是二十世紀以來，各家藉仿古人的沒骨、青綠，而提倡色彩的大勢所趨。

The use of color by Chang Dai-chien (1899-1983) is amongst the most outstanding in the twentieth century China who develops his splashed-color style in his late years. In tune with the then prevalent abstract expressionism, his semiabstract landscape paining in the color mode is, however, deeply rooted in the Chinese “Blue and Green” Landscape Painting tradition. Ever since the 1930s, Chang had systematically probed various color approaches in Chinese landscape painting throughout history and assimilated into his own landscape creations. Therefore, his achievement in the “Blue and Green” landscape painting genre can be seen as both a retrieval of the past and a revival of the “Blue and Green” genre.

In his early period (1920-1940), his “Blue and Green” landscape paintings were deeply influenced by the Qing individualist Shi Tao (1642-1707) and the Ming painter Dong Qichang (1555-1636). From the former, he obtained his brushwork and composition, whereas from the latter, he learned the application of color, in particular, the “boneless” method. In addition to ancient masters, he also followed other predecessors like Ren Bonian (1840-1896) and Qi Baishi (1864-1957) of the twentieth century whose use of the red pigment was so impressive that Chang emulated it in his own “Blue and Green” paintings. Chang also continued the practice Jin Cheng (1878-1926) and Wu Hufan (1894-1968) had already employed in incorporating the color modes of Li Sixun (651-716) of the Tang period and Wang Shen (1036-ca.1093) of the Song period. Chang’s own “Blue and Green,” together with other early masters’ works in which the use of color was so bold and dashing compared with the past, duly reflect the increasingly color-oriented tendency of Chinese painting in the twentieth century.

青綠山水; 抽象表現主義; 淺絳山水; 沒骨; 借古開今; 集大成

Blue and Green landscape painting; Abstract Expressionism; Lightly-Colored Landscape Painting; Boneless Style; Creation of a New Style Based on Classical Elements; the Great Synthesis