Weekend, Where to go | 四川人大千说， 一等美人要 “肥、白、高”
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No need to overreact to the headline. When master painter Zhang Daqian (1899-1983) said fei, he meant "plump", not "fat".
看到今天的标题先不要反应过度哦。张大千说的这个“肥”是丰满的意思。按照时下的说法，张大师喜欢微胖界的女神，大长腿，白到发光。
Zhang was affectionate toward pretty women throughout his life. He married several times, and befriended beautiful women when traveling at home and abroad.
张大千一生都对美女表现出了多情的一面。且不说他的几次婚姻，还有他游历海内外时结交的各国“红粉知己”。
▲ 自画像 1945
He once said, "Of all beauties, those who are plump, white and tall should be ranked first class."
他曾经说，“凡美人者，一等肥、白、高。”
▲ 蕉荫仕女 1945
His views on women sound conservative and reflect the limited mentality of his time. Indeed, paintings of elegant "court ladies" constitute an important part of his oeuvre.
现在看来，老张先生对于女性的审美未免狭隘、有时代局限性。不过，他笔下这些摇曳生姿的仕女确实是他全部创作的重要组成。
But at the beginning of his artistic career, the women under Zhang's brushes looked slender and frail, reminding people of Lin Daiyu.
但在他刚开始画仕女图的时候，他画的都是林黛玉那种类型的，消瘦、弱不禁风。
▲ 携梅仕女 1941
His works from the 1930s embrace such a style, exhibiting an influence of artists of the Ming (1368-1644) and Qing (1644-1911) dynasties.
看他30年代的画就是这种风格，继承了明清仕女画的风格。
He learned a lot from noted painters of the "court lady" category, such as Tang Yin, Gai Qi and Fei Danxu.
他取经两朝仕女画名家的笔法，比如唐寅（唐伯虎）、改琦和费丹旭。
This painting, titled Beauty under a Willow, was painted in 1939. It is one of several court lady paintings on show at a grand exhibition on Zhang Daqian at the National Museum of China.
这幅是画于1939年的《柳荫仕女》。目前国博举办的张大千画展上有几幅仕女图，这就是其中的一件。
Zhang and his family took shelter shortly after in the Qingcheng Mountain area, not far from Chengdu. A year prior, he escaped Beiping (Beijing), which fell victim to Japanese invaders.
画这幅画的时候，张大千和家人正居住于成都附近的青城山。一年前，他逃离了被日军沦陷的北平城。
He employed a "three-white" technique, dating from the Tang Dynasty (618-907), to highlight a subject's facial features: He applied no color to her forehead, nose or chin, and only slight blush to her cheeks and eyelids.
他采用了唐代的“三白画法”来突出人物的面部，在额头、鼻翼和下巴都留白，施淡淡的腮红于面颊和眼部。
The result is a face that looks pink, luminous and impeccable. The effect is similar to that of modern-day cosmetics, such as highlighting powders.
这让画中仕女的面部看起来粉嫩无暇、有光感，效果类似今天彩妆里的高光粉。
Zhang also borrowed the approach of depicting fashionable ladies in yuefenpai, the colorful calendar posters.
张大千还借鉴了月份牌的画法，让笔下的古代仕女有了几分现代女性的时髦。
A temperament transition from these court ladies took place after Zhang returned from Dunhuang in 1943.
在张大千1943年从敦煌回来以后，他画中的仕女们才有了气质上的转变。
▲ 临摹凉国夫人图
Zhang spent three years copying the murals in the grottoes there, which brought dramatic transformations to his creations afterward.
我们知道，张大千在敦煌呆了3年，潜心临摹壁画。这种日复一日的学习极大影响了他日后的创作风格。
▲ 临摹晚唐伎乐飞天二身图
He was deeply touched by the dignity and divinity of those heavenly deities and gongyangren — Buddhists who sponsored the caves' construction — featured in the murals.
他深深感动于壁画中那些神女和女性供养人（出资修建洞窟的佛教徒）身上庄严神圣的气息。
▲ 临摹晚唐供养人像
And he was impressed by their merciful looks, extravagant costumes and most of all, their round but well-shaped curves which demonstrated a healthy, vigorous beauty.
他脑海中萦绕的都是她们慈悲的面容、华丽的服饰，尤其是这些女性丰润姣好的曲线所展现出的健康和活力。
▲ 临摹五代母女供养像
So he dumped the ill-looking Sister Lin. The beauties in his later paintings became appealing, ample and graceful.
所以，张大千果断“抛弃”了病怏怏的林妹妹。他画中的仕女们逐渐变得如壁画中的女性般健美、优雅。
▲ 翠楼远望仕女 1943
And unlike previous paintings in which women expose little skin but the head and neck, these works show their well-shaped arms and hands.
他之前描绘的仕女基本上不露出除了脸和脖子以外的肌肤，而他后面画中的女性开始展现线条柔美的手臂。
The realistic delimitations and vibrant palette were apparently inspired by the depiction of female figures on the murals, especially those created during the Tang Dynasty.
这种趋于写实的描画和绚丽高级的色调明显就是对于壁画天女——尤其是盛唐时期——的消化吸收。
▲ 簪花仕女图 1946
Zhang paid a lot of attention to depicting women's eyes. He said the audience in front of his paintings should feel the court ladies' gazes, exuberant with tenderness.
张大千还特别注意对女性眼睛的刻画。他说看到他画的观众要能感受到来自仕女们含情脉脉的注视。
▲ 仕女拥衾 1946
Some of these paintings are shown at the national museum, borrowed from the collection of Sichuan Museum.
这些仕女图不少都出现在了这次国博的张大千特展上，来自于大师家乡四川博物馆的馆藏。
▲ 西康纪游图册-锅庄舞
So, come and see if you are caught by their eyes sparkling with affections.
所以，去国博逛逛吧，看看你有没有被美人们充满关爱的眼神“电”到~
▲ 天女散花 1935
▲ 蕃姬醉舞图 1951
Courtesy of National Museum of China and Sichuan Museum
图片致谢国家博物馆和四川博物馆
IF YOU GO
Lin Qi
自出道起专注特稿写作10余年，担任艺术报道是这两年的事。周一到周五去高大上的博物馆跑活儿，周末在798/草场地/黑桥出没。