Zhang Daqian, Red Robe Avalokiteshvara | 張大千 朱衣大士 設色布本 立軸

Acquired from the artist in early 1980s 

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八十年代初得自畫家

The Paintings and Calligraphy of Chang Dai-Chien, vol. 4, Museum of History, Taipei, January 1983, pl.2

Memorial Album ofChang Dai-Chien, Palace Museum, Taipei, July 1983, Life Photos, pl.46

Album of Handwriting Poems by Chang Dai-Chien, Palace Museum, Taipei, February 1988, Life Photos, pl.17

Paintings and Calligraphy Works of Zhang Daqian, vol. 1, People’s Fine Arts Publishing House, 1991, pl.304

Series of Chinese Painting Masters — Zhang Daqian, Artist Publishing, Taipei, August 1998, p.91

The World of Chang Dai-chien, written by Fu Shen, Shi Jr Tang Press Co. Ltd., Taipei, September 1998, pl.14

Centenary Exhibition of Zhang Daqian’s Paintings, exhibition guide, China Times Publishing Co., Taipei, September 1998, p.41

Biography and Art of Zhang Daqian, Chinese Literature and History Press, Beijing, January 1999, pl.13

Chinese Famous Painters Collection — Zhang Daqian, Hebei Education Publishing House, December 2002, p.35

The Leshan Tang Collection of Modern Chinese Painting, Leshan Tang, Taipei, July 2006, p.46-47, 85

Majestic World of Chang Dai-chien, Art Books Co. Ltd., Taipei, Aug 2015, p.129

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〈張大千書畫集〉第四集（臺北，歷史博物館，一九八三年一月），圖版2

〈張大千先生紀念冊〉（臺北，故宮博物院，一九八三年七月），「生活集影」圖版 46

〈張大千先生手寫詩冊〉（臺北，故宮博物院，一九八八年二月），「生活集影」圖版17

〈張大千書畫集〉上集（人民美術出版社，一九九一年），圖版304

〈典藏大師系列 — 張大千〉（臺北，藝術家出版社，一九九八年八月），頁91

〈張大千的世界〉，傅申著（臺北，羲之堂文化出版事業有限公司，一九九八年九月），圖版14

〈張大千先生百年紀念展〉導覽手冊（臺北，時報文化出版企業股份有限公司，一九九八年九月），頁41

〈張大千生平和藝術〉（中國文史出版社，一九九九年一月），圖版13

〈中國名畫家全集 — 張大千〉（河北教育出版社，二○○二年十二月），頁35

〈樂山堂藏現代書畫〉（臺北，樂山堂，二○○六年七月），頁46-47、85

〈張大千 ─ 十方大千〉（臺北，藝術圖書公司，二○一五年八月），頁129

Taipei, Palace Museum, The World of Chang Dai-chien, September 26, 1998 to January 20, 1999

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臺北，故宮博物院，〈張大千的世界〉，一九九八年九月廿六日至一九九九年一月廿日

"In 1981, my father won 'Dragon Maiden Worshipping Buddha' at Sotheby's Hong Kong for HKD 111,000. This caused a sensation in the auction world and garnered widespread media attention. He was deeply fond of the painting, but it was the first painting he had ever purchased, and it came with a sky-high price. He was therefore very anxious when someone speculated that it might be a forgery. To seek reassurance, he took the painting to Chang Dai-chien for advice. The artist only agreed to meet him after recognizing his ownership of the work. With trepidation, he visited the artist, yet the encounter turned out to be a huge success. Not only did the artist confirm the authenticity of the painting, but he also brought out 'Red Robe Avalokiteshvara' to demonstrate how the special red mineral pigment was applied to his other works of the same period. 

Overwhelmed by the revelation, my father immediately fell in love with 'Red Robe Avalokiteshvara' and begged to buy it. However, the artist declined as it was one of his personal favourites, which he had cherished and retained even during times of war and turmoil. Nevertheless, my father persisted, and eventually Chang Dai-chien was touched by his sincerity and, seeing him as a true connoisseur, sold it to him for USD 100,000.

The artist also asked my father if he would be interested in splashed-colour paintings of similar value. Those were masterpieces, but my father respectfully declined, citing a lack of understanding in the appreciation of this more modern approach to Chinese ink painting. To anyone who views art purely as investment, this is most unfortunate. However, my father recounted the story with mirth because he had always seen collecting as a personal pleasure and never as something to speculate on. He only acquired artworks that genuinely captivated him. "

-Recounted by the family of Mr. Tsai I-Ming

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「一九八一年，父親於香港蘇富比以港幣十一萬一千元競得〈龍女禮佛圖〉，哄動拍賣界，更獲報章廣泛報導。他對該畫愛不釋手，然而畢生收藏瓷器，這是首次購入書畫，且以天價成交，當時有人謂「或為偽作」，內心忖測不安，遂攜畫向張大千先生求教。大千先生亦因為父親入藏該畫，欣然允之。這次會面一洗父親心中疑慮，畫家直認作品乃為己出，並詳細解釋畫上紅色礦物顏料乃當年臨摹敦煌壁畫所用，還特意出示〈朱衣大士〉來佐證。父親見之，怦然心動，並懇求轉讓，然大千先生一直珍藏，即使戰禍離亂，亦未分離，故不捨割愛。父親沒有放棄，再三求之，些許日子後，大千先生感其誠意，引為知音，終於遂其所願，父親以十萬美元購得〈朱衣大士〉。

有趣的是，大千先生也曾問父親要否以同值購入他的潑彩畫，那些都是頂尖之作，父親卻以不懂欣賞現代水墨畫為由，並未買下。對純以藝術作投資者，這也許是不智的，但父親買畫，從不以投資為目的，僅隨個人喜好，只買自己真正欣賞的，每次提起此事，也只會付諸一笑。」

—樂山堂主人家屬憶述

註︰「大千曾三抵榆林窟，首次在一九四一年五月前往敦煌途中，第二次在同年十二月，停留約二十天，第三次在一九四三年五月，也是最後一次，他離開敦煌返安西途中，停留一個半月，至六月中旬離開，日以繼夜地臨摹，三趟以此次得畫最多。

此幅〈朱衣楊枝大士〉，畫在喇嘛僧精製的畫布上，上有粉底，宜於用筆設色，因此時經五十餘年之後，石青、石綠及硃砂等，仍然鮮艷如新。此畫雖無紀年，但是考慮各種因素，推測是一九四三年五、六月間所作，蓋此種畫布的製法和品質，應當是出自於喇嘛畫僧之手，而七月一行抵蘭州以後，因當年與青海省主席馬步芳的協議，承諾邀請喇嘛畫師協助時間不超過一年半，業已到期，大千便命兒子張心智及學生劉力上，護送昂吉三知、曉梧格郎、羅桑瓦茲和杜杰林切等五位藏族畫師返回青海塔爾寺。再者從畫法查看，與一年半以前大千寄贈給張岳軍的〈吉祥天女像〉相較，此幅顯然是大千敦煌時期臨摹作品中最成熟的風格。

三次榆林窟之行也只有最後一次臨摹的時間最長，也只有這一次有喇嘛畫僧協助，因此敲定此幅成於一九四三年五、六月間，應當是最為合宜。至於題字、書法都是大千先生在臺北的晚年風格。事實上，在一九八一年，目前的收藏者蔡一鳴先生，第一次在摩耶精舍初見此畫時，畫上尚未題字，這是大千應蔡氏之請，允予割愛時才補上題款。

大千離開敦煌將近四十年之後，補題此畫時，對當年所作敦煌、榆林兩地三百六十餘窟中，所現種種法身之大士像，似乎還記得十分清楚。他特別指出其中作「朱衣楊枝」之大士像，僅此一驅而已，原畫在榆林窟張編的第十七窟內。比較本展目第十一圖的摹唐人榆林窟〈吉祥天女像〉，在五官、手足的風格方面，頗為相類，不過此大士姿態雖然也略呈弧形，但身驅壯碩而端正，兩手一托物、一拈楊枝，姿態極為優美。如觀實蹟，乃知此朱衣大士幾乎是吉祥天女的兩倍高大，壯偉富麗至極，大千此畫可能與原壁畫同等大小。

足踏蓮座，每一花瓣姿態與線條均流利曼妙，在在突顯大千個人的最高修為。此畫除了部份設色出於助手，全畫絕大部分應當均由大千本人親自為之。」

—摘自傅申〈張大千的世界〉