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This study is about the self-portrait of Chang Dai-chien(張大千, 1899-1983), the ink-and-wash Chinese painter in the contemporary-modern period. Chang Dai-chien drew self-portraits in relation to the status of the society just like the trend until 1949, after which his production of self-portraits had something to do with figuring out the cultural identity as a Chinese painter in a foreign land.
Therefore, His self-portraits is divided into three kinds. First, portraits that are mainly in the form of sketches, hardly with any usage of color. Most of his self-portraits fall under this one. Changs self-Portraits like 〈34’s Self-portrait(三十四歲自畵像)〉 have been influenced by Yangzhou painters(揚州畫派), especially by Jin Nong(金農, 1687-1764)(Fig. 2). 〈Jin Nong’s Self-portrait(三朝老民七十三歲像)〉 has become a starting point for Chang Dai-chien’s drawing portraits of his kind(Fig. 3).
Second, portraits that used splashed ink and color(潑墨潑彩畫風). In the late 1950s, he started drawing landscapes out of ink, and by the 1960s, he was able to complete his style of splashed ink and color. The drawing of landscape with such style can be seen as an influence of Shi’tao(石濤, 1642-1707), from whom Chang copied and imitated the style in drawing landscapes. He actually went up to Mt. Huangshan with Shi’tao three times and owned his works. In the piece 〈Nesting in a pine(巢松圖)〉, he placed himself in the deep part of the mountain, trying to add the reclusive trait Shi’tao and Shiqi(石谿, 1612-1673) expressed(Fig. 12). He came up with drawing that combined tradition and modernity by putting icons like Shi’tao or Shiqi in landscapes that used the splashed ink and color style, which is the merge of the East and West.
Third, Self-portraits that described the human face realistically, showing the influence of Shitao at the same time. Chang was known to use deep ink-and-wash skill, and it is noteworthy that he drew and expressed the object as real as possible. The practice of realistically drawing the face, which he showed in his self-portraits, was the photograph skills many painters used in the early twentieth century. Many portrait painters fast accepted the product of Western civilization and painted their works based on the pictures. Such practice was an influence in the modern period, commonly seen in not only in school of Shanghai but also in school of Ningnan, Hongkong, and Macau. Such realistic portrayals can be said to have modern figure painting skills that were popular in the Northeast Asia as its reflection, in that such can be seen in Korea and Japan as well.
Therefore, His self-portraits is divided into three kinds. First, portraits that are mainly in the form of sketches, hardly with any usage of color. Most of his self-portraits fall under this one. Changs self-Portraits like 〈34’s Self-portrait(三十四歲自畵像)〉 have been influenced by Yangzhou painters(揚州畫派), especially by Jin Nong(金農, 1687-1764)(Fig. 2). 〈Jin Nong’s Self-portrait(三朝老民七十三歲像)〉 has become a starting point for Chang Dai-chien’s drawing portraits of his kind(Fig. 3).
Second, portraits that used splashed ink and color(潑墨潑彩畫風). In the late 1950s, he started drawing landscapes out of ink, and by the 1960s, he was able to complete his style of splashed ink and color. The drawing of landscape with such style can be seen as an influence of Shi’tao(石濤, 1642-1707), from whom Chang copied and imitated the style in drawing landscapes. He actually went up to Mt. Huangshan with Shi’tao three times and owned his works. In the piece 〈Nesting in a pine(巢松圖)〉, he placed himself in the deep part of the mountain, trying to add the reclusive trait Shi’tao and Shiqi(石谿, 1612-1673) expressed(Fig. 12). He came up with drawing that combined tradition and modernity by putting icons like Shi’tao or Shiqi in landscapes that used the splashed ink and color style, which is the merge of the East and West.
Third, Self-portraits that described the human face realistically, showing the influence of Shitao at the same time. Chang was known to use deep ink-and-wash skill, and it is noteworthy that he drew and expressed the object as real as possible. The practice of realistically drawing the face, which he showed in his self-portraits, was the photograph skills many painters used in the early twentieth century. Many portrait painters fast accepted the product of Western civilization and painted their works based on the pictures. Such practice was an influence in the modern period, commonly seen in not only in school of Shanghai but also in school of Ningnan, Hongkong, and Macau. Such realistic portrayals can be said to have modern figure painting skills that were popular in the Northeast Asia as its reflection, in that such can be seen in Korea and Japan as well.
목차
Ⅰ. 머리말
Ⅱ. 장대천의 생애
Ⅲ. 장대천의 자화상
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (31)
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UCI(KEPA) : I410-ECN-0101-2017-605-001156694