張葆蘿（1931-2017），名約，又名心一，大千三子。一九四九年政局變異，隨大千定居海外的兒女中，以葆蘿最年長，也能讀寫中文，陪伴父親時間最久，隨侍筆硯外，為家中大小事務打點奔走，擔當半個當家人，亟得乃父信賴。
本輯作品屬葆蘿所藏，集中於五十至七十年代，多屬畫家自娛自賞，遣興抒懷之作。當中，一九五三年於香港屯門所作之〈桐陰清閟〉，後携赴參加畫家首次巴黎個展；一九六一年作〈辛丑重九登高圖〉，寫畢自詡石濤、八大亦不能為，日後選入畫家美國首展及〈四十年回顧展〉，尤為難得！
1972年，張葆蘿與父於克密爾萊克美術館舉行聯合畫展
Chang Paul (1931-2017), also known as Xinyi, was the third son of Daqian. After the political changes in 1949, among the children who settled overseas with Daqian, Paul was the oldest and could read and write Chinese, and accompanied his father for the longest period of time. Apart from serving as a pen and ink brush, he also took care of the family's affairs and acted as half of a family member, thus winning his father's trust.
The works in this collection belong to the Paul Chang Collection and are concentrated from the 1950s to the 1970s. Most of the works in this collection were created by painters for their own enjoyment and to express their feelings. Among the works in this collection, ‘Tongyin Qingse’, made in Tuen Mun, Hong Kong in 1953, was brought to the artist's first solo exhibition in Paris; and ‘Ascending to the Heights on the 9th day of the Xinchou Festival’, made in 1961, was written by Shih Tao and Bada, and was selected to be included in the artist's first exhibition in the United States and the ‘Forty Years’ Retrospective', which is a particularly rare achievement!
張葆蘿、李協珂伉儷
張葆蘿家庭照
張大千夫婦與兒媳及孫輩攝於一九八二年
張葆蘿兒女向大千行傳統跪禮
張葆蘿加州「可以居」
FROM THE COLLECTION OF PAUL CHANG'S CHILDREN (LOTS 2585-2599) | 張葆蘿兒女珍藏書畫（編號2585-2599）
張大千 湖畔倩影
設色紙卡 鏡框
款識：爰翁。
鈐印：「大千」。
27.5 x 24.2 cm 10¾ x 9½ in.
Estimate
450,000 - 900,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Lady by the Lotus Pond
ink and colour on cardboard, framed
signed, with 1 seal of the artist
27.5 x 24.2 cm 10¾ x 9½ in.
張大千 行書題粉蕉詩
水墨金紙卡 鏡框
款識：綠滿山窗一角天，花開豔勝濯波蓮。新來已厭書狂草，祗乞清陰壓晝眠。粉蕉。大千老子。
鈐印：「張爰私印」、「大風堂」。
27 x 24.3 cm 10⅝ x 9½ in.
Estimate
60,000 - 120,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Poem in Xingshu
ink on gold cardboard, framed
signed, with 2 seals of the artist
27 x 24.3 cm 10⅝ x 9½ in.
張大千 小鳥
水墨紙卡 鏡框
款識：大千老子墨謔。
鈐印：「大千唯印大年」。
24.2 x 27.2 cm 9½ x 10¾ in.
Estimate
100,000 - 200,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Bird
ink on cardboard, framed
signed, with 1 seal of the artist
24.2 x 27.2 cm 9½ x 10¾ in.
張大千 七十謝悃
水墨紙卡 鏡框 一九六八年作
款識：爰也學殖荒落，投老居夷，閉塞聰明，致同癈棄。俛仰兩間，歲月虛縻，而七十之年，忽焉已至，謬承海內外朋舊親知，詩文下祝，珍貺遙頌，下拜登受，彌增顏汗，趨叩莫由，謹申謝悃。張爰大千頓首。戊申四月三巴八德園。
鈐印：「張爰」、「大千居士」。
40.8 x 52.8 cm 16 x 20¾ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Prose in Xingshu
ink on cardboard, framed
signed, dated 1968, with 2 seals of the artist.
40.8 x 52.8 cm 16 x 20¾ in.
張大千 行書「鶴壽」
水墨紙本 裱於木框 一九七二年作
款識：鶴壽。六十一年壬子之春，爰翁。
鈐印：「大千居士」、「大風堂」、「大千世界」、「得心應手」。
展覽及著錄：臺北，歷史博物館，〈張大千九十紀念展〉，一九八八年五月，並刊於展覽圖錄，圖版104
57.7 x 91.2 cm 22⅝ x 35⅞ in.
EXHIBITED & ILLUSTRATED
Taipei, Museum of History, The Anniversary Exhibition of Chang Dai-chien’s 90th Birthday, May 1988, and illustrated in exhibition catalogue, pl. 104
Zhang Daqian (Chang Dai-chien, 1899-1983)
Calligraphy of Longevity
ink on paper, mounted on a wooden frame
signed, dated 1972, with 4 seals of the artist
57.7 x 91.2 cm 22⅝ x 35⅞ in.
張大千 墨竹
水墨紙本 裱於木框 一九七二年作
款識：青鸞飛過影參差，截尾爭看玉一枝。自愛山中好明月，何須紅袖照題詩。
昔東坡居士遊吳興道場山畫竹，有官伎二人為之執燭，因題詩云「美為破顏，恰似腰支裊」之句。六十一年壬子三月廿一日，爰翁。
鈐印：「大千唯印大年」、「大風堂」、「大千世界」、「得心應手」。
藏印：「心一」。
57.7 x 91.2 cm 22⅝ x 35⅞ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Ink Bamboo
ink on paper, mounted on a wooden frame
signed, dated 1972, inscribed, with 4 seals of the artist and 1 seal of collector
57.7 x 91.2 cm 22⅝ x 35⅞ in.
張大千 桐陰清閟
水墨紙本 立軸 一九五三年作
畫家署簽
簽書：桐陰清閟。
款識：鬱鬱自成陰，涼颷動蕭瑟。鳳鳥不曾來，空復結佳實。癸巳六月逭暑屯門作。爰。
鈐印：「張爰私印」、「大千富昌大吉」。
展覽︰法國，巴黎市立現代美術館，〈張大千畫展〉，一九五六年六月一日至七月十五日
著錄︰〈張大千畫展〉目錄（法國，巴黎市立現代美術館，Éditions Euros印製，一九五六年），展品目錄編號7，並獲選精印複製畫片
註：本幅題謂「癸巳六月逭暑屯門作」，即畫家自南美返，旅臺、日期間暫棲香江，借居好友繆信康「青山別墅」時所出。蓋該地臨海，環境清幽，風景秀麗，大千驛馬頻動間，仍可靜心創作。畫寫庭院一隅，梧桐矗立，腰際留白，如陷霧靄籠罩。桐陰下，只見曲澗湍鳴，瑯玕叢生，高士手撫湖石，側身遠眺，具脫俗出塵貌。造境似汲取〈仿畢宏霧鎖重關〉靈感，惟佈景、筆墨更凝煉，以净墨出之，運筆細緻爽利，得幽邈逸趣。
90.8 x 45 cm 35¾ x 17¾ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Hermit by Tung Tree
ink on paper, hanging scroll
signed, dated 1953, inscribed, with 2 seals of the artist
90.8 x 45 cm 35¾ x 17¾ in.
Condition Report
Literature
Exhibition of Tchang Ta Ts’ien, exhibition cat., Musee d’Art Moderne de la Ville de Paris, France, 1956, no.7, selected for fine print reproductions
Exhibited
France, Paris, Musee d’Art Moderne de la Ville de Paris, Exhibition of Tchang Ta Ts’ien, 1 Juin-15 Juillet 1956
張大千 菜單
水墨紙本 未裝裱 鏡框
款識：酥肉湯、水爆墨魚、紅油肚絲、乾燒鰉翅、宮保雞、水鋪牛肉、黃燜烏参、成都素會、成都師子頭、京醬豆腐、雲南氣鍋、粉蒸牛肉、碧玉羹。
34 x 69 cm 13⅜ x 27⅛ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Menu
ink on paper, unmounted, framed
34 x 69 cm 13⅜ x 27⅛ in.
張大千 山園即事詩
水墨紙卡 鏡框 一九六四年作
款識：山園即事。用荊公歲晚即事韻。
十載培栽五畝園，為農學圃共誰論。杉松離立亭亭長，江海飄搖落落存。生計付兒雞滿柵（蘿兒、澄兒養雞數千），清言留客月當門（昌鑾日夕來過，每至子夜乃別）。小池便有濠梁樂，非我非魚揔贅言。甲辰二月十二日作。爰。
鈐印：「大千唯印大年」。
24.2 x 27 cm 9½ x 10⅝ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Calligraphy in Xingshu
ink on cardboard, framed
signed, dated 1964, with 1 seal of the artist
24.2 x 27 cm 9½ x 10⅝ in.
張大千 秋嶺煙嵐
設色絹卡 鏡框
註： 本幅未署名款紀年，若參考一九七八年作〈華山小景〉，從選材、尺幅及風格相對照，似屬同期所出。畫中墨色顏料互滲交融，似隨意潑灑，實色彩深淺變化精微，堆疊間層次自生，復點綴細節，山麓小徑，密茂樹影，房舍三兩，皆籠罩於嵐翠飄渺間，方寸中自見造化天地！
參考資料：一九七八年作〈華山小景〉，可參見〈張大千九十紀念書畫集〉（臺北，歷史博物館，一九八八年五月），圖版116
42.3 x 36.2 cm 16⅝ x 14¼ in.
Estimate
240,000 - 400,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Secluded Houses in Misty Mountain
ink and colour on silk cardboard, framed
42.3 x 36.2 cm 16⅝ x 14¼ in.
張大千 辛丑重九登高圖
淡設色紙本 立軸 一九六一年作
畫家自題紙盒、木匣並署簽
紙盒：辛丑登高圖。
木匣：登高圖。蜀人張大千筆。
簽書：辛丑重九登高圖。大千老子畫詩書。
款識：已忘流徙托蓬蒿，自詭空虛若可逃。客有能來如對菊（謂長寧梁仲栗），兒看成長罷題糕（蘿兒、澄兒二子新買山場從事農圃）。偶逢勝日須教醉，獨立危巒覺尚豪。轉愛異邦乖節物，杜鵑花正耀林皋（南美重九正當我國三春杜鵑花方盛開）。
辛丑九日摩詰山園登高賦此詩并寫。大千老人爰，年六十有三矣。
歐陽公嘗自稱其〈廬山〉「令人莫能為，唯李太白能之，〈明妃曲〉後篇即太白亦不能為，唯杜子美能為之，至於〈明妃曲〉前篇，子美亦不能為，唯吾能之」。予之此幅，清湘能作此人物，不能為此山石，八大能作此山石，卻不能為此人物，至於全幅運筆構思，起兩公於九京，當亦無由落墨矣。聞斯言者，豈不愕然而驚，莞爾而笑乎。大千居士再題。
鈐印：「張爰私印」、「大千豪髮」、「己亥己巳戊寅辛酉」 、「大千」、「大千逸者」(鈐於木匣)。
展覽：
美國，紐約，Hirschl & Adler Galleries，〈張大千畫展〉，一九六三年十月廿二至十一月二日
美國，舊金山砥昂美術館，〈張大千四十年回顧展〉，一九七二年十一月十六日至十二月十七日
著錄：
〈張大千畫展〉展覽圖錄（紐約，Hirschl & Adler Galleries，一九六三年），展品編號10
〈張大千四十年回顧展〉目錄（三藩市，美國舊金山砥昂美術館，一九七二年），圖版42
註：大千半生漂泊異域，內心始終抱持中國文人的襟懷，每逢佳節，必寫應時風物，慰問友朋，寄託情思。農曆九月九日重陽，舊有登高懷遠，飲酒賞菊之傳統，歷代文人墨客競相吟詠，王維、杜牧、蘇軾皆有名篇流傳，大千筆下亦屢有所出。
一九六一年重九，大千於摩詰山園登高暢遊，興之所至，賦詩寫此。畫取六呎整幅，豎直構圖，巨巖矗立，猶如豐碑，幾近貫通全幅，人物、叢林及溪谷，則推置邊緣，踞上下兩端，令畫面極具張力。右側一道白練懸於絕壁，跌宕向下，化作湍流，激蕩亂石，向前奔湧而來。山巖乃畫面的主體，仰觀之如臨幽谷，不見天日，頓感山勢巍巍，凸顯登高主題，佈局造境實獨出心裁。
如此巨幅，畫家摒棄皴法，岩石多賴大筆勾勒，縱橫揮寫，線條簡約有力，向陽面及瀑布、溪流皆作留白處理，背陰處則輕染淡墨，反襯主體山勢之巍峨險絕。水中石磯，重墨提點，復細意收拾，狀寫策杖老者，出巖古木。構圖，筆觸，黑白，具有強烈反差。全畫雖幾乎全出之水墨，卻毫無蕭瑟之感，彷如置身晴日，陽光灑落於山林之間，溫暖和煦，氣象開闊。兩段長題，整齊列於山石正面的留白處，如同摩崖文字，莊嚴肅穆。四方紅色印章，則成為畫面最醒目之所在。
五十年代，大千因病目，筆墨漸趨恣放，遂開拓新徑，風格丕變。一九六一年，是他藝術生涯的關鍵時點，〈巨荷〉通景六連屏在法國展覽引發轟動，顯示畫家對處理巨幅作品已然得心應手，並且轉向抽象潑墨的實踐。而本幅恰可視為大千從傳統向潑墨潑彩的轉捩點，他日後一系列潑墨潑彩作品，如〈無象之象〉、〈桃源圖〉等，明顯啟發自北宋山水意象，從本幅構思或可窺見端倪，只不過當中大膽的留白，則被耀眼的墨及流彩取代。故大千豪氣執言，此幅之運筆構思，即使石濤、八大起而復生，亦望塵莫及，自比歐陽修，戲謔中流露當仁不讓的氣魄。寫畢，畫家留置在側，並選入一九七二年的〈四十年回顧展〉，意義非同尋常。
畫中題詩，引經據典，自陳現狀，言語中，已見畫家對異邦生活逐漸調適。惟南國重陽節，適逢北地三春杜鵑花開，藉望帝春心，寄託故國之思。著袍策杖、踞高遠眺的老者，正是遙念故土的畫家。詩文所及「梁仲栗」即梁穎文，四川長寧人，曾任事於國民政府行政院、財政部。六、七十年代與大千在巴西、美國頗有往來。寫本幅同日，張大千另有〈摩詰山園圖〉遙寄老友臺靜農，亦題此詩，淺绛花青寫重巒疊嶂，兩者形成鮮明對照。
本幅選取羅紋紙，裝裱極講究，應在日本付裝池，鑲青瓷軸首，上燒「大風堂藏」字樣，乃在日本特別燒製，用於畫家鍾愛作品；並附桐木畫匣，具畫家題署鈐印，在在顯示其屬「大風堂」珍藏之物。
參考資料：
〈巨荷〉通景六連屏可參見〈巨荷 ─ 張大千筆下巨製〉（巴黎，賽努奇藝術博物館，一九六一年五月），展覽編號2
〈無象之象〉可參見香港蘇富比，中國書畫拍賣，二〇二一年四月，編號2666
〈桃源圖〉可參見香港蘇富比，中國書畫拍賣，二〇一六年四月，編號1273
188.7 x 96 cm 74¼ x 37¾ in.
Estimate
10,000,000 - 15,000,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Hiking on the Double Ninth Festival
ink and light colour on paper, hanging scroll
signed, dated 1961, inscribed, with 5 seals of the artist. Titleslip by artist himself, titled on the cardboard box and the outer box by artist himself
188.7 x 96 cm 74¼ x 37¾ in.
Literature
Exhibition of Paintings by Chang Dai-chien, exhibition cat., Hirschl & Adler Galleries, New York, 1963, no.10
Chang Dai-chien: A Retrospective Exhibition, exhibition cat., San Francisco, Center of Asian Art and Culture, 1972, pl.42
Exhibited
New York, Hirschl & Adler Galleries, Exhibition of Paintings by Chang Dai-chien, 22 Oct to 2 Nov, 1963
San Francisco, Center of Asian Art and Culture, Chang Dai-chien: A Retrospective Exhibition, 16 Nov to 17 Dec, 1972
張大千 納嘉納福大瀑布紀遊詩
水墨紙本 立軸 一九五七年作
款識：蚩尤之霧鮫宮綃，電擊雷奔珠沸跳；垂虹吸噓海離立，負鼇喘噫山動搖。狂吟蜀客銀河落，怒激鴟（夷）白馬驕；誰是淋漓揮灑手，如椽大筆竟須要。
王季遷夫婦、汪亞塵、張孟休諸畫盟同觀納嘉納福大瀑舊作，迴首茲游，忽忽三年矣。丁酉五月既望，三巴之摩詰城。蜀人張爰大千父。鴟下奪夷字。
鈐印：「張爰」、「大千居士」、「八德園」。
註：原詩出自大千一九五三年底赴紐約參展後，與北美畫友共遊尼加拉大瀑布之行，並題於同年畫作上。大千慣為通用歐美地名另起「中國化」譯名，取「納嘉納福」，用字古雅，瑞氣呈祥，別出心裁。時隔三年，憶錄此詩，不無感嘆時光忽逝之慨！
參考資料：題詩於五三年之〈納嘉納福大瀑布〉可參見〈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57
133.2 x 32.5 cm 52½ x 12⅞ in.
Estimate
220,000 - 400,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Poem on Niagara Falls
ink on paper, hanging scroll
signed, dated 1957, with 3 seals of the artist
133.2 x 32.5 cm 52½ x 12⅞ in.
張大千 玉宇瓊樓
設色金箋 扇面 鏡框
註︰本幅寫於「大風堂」製箋上，夾層具「蜀郡張大千書畫扇」及「大風堂製」字樣。
20.4 x 59 cm 8⅛ x 23¼ in.
Estimate
60,000 - 100,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Pavilions by Willow Trees
ink and colour on gold paper, fan leaf, framed
20.4 x 59 cm 8⅛ x 23¼ in.
張大千 湖畔山居
水墨紙本 扇面 鏡框
註︰本幅寫於「大風堂」製箋上，夾層具「蜀人張大千畫扇」及「大風堂製」字樣。
18.9 x 52.5 cm 7⅞ x 20⅝ in.
Zhang Daqian (Chang Dai-chien, 1899-1983)
Secluded Village in Lush Mountains
ink on paper, fan leaf, framed
18.9 x 52.5 cm 7⅞ x 20⅝ in
張大千 行書七言聯
水墨紙本 鏡框 一九七三年作
款識：新詩落筆驚翻水，俗學迴頭笑畫脂。六十二年癸丑二月，爰皤環蓽菴書。
鈐印：「張爰之印」、「大千居士」。
註：本幅聯語出自宋人朱松〈送仲猷北歸二首其一〉。
each 136.5 x 34 cm 53¾ x 13⅜ in.(2)
Estimate
350,000 - 500,000 HKD
Zhang Daqian (Chang Dai-chien, 1899-1983)
Calligraphy Couplet in Xingshu
ink on paper, framed, set of two
signed, dated 1973, with 2 seals of the artist
each 136.5 x 34 cm 53¾ x 13⅜ in.(2)
FAQ: 張大千 / Daqian
Who was Chang Dai-chien / Daqian?
Chang Dai-chien (1899-1983), also known as Zhang Daqian, was a renowned Chinese artist of the 20th century. Celebrated for his prolific output and versatility, he mastered traditional Chinese painting styles ( guohua ) and embraced modern techniques like impressionism and expressionism. He was also a highly skilled art forger.
How did Chang Dai-chien's early life influence his art?
Born into an artistic family in Sichuan province, Chang received his first art commission at the young age of 12. A significant event that shaped his artistic journey was his capture by bandits at 17. During his captivity, he was exposed to a vast collection of poetry books, which deeply enriched his understanding of Chinese literature and aesthetics.
What were some of Chang Dai-chien's significant artistic achievements?
Chang Dai-chien's artistic career was marked by several milestones. In the 1920s and 1930s, his exhibitions in Shanghai and Beijing established his reputation as a leading artist. He even earned the nickname "southern counterpart of Pu Xinyu" in landscape painting. His art gained international recognition when the French government acquired his painting "Golden Lotus" in 1933. Later, his deteriorating eyesight in the 1950s led him to develop the innovative "splashed color" (pocai) technique.
How was Chang Dai-chien connected to Picasso?
Chang Dai-chien and Picasso, both considered giants in their respective artistic domains, met in Nice, France, in 1956. This encounter was viewed as a symbolic summit between Eastern and Western art. During their meeting, they exchanged paintings and engaged in discussions about their artistic philosophies.
Was Chang Dai-chien a forger?
Yes, Chang Dai-chien was known for his exceptional ability to create forgeries of famous Chinese paintings. His deep understanding of various artistic styles, meticulous attention to materials, and skillful aging techniques made his forgeries incredibly difficult to detect.
Why is Chang Dai-chien's forgery viewed differently in China compared to the West?
In China, the concept of "forgery" does not carry the same negative connotations as in Western cultures. Copying the works of masters was traditionally seen as a form of homage and learning. While some of Chang's actions, like artificially aging paintings, fall under the Western definition of forgery, his motivations were likely rooted in this different cultural perspective.
What is Chang Dai-chien's "splashed color" technique?
"Splashed color" or pocai, developed in the 1950s, is a unique technique that blends abstract expressionism with traditional Chinese painting elements. Using bold and spontaneous ink splashes, Chang created dynamic and atmospheric landscapes. This technique is often attributed to his declining vision, forcing him to find a new way to express his artistic vision.
What are some notable works by Chang Dai-chien?
Chang Dai-chien created a vast number of paintings throughout his career, spanning diverse themes and styles. Some of his most notable works include "Golden Lotus" (1933), "Flying Deity" (1941), "Lady Red Whisk" (1944), "Tibetan Women with Dogs" (1944), "The Great Yangtze River" (1968), "Aafchen See" (1968), and "Peach Blossom Spring" (1982). His splashed color landscapes from the later part of his career are also highly regarded.
Timeline of Main Events:
1899: Chang Dai-chien (Zhang Daqian) is born on May 10th in Neijiang, Sichuan Province, China into an artistic family.
1911: Completes his first commission at age 12, painting a set of divining cards.
1916: Captured by bandits at age 17; impresses the bandit chief with his calligraphy and serves as his secretary for over three months.
Early 1920s: Begins professional art studies in Shanghai under the tutelage of renowned artists Zeng Xi and Li Ruiqing.
1924: Introduced to the Shanghai art scene at a literary salon, impressing attendees with his talent.
1925: Holds his first exhibition of 100 paintings at the Ningbo Association in Shanghai.
Late 1920s - 1930s: Relocates to Beijing and develops friendships with prominent artists like Yu Feian, Wang Shensheng, Ye Qianyu, Chen Banding, Qi Baishi, and Pu Xinyu. Gains recognition as one of the most celebrated artists in China alongside Pu Xinyu.
1933: His painting "Golden Lotus" is purchased by the French government during an exhibition of modern Chinese paintings in Paris.
1935: Appointed as a professor at the National Central University Art Department in Nanjing. His portfolio is published in Shanghai.
1936: Holds a solo exhibition in the United Kingdom.
1930s: Establishes a studio at the Master of the Nets Garden in Suzhou.
Late 1930s - 1940s: Travels extensively within China, studying ancient art and refining his techniques.
1941-1943: Spends two years and seven months copying murals in the Mogao Caves at Dunhuang, significantly impacting his artistic style.
1949: Leaves mainland China amidst political upheaval.
1950s - 1970s: Resides in various locations including Hong Kong, India, Argentina, Brazil, and the United States. Holds numerous exhibitions internationally, further solidifying his global reputation.
1952: First visits the United States.
1953-1966: Primarily resides in Sao Paulo, Brazil.
1956: Meets Pablo Picasso in Nice, France, exchanging paintings and discussing artistic techniques.
Late 1950s: Develops his "splashed color" or pocai style due to deteriorating eyesight.
1967: Settles in Carmel-by-the-Sea, California. His first solo exhibition at Stanford University draws a large audience.
1967-1976: Resides primarily in California, a highly productive period characterized by the refinement of his pocai style.
1968: Purchases a residence in Carmel-by-the-Sea named "Ke Yi Ju" ("Barely Habitable"). Completes his monumental work "The Ten Thousand Li of Yangtze River."
1970: Officially leaves his residence in Brazil, "Ba De Yuan", to permanently reside in California.
1971: Acquires another property in California named "Huan Bi An."
1972: Continues to exhibit actively. His close friend, Gao Lei, opens a Sichuan restaurant in Stanford Shopping Center with Chang providing the calligraphy for the restaurant's name "Xi Nan."
1973: Creates lithographs at the San Francisco Print Center. Participates in a father-and-son exhibition with his son Paul Chang.
1974: Receives an honorary doctorate from the University of the Pacific in Stockton, California. Expresses regret over selling his Song Dynasty Hui Chong painting, "Wild Geese Descending on the Riverbank," recreates it, and collaborates with Cheng Yet-por on another rendition.
1975: Holds his final exhibition at the Laky Gallery in Carmel before leaving California. Paints "Farewell on the Riverbank," bidding adieu to his close friends.
1976: Relocates to Taipei, Taiwan.
1977: Briefly returns to California to manage affairs at "Huan Bi An" before permanently settling in Taipei.
1978: Establishes his final residence, "Mo Yeh Ching She", in Taipei.
1983: Dies in Taipei on April 2nd at the age of 83.
1983: The Pacific Asia Museum in Pasadena, California, hosts a memorial exhibition, "A Traditional Master: The Art of Chang Dai-chien," and a photography exhibition, "The Abode of Maya."
1999: San Francisco State University Gallery presents "Chang Dai-chien in California: The International Development of a Traditional Chinese Painting Style" on the centennial of his birth.
2007: The Silicon Valley Asian Art Center holds "A Review of Chang Dai-chien after Sixty Years."
2017: The Silicon Valley Asian Art Center organizes the exhibition "Da Feng Tang, a Studio with Great Tradition: Collection from Chang Dai-chien Family," commemorating his legacy and artistic lineage.
2019: The Silicon Valley Asian Art Center curates "120 Moments of Chang Dai-chien in California: Archives and Artworks" to mark his 120th birth anniversary. The San Francisco Asian Art Museum presents "Chang Dai-chien: From Heart to Hand."
Cast of Characters:
Chang Dai-chien (Zhang Daqian, 1899-1983): A renowned Chinese artist of the 20th century, celebrated for his mastery of traditional Chinese painting techniques and his innovative "splashed color" style. Known also for his exceptional skills as an art forger.
Zhang Shanzi: Chang Dai-chien's elder brother, a prominent artist who introduced him to the Shanghai art world.
Zeng Xi & Li Ruiqing: Two acclaimed artists who served as Chang Dai-chien's mentors during his professional art studies in Shanghai.
Yu Feian, Wang Shensheng, Ye Qianyu, Chen Banding, Qi Baishi: Significant figures in the Beijing art scene who became friends with Chang Dai-chien during his time in the city.
Pu Xinyu: A renowned artist who collaborated with Chang Dai-chien on painting and calligraphy. Together they earned the moniker "Chang from the South, Pu from the North," representing two of China's most esteemed artists.
Xu Beihong: An influential artist who invited Chang Dai-chien to become a professor at the National Central University Art Department in Nanjing.
Pablo Picasso: A celebrated Western artist who met with Chang Dai-chien in Nice, France, exchanging paintings and discussing their artistic approaches.
Minol Araki: A painter mentored by Chang Dai-chien during the 1970s.
Paul Chang (Zhang Bao Luo, 1931-2017): Chang Dai-chien's third son, who accompanied him during his years abroad, managing family affairs and serving as his assistant.
Xie Shunhua, Huang Ningsu, Zheng Qingrong, Yang Wanjun, Xu Wenbo: Chang Dai-chien's spouses throughout his life.
Hou Beiren: A close friend and fellow artist who met Chang Dai-chien in Hong Kong and maintained a close relationship with him during his time in California.
Gao Lingmei: A friend of Chang Dai-chien. His son, Gao Lei, opened a Sichuan restaurant named "Xi Nan" with calligraphy provided by Chang.
Cheng Yet-por: An artist friend who collaborated with Chang Dai-chien on several paintings, notably recreations of the "Wild Geese Descending on the Riverbank" painting.
Tao Pengfei & Zhang Luying: A couple who were friends with Chang Dai-chien and often visited him in California. Zhang Luying was the daughter of General Zhang Xueliang.
Michael Sullivan: A prominent scholar of Chinese art and curator who organized Chang Dai-chien's first solo exhibition in California at Stanford University and documented his life through film and writings.
Lang Jingshan: A photographer and friend who often accompanied Chang Dai-chien to exhibitions and social gatherings.
Fu Wenyen: Chang Dai-chien’s disciple who provided commentary on his work and wrote postscript for some of his pieces.
Sun Chia-chin: Another prominent disciple of Chang Dai-chien who also wrote postscript and provided commentary on his work.
Shu Jianhua: Curator at the Silicon Valley Asian Art Center who organized several exhibitions dedicated to Chang Dai-chien’s work and legacy.
Xu Xinru: Co-curator at the Silicon Valley Asian Art Center alongside Shu Jianhua.
This list represents a portion of the individuals mentioned in the provided source material. Additional individuals are listed within the sources but their roles in the context of Chang Dai-chien's life and career are not explicitly detailed.
Comments