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当下对张大千泼墨泼彩山水绘画的形成原因有诸多探叙,或直接的、间接的,或内在的、外在的,或主观的、客观的等,不一而足。都试图以更全面的论据论证其形成这种画风的原因。但是这样的分析往往忽略了绘画本身既具有经验铺设的程式化过程也有偶然、随性的创造性过程,任何以一种定论的思维方式解构其形成原因可能都无法真正归复大千进行泼墨泼彩山水绘画试验的实质和初衷。本文试从一个画家的角度阐释大千泼墨泼彩山水绘画形成的基础,这种基础仅是大千由传统山水绘画模式上升到泼墨泼彩一路山水绘画的可能性依据来源。
At present there are many reasons for the formation of Zhang Daqian’s ink painting landscape paintings, either directly, indirectly, or internally, externally or subjectively, objectively and so on. All try to argue with more comprehensive arguments why it is formed. However, such analysis often neglects the stylized process of painting itself, which has both the experience and the creative process of randomness. Any method of deconstructing its formation by a certain way of thinking may not be able to truly restore the splendid landscape The essence and original intention of painting experiment. This article attempts to explain the foundation of the Daqian ink painting landscape painting from the perspective of an artist based on the possibility that the Daqian rose from the traditional landscape painting pattern to the painting style of landscape painting.