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Lot Essay
Upon returning from Dunhuang in 1943, Zhang Daqian held successive exhibitions of his Dunhuang mural study paintings in Lanzhou, Chengdu, and Chongqing. In the summer of 1944, after the exhibitions concluded, he returned to Mount Qingcheng and resided once again at Shangqing Temple, remaining there until November—a relatively peaceful and restorative period for the artist. The present work was created during this time, as indicated by the two seals carved by his close friend Fang Jiekan: “Qingcheng ke” (Guest of Qingcheng) and “Shangqing jieju” (Dwelling at Shangqing Temple).
The painting depicts a standing lady, her body slightly turned to the right, sleeves draping naturally, her left arm gently bent and her gaze lowered, as if deep in contemplation. Her hair is adorned with a kingfisherfeather phoenix hairpin accented with green floral ornaments and red ribbons. She wears a light jacket with blue edging, a turquoise shawl, and a yellow lotuspatterned waistband. An indigo silk sash decorated with lotus motifs hangs from her waist, lending the figure an air of elegance, dignity, and serene poise.
After his time in Dunhuang, Zhang Daqian’s approach to female portraiture underwent a notable transformation. Departing from the delicate, fragile aesthetic favoured in the late Qing, Zhang began portraying women with greater dignity, richness, and presence. He skillfully employed mineral pigments to achieve layered luminosity, seen here in the lady’s adornments, garments, and even her softly rouged lips, rendered with azurite, malachite, and cinnabar. Although the lady’s pose may be influenced by Tang Yin, the technique and artistic intention differ markedly from Zhang’s early works that closely emulated ancient masters—reflecting his lifelong commitment to absorbing diverse influences and continually forging new artistic paths.
Little is known about Hanjie, the recipient to whom this painting is dedicated. However, works inscribed to the same name by both Xu Beihong and Zhang Daqian have surfaced on the market. All were created in Chengdu during the 1940s, suggesting that Hanjie may have been a prosperous local figure and someone closely connected to the cultural and artistic circles of the time.
The painting depicts a standing lady, her body slightly turned to the right, sleeves draping naturally, her left arm gently bent and her gaze lowered, as if deep in contemplation. Her hair is adorned with a kingfisherfeather phoenix hairpin accented with green floral ornaments and red ribbons. She wears a light jacket with blue edging, a turquoise shawl, and a yellow lotuspatterned waistband. An indigo silk sash decorated with lotus motifs hangs from her waist, lending the figure an air of elegance, dignity, and serene poise.
After his time in Dunhuang, Zhang Daqian’s approach to female portraiture underwent a notable transformation. Departing from the delicate, fragile aesthetic favoured in the late Qing, Zhang began portraying women with greater dignity, richness, and presence. He skillfully employed mineral pigments to achieve layered luminosity, seen here in the lady’s adornments, garments, and even her softly rouged lips, rendered with azurite, malachite, and cinnabar. Although the lady’s pose may be influenced by Tang Yin, the technique and artistic intention differ markedly from Zhang’s early works that closely emulated ancient masters—reflecting his lifelong commitment to absorbing diverse influences and continually forging new artistic paths.
Little is known about Hanjie, the recipient to whom this painting is dedicated. However, works inscribed to the same name by both Xu Beihong and Zhang Daqian have surfaced on the market. All were created in Chengdu during the 1940s, suggesting that Hanjie may have been a prosperous local figure and someone closely connected to the cultural and artistic circles of the time.