Scholar under Willow

Zhang Daqian once lamented that while he frequently painted beautiful women, he seldom encountered handsome men. He believed that capturing the essence of a great scholar presented one of the most challenging tasks in Chinese painting. According to him, the ideal scholar needed to appear without bitterness, coarseness, or effeminacy; instead, they should exude poise and a carefree spirit reminiscent of the esteemed historical figures of ancient times. From the 1940s onwards, Zhang Daqian's portrayal of scholars evolved significantly. The scholars he depicted typically featured oval-shaped faces, slightly rounded figures, sported sideburns and beards, and had their hair styled in a bun. Zhang viewed his depiction of the scholar as both an ideological pursuit and a form of self-portraiture.

After departing Mainland China in 1949, Zhang Daqian embarked on a global quest to find a new home, exploring places like Hong Kong, India, and South America, where immigration was actively encouraged. In February 1952, he relocated with his family to Buenos Aires, Argentina, seeking a period of tranquility and stability. Painted in March 1952, the present lot showcases Zhang's meticulous attention to detail, with finely rendered features including his distinct hairline, carefully styled bun, a gourd in his left hand for wine-drinking, a scroll in his right hand, and his robe adorned in vibrant blue pigment. Reflecting his own state of mind, Zhang's depiction of the scholar radiates confidence, standing in a relaxed pose against a backdrop of willows swaying in the spring breeze.