Zhang Tong and Zhang Daqian were the giants who shot for "A Hundred Years of Masters and Fine Arts".
Zhang Tong (1917.7.7–2010.2.21) was a famous Chinese painter, cartoonist, muralist, calligrapher, arts and crafts artist, art educator and art theorist in contemporary China. He was the creator of the national emblem, and at the same time designed the emblem of the National Political Consultative Conference and the first batch of commemorative stamps of the founding ceremony, and deservedly became the chief art designer of the founding of new China. He is the chief art designer of China's first animation film "Nezha Noisy Sea", and he also created a huge mural "Nezha Noisy Sea" for the capital airport. He prepared for the establishment and served as the president of the Central Academy of Arts and Crafts.
Zhang Tong
The same as the giant of the art world, the same surname, the same year and the same month to meet Picasso, Zhang Tong and Zhang Daqian but no fate.
There are many reasons why Zhang Qi does not like Zhang Daqian, in his opinion, Zhang Daqian is antique, hype, and seduces powerful celebrities... However, in Zhang Tong's circle of friends, there is no shortage of people who like Zhang Daqian, such as Huang Miaozi and Ye Qianyu. Therefore, whenever Zhang Daqian is talked about, it is inevitable to raise the bar, and sometimes even blush and have a thick neck. Ye Qianyu threw zhang Daqian's exquisite painting skills to the ground, Huang Miaozi thought that Zhang Daqian was enough to compete with Picasso, but Zhang Tong thought that Zhang Daqian was only a master of copying at best, and he pulled Shi Tao into the beauty salon, sprayed perfume, and rubbed white powder, which was embarrassing.
Due to the large differences in age, origin and life experience, Zhang Andang and Zhang Daqian never intersected until the summer of 1956, when they met in Paris, France. At that time, Zhang Tong presided over the display design of the Chinese Pavilion of the International Exposition in Paris, and Zhang Daqian also held the "Exhibition of Zhang Daqian's Dunhuang Grotto Murals" at the Synach (Oriental) Museum in Paris, and the time almost overlapped.
Due to the lack of conclusive historical materials, the author cannot expand the narrative of the encounter between the two. In Zhang Daqian's autobiography "Zhang Daqian's World" in the form of "swinging dragon gate arrays" in his later years, there is no relevant narrative. Fortunately, there is an old black-and-white photo preserved by Zhang Tong, among which there are Zhang Tong and Zhang Daqian. According to Zhang Tong's recollection, it was a gathering of chinese artists and students in France entrusted by his superiors to attend a banquet in a Chinese restaurant. In the old photo, more than a dozen people gathered together and sat around a rectangular table. Among them, Zhang Daqian sat on the right side of Zhang Tong, the Daoist robe was slender, the hair was flowing, leaning open to stare at the camera, the entire upper body was clear, Pan Yuliang sat on the left side of Zhang Tong, combing the bangs that were extremely inappropriate for his age, covering the face plate, his eyes were directly stunned at the camera, Zhang Yuliang's body was blocked by Pan Yuliang, revealing only a distinctive top of his head.
Zhang Tong Jiao Mo landscape
It was after this gathering that Zhang Tong and Zhang Daqian walked into Picasso's "California" villa in the coastal city of Cannes in southern France. In different ways, they staged two different Chinese and Western cultural exchange plays. Zhang Tong was Picasso's confidant in China, and sent the carefully prepared Album of Qi Baishi to Picasso, which aroused Picasso's strong interest and impulse to translate. Zhang Daqianxian wind dao bone, robe beautiful hair, with his wife Xu Wenbo dressed in a cheongsam floated in, giving Picasso an unexpected surprise, as a paving, bringing out a good atmosphere for meeting, laying the foundation for the legend of the "summit" of the two giants of Eastern and Western painting in the future.
As the saying goes: The Tao is different, and it is not a conspiracy. Zhang Tong is a naïve and simple artistic artist, revolutionary artist, Zhang Daqian is a super player with extraordinary skills, across the rivers and lakes, and also business and art. To make Zhang Tong like Zhang Daqian is tantamount to the west side of the sunrise.
I don't think that one day, in the hands of a collector, the author actually saw a piece of Zhang Daqian's work "Emei" with jiao mo intentions! Because, the inscription clearly reads "Imitate the great thousand meanings, write it in scorched ink".
Zhang Daqian
Returning to his senses, he began to search for the original version of Zhang Daqian copied by Zhang Tong, but he spent a lot of effort and did not find it. Carefully comparing Zhang Daqian's Emei artistic conception with Zhang Daqian's translation of "Emei", we found that the two had nothing in common: the former was beautiful and ethereal, the clouds were light and breezy, and the latter was thick and thick, and the majestic and strong; if there were no four words in the inscription, "G Da Qianyi", no one would have thought that it had anything to do with Zhang Daqian. The question in my heart grew louder: Since I was tired of Zhang Daqian, why did I still care about his works?
After thinking about it again and again, it seems to have some understanding: Zhang Tong went to Sichuan several times to collect wind, but he never went to Mount Emei, which is known as the "world show", and must yearn for it. Mount Emei is the subject of Zhang Daqian's repeated depictions throughout his life, and it is also the source of his artistic inspiration. Zhang Daqian's hometown is not far from Mount Emei, before going to China, he often visits the photo, and the Mountain of Emei can be said to be the home mountain in his heart. Therefore, compared with those fake stone tao and tacky female figures, Zhang Daqian's Emei Mountain, the art level is much higher. This may be the reason why Zhang Tong is deliberately imitating it.
Zhang Ling once went south to Shenzhen, stayed at the Shenzhen Bay Hotel, and created a huge jiaomo landscape "Kunlun Song". "Emei" should be Zhang Tong's interstitial letter and pen in the conception and creation of "Kunlun Song", and the rhythm and rhythm of pen and ink are similar to those of "Kunlun Song". Perhaps in the painting materials provided by the hotel, there is Zhang Daqian's album, when casually flipping through, I was touched by the beautiful and handsome Emei artistic conception, so this Jiao Mo "Emei" was born.
Peers in the art world all know that Zhang Tong has always been known for his good learning, creating ancients, modern people, foreigners, craftsmen, ordinary people, and even children, all of which are the objects of his learning and absorption and digestion. From this point of view, it is not surprising that he is aware of Zhang Daqian's Emei artistic conception.
Source | Guangming Daily (2019.03.29 16th edition)
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Producer | Hou Xuan
Art Editing | Magical conch
The large-scale cultural project "Centennial Masters" is China's first large-scale series of biographical documentaries focusing on the masters and masters who made outstanding contributions to Chinese civilization in the 20th century, and is jointly produced by the China Federation of Literary and Art Circles, the Central Radio and Television Corporation, the China Academy of Arts, the Central New Film Group, the China Literature and Art Foundation, and the Centennial Masters (Beijing) Cultural Communication Co., Ltd.
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