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Zhang Daqian (1899–1983) is described as one of the prominent figures of Chinese artists who studied abroad and were able to create a hybrid artistic style that recreated traditional Chinese artistic style with new inspirations from western art . His splashed ink landscape paintings create various facets of mountains, clouds, and water, and brilliantly combine the abstract expressionism with objective natural phenomena of the agitations of the natural world. It represents the highest artistic achievement of Zhang. Splashed-Color Landscape is such an example that creatively combines classical Chinese landscape painting techniques of Splashed-ink (Pomo) with western abstract style. It depicts an abstract landscape view of mountains with illuminating colored waterfall and forests. The greyness of the dense mountains forms a sharp contrast to the lighter watercolor of blue and the green color of the forest. Splashed-Color Landscape, 1965 represents the incorporation of Japanese technique of splashed color and Western style of Abstract Expressionism while maintaining traditions of Chinese landscape paintings in subject matter, use of color, and the splash-ink brushwork, which reflects the context of the artwork when the author was influenced by Western styles and techniques. Zhang gives traditional Chinese landscape paintings a freer, more living, and more romantic touch and promotes Chinese landscape painting to a wholly new level.
Splashed-Color Landscape, 1965 fully demonstrates the features of traditional Chinese landscape paintings in its classical subject matter, use of color, and its splash-ink brushwork in an extraordinary way. To begin with, the natural view of mountains and water is a typical subject matter of Chinese traditional landscape paintings. But in this work, it depicts the natural landscape view of mountains and forest illuminated by a stream of iridescence in the sky. The view of the mountain is transformed into a suggestive vision of mountains consumed by a storm with a blast of sunlight that is about to break through the dismal clouds. The largeness of the whole view is vibrant and compelling. The beam of sunlight brings an exciting glimmer of hope and a strong vitality of nature. It offers the viewers a sense of empowerment that they might find helpful and encouraging in their life. Then, the whole view of this piece doesn’t seem heavy even with layers of grey mountains; it is because the overlapping greens and blues gave the painting a refreshing and embellishing touch. Blues and greens are typical in traditional Chinese landscape paintings when the blue represents water, and the green represents trees. How the color is used in this painting makes it unique and exquisite. The contrasting colors of dark and light do not appear as clashing, but in a harmonious way that is high descriptive of the natural view of mountains, forests, and waterfalls. The combination of those colors offers the painting a highly suggestive but also descriptive view of the landscape in a marvelous way. Additionally, the brushwork technique of this artwork is identified as “splashed ink,” which is widely represented in Tang-dynasty landscape painting. This random splashing and soaking technique adds a tone of traditional Chinese landscape painting style that could be traced back to the Tang Dynasty when splashed ink technique was flourishing. Zhang’s use of splash-ink could be identified in many of his works created during the late 1950s. The splashed ink technique of Zhang is superb when he is able to use it to recreate the natural view in a vivid and artistic mood.
Despite its traditional Chinese elements, this artwork embraces the Japanese technique of splashed colors and applies it excellently. The use of splashed color was one feature that makes this work special and outstanding. Zhang’s expression of contemporary imagery with classical landscape subject matter has made his work more appealing to a wider public, particularly in Western countries. Splashed-Color Landscape, 1965 represents the stylistic shift of Zhang when he began to move beyond traditional Chinese landscapes and explore the splashed color technique in the 1950s. The intense color of the work is completed by layered ink and highlighted by the splashes of green and blue on the surface of the paper that gives the work a compelling texture. Based on Chinese landscape painting tradition of splashed ink, Zhang creatively absorbs the innovative technique of splashed color and perfectly combines them into his work. Zhang’ achievement is closely associated with his experience in the 1960s. It was a time of drastic change for Zhang personally. One personal reason for his stylistic shift was Zhang’s declined eye condition that diminished his ability to paint in a precise manner as in his early works in the late 1950s. After his eyesight had deteriorated, he began to explore this splashed-color technique. Declined eyesight was not an obstacle for Zhang; he can transform it into an inspiring opportunity to try new techniques. Zhang’s persistent passion for painting is sparkling and respectable.
张在1950年代对西方文化的接触，让他接触到西方的表现主义和抽象风格，并充分发挥其潜力。1949年因国内政局变化离开中国，开始游历阿根廷、巴西、美国等多个国家，最终定居台湾。张大千在开始生活在巴西、加利福尼亚和台湾之前，曾在香港和印度生活过。丰富的海外生活经历不可避免地让他接触到了西方现代艺术。这幅作品的抽象性，强烈的色彩，自发的构图，层层水墨的板刷，显示了西方表现主义对张的作品的影响。在国外的时间让张接触到了他在中国不可能遇到的各种各样的艺术风格。新的生活环境和文化给了张新的体验，他可以从中汲取新的灵感。这幅作品自由而富有表现力的基调体现了西方的影响，不同于中国传统山水画更注重细节和准确性。这幅画最大的特点是，尽管它具有抽象性，但它生动地描绘了自然景观的高度描述性特征。
泼彩风景， 1965 张大千创作的作品以其深度和对现代西方艺术风格的精湛融合能力吸引了全世界的观众。以传统泼墨技法层层密山，日式泼墨技法轻彩照耀，整体呈现表现主义风格，让作品以宽阔的笔触和轮廓线呈现风暴吞噬的山区. 这幅作品堪称是中国传统山水画与西方风格完美融合的杰作。抽象表现主义的注入创造了一种高度暗示的观点，但实际上是对自然景观的描述性观点。
泼彩山水， 张大千（1899-1983），1965
参考书目
Fong, Wen C.两种文化之间：19 世纪后期和 20 世纪的中国人
大都会艺术博物馆 Robert H. Ellsworth 收藏的画作，
纽约：大都会艺术博物馆，2001 年。
“新亚洲艺术：东西方的综合。” 大都会艺术博物馆公报，
新系列， 卷。58，没有。3（2001 年冬季）：38-47。