Zhang Daqian

Zhang Daqian achieved remarkable success in landscape painting, blending meticulous brushwork with expressive freehand techniques, integrating vibrant colors and ink washes into a unified style. His innovations in splashed ink and splashed color pioneered a new artistic style. Renowned for his poetry, calligraphy, and painting, he was grouped alongside Qi Baishi and Pu Xinyu as "Nan Zhang Bei Qi" and "Nan Zhang Bei Pu." He was also collectively known with Huang Junbi and Pu Xinyu as the "Three Masters Who Crossed the Sea."

丨Personal Chronology

Early Years

Born on May 10, 1899, in Neijiang, Sichuan. His father, Zhang Huaizhong, and mother, Zeng Youzhen, had ten sons and one daughter. He was the eighth son, nicknamed Xiao Ba, named Zhengquan, also called Quan.

In 1904, he learned to read from his sister Qiongzhi, studying primers such as the Three-Character Classic. In 1905, he studied calligraphy and poetry under his fourth brother, Wenxiu, reading the Thousand Poems.

In 1907, he began learning painting from his mother, who excelled in folk paper-cut floral designs. In September 1911, he enrolled at the Catholic Evangelical School in Neijiang (Huamei Primary School). In 1914, he attended Qiujing Middle School in Chongqing, later transferring to Jiangjin Middle School.

Youth

In the summer of 1916, while returning home to Neijiang with classmates on foot, he was kidnapped by bandits and forced to serve as their secretary; he escaped after a hundred days. That winter, he became engaged to his cousin Xie Shunhua.

In 1917, he traveled to Japan and studied dyeing and weaving at Kyoto Kōhei School, while independently continuing to study painting, poetry, and seal carving during his spare time. His second brother, Zhang Shanzi, was also in Japan.

In 1919, upon completing his studies in Japan, he returned to Shanghai. In autumn, he became a disciple of renowned calligraphers Zeng Xi and Li Ruiqing. Zeng Xi bestowed upon him the art name "Yuan" and the courtesy name "Ji Yuan." At the Ningbo Guild Hall in Shanghai, he held his first solo exhibition, selling all one hundred exhibited works—earning immediate acclaim—and从此 devoted himself entirely to painting for a living.

Upon hearing of the death of his fiancée Xie Shunhua, he went to Chan Ding Temple in Songjiang and became a Buddhist monk under Abbot Yilin, receiving the dharma name "Daqian." He returned to secular life three months later.

In 1920, he returned to Sichuan and married Zeng Zhengrong. After marriage, he moved to Shanghai. On September 12 of the same year, Li Ruiqing passed away at age 54. Zhang painted "Poetic Imagery of Mr. Ci Hui," signing it "Ti Juan"—one of Zhang Daqian’s early pseudonyms.

In 1921, he rented a residence in Shanghai belonging to Li Weizhuang. He befriended Li Qiuju. Qiuju’s real name was Zu Yun, with the alias Ou Xiang Guan Master. Influenced by his third uncle (Li Yun’an), he began copying works by Shi Tao, and one of his copied album leaves fooled the senior painter Huang Binhong.

In 1922, he compiled couplets from the Northern Wei-era "Zhang Xuan Tomb Inscription," producing dozens of four-, five-, six-, seven-, and eight-character couplets.

In 1923, Zhang Huaizhong and his family relocated from Neijiang to Huating County, Songjiang, Jiangsu. He befriended Wang Ge Yi.

In 1924, Shanzi was transferred to Beijing to serve as an advisor to the President. Zhang accompanied his brother to Beijing for the first time and befriended Wang Shensheng. He presented four fan paintings imitating Jin Dongxin, Shi Tao, Badaguan, and Jianjiang to Wang Shensheng. His father, Zhang Huaizhong, died in Songjiang. In autumn, he was invited to join the literary gathering "Qiuyinghui" in Shanghai, where he met poet Xie Yuqin from Changzhou and painter Zheng Manqing from Shanghai, forming close friendships with Xie Yuqin.

In 1925, he held his first exhibition at the Ningbo Guild Hall in Shanghai, hosted by Li Qiuju. One hundred pieces were displayed, each priced at 20 silver dollars; buyers drew lots to select their purchases.

In 1926, at Zhou Menggong’s request, he painted a white-line portrait of his concubine Su Lan, signing it "Ti Juan." On March 21, 1926, he published an advertisement titled "Zhang Ji Yuan Selling Paintings" in Shanghai's Shenbao newspaper. In midsummer, he met Fang Jiekan, a seal engraver from Wenzhou, at Zeng Xi’s residence.

In 1927, he copied the "Portrait of Shi Tao" from Zeng Xi’s collection, which Zeng inscribed. Responding to Zhang Qun’s commission, he created two landscape fan paintings in the styles of Shi Tao and Jin Dongxin. He joined the "Han Zhi You" Painting Society, whose members included Yu Youren, He Xiangning, Jing Hengyi, Chen Shuren, and Huang Binhong. In autumn, at the invitation of Japanese friends, he visited Seoul to tour Mount Kumgang, where he fell in love with a Korean girl, Chi Chunhong.

In 1928, he co-founded the "Lanman Society" with Shanzi, Ma Tai, Yu Jianhua, Huang Binhong, and others, publishing the "Lanman Hua Ji." In May, he, along with Shanzi and Lang Jingshan, helped establish the "Huang Society." He traveled to Beijing for the second time and met Yu Shiyen. At Chen Banding’s home, he met Prince Pu Xinyu, a renowned painter and descendant of the Qing imperial family. In winter, he received a letter from Chi Chunhong and composed the long poem "Chunniang Qu," then traveled to Seoul to meet her.

In 1929, he returned to Shanghai from Seoul. The "Three Zhangs of Sichuan" album was published (referring to Zhang Shanzi, Zhang Daqian, and his ninth brother Zhang Junshou). He was appointed as a member of the National Art Exhibition Committee, befriended Ye Gongchuo, and met Xu Beihong. He participated in the First National Art Exhibition, creating a self-portrait at age thirty and soliciting inscriptions from Shanghai’s leading artists.

In 1930, he collaborated with Shanzi on "Twelve Golden Beauties," with an inscription by Zeng Xi. In summer, Shanghai Wenming Book Bureau published three volumes of Zhang Daqian’s Dafengtang collection: "Shi Tao Landscape Album"; Zhonghua Book Company published "Original Collection of Stone Tao’s Landscape Paintings." In autumn, he participated in the Eighth "Tianma Hui" Art Exhibition. Zeng Xi passed away at age 70.

In 1931, he escorted Zeng Xi’s coffin back for burial in Hengyang.

In 1932, he toured Gu Shi’s Garden in Pudong with Shanzi, Huang Binhong, Xie Yuqin, and others to view peach blossoms. Huang Binhong gifted him eight poems and a landscape painting titled "Level Distance Landscape." He toured Suzhou with Ye Gongchuo and Wu Hufan, co-founding the "Zheng She Calligraphy and Painting Society." He moved into the Wangshi Garden in Suzhou.

In 1933, during the Spring Festival, he hosted elders such as Zhang Taiyan, Ye Gongchuo, Chen Shi yi, and Li Yinquan for a gathering at the Wangshi Garden. Xu Beihong organized the "Exhibition of Modern Chinese Painting" to be shown in France, including Zhang Daqian’s "Golden Lotus," which was acquired by the French government.

In 1934, he traveled north with Shanzi, residing at Tingli Pavilion, where a "Butterfly Society" gathering took place, attended by Wang Mengbai, Yu Feian, He Yanong, Tang Erhe, and others. On September 9, the "Zheng She Exhibition" was held at Zhongshan Park, featuring forty of his works. He toured Mount Hua with Shanzi. Zhang Shanzi and Ye Gongchuo joined the "Zheng She." In winter, he took Yang Wanjun, a Beijing opera performer from Tianqiao (art name Hu Xiufang), as his third wife.

In 1935, he accepted Xu Beihong’s appointment as professor in the Department of Art at Central University. A "Zhang Daqian Painting Exhibition" was held in Nanjing. He climbed Huangshan with Xu Beihong, Xie Zhi Liu, and students from the university. His mother, Zeng Youzhen, passed away in Langxi. The "Joint Exhibition of Zhang Daqian, Fang Jiekan, and Yu Feian: Painting, Calligraphy, and Seal Carving" was held in Beijing. "Zhang Daqian Painting Collection" was published by Zhonghua Book Company in Shanghai. The "Charity Cooperative Exhibition" was displayed in Beijing.

In 1936, he held his first solo exhibition at Burlington Gallery in Britain. In 1937, the "Second National Art Exhibition" was held in Nanjing, where he served as a judge. He toured Yandang Mountain with Xie Zhi Liu, Yu Feian, Huang Junbi, and Fang Jiekan, collaborating on "Yandang Mountain Scenery," with Fang Jiekan carving the seal "Person of East and West." Following the July 7 Marco Polo Bridge Incident, he was stranded in Beijing. He was appointed by the Palace Museum’s Artifacts Display Office as instructor for its Chinese Painting Research Class.

Middle Age

In 1938, Japanese authorities in Beijing repeatedly sent collaborators to persuade Zhang Daqian to accept a puppet position; he evaded them and disguised himself to escape Beijing, passing through Shanghai and Hong Kong before arriving in Guilin, where he met Xu Beihong. He secluded himself at the Shangqing Palace on Mount Qingcheng.

In 1939, he traveled with Huang Junbi and Zhang Muhan to explore Jiemen. At Qingcheng Mountain, he took Long Guoping (Long Zhi) as his formal disciple. He painted "Sichuan Mountains and Qin Trees" scroll for Zhang Muhan. At Huang Junbi’s invitation, he visited Emei Mountain, presenting him with "Emei Golden Summit Palms Together." He held exhibitions in Chengdu and Chongqing.

In 1940, he met Zhao Wangyun in Chengdu. Planning a trip to Dunhuang, he reached Guangyuan when his brother Shanzi passed away in Chongqing; he rushed there for the funeral.

1941: He held an exhibition in Chongqing. He attended the openings of Huang Junbi’s and Guan Shanyue’s exhibitions in Chengdu and purchased their works at great expense as a gesture of congratulations. He traveled north to Lanzhou with Yang Wanjun and Zhang Zhixin. On the way to Dunhuang, he met the Gansu painter Fan Zhenxu. Accompanied by Fan, he arrived in Dunhuang and remained to copy murals. During this period, he damaged several murals, causing irreparable harm. He numbered the Mogao Caves. He visited Yulin Caves, copied murals there, and departed Yulin at year’s end for Xining, Qinghai.

In 1942, he led Zhixin to Tashilhunpo Monastery to consult Tibetan painters about large-scale canvas preparation techniques. He brought five Tibetan painters back to Dunhuang to continue mural copying. He met members of the Northwest Cultural Relics Survey Team, including Wang Ziyun. He wrote to Xie Zhi Liu requesting assistance. At year’s end, he departed Mogao Caves with Xie Zhi Liu and his disciples and nephews to survey Thousand Buddha Caves and assigned numbers to them.

In 1943, the Dunhuang Art Institute Preparation Committee convened a meeting in Lanzhou. Chang Shuhong, head of the committee, arrived in Dunhuang. On May 1, he left Mogao Caves for Yulin Caves, where he copied murals for over a month. In August, the "Zhang Daqian Copies of Dunhuang Murals" exhibition opened in Lanzhou. In November, he returned to Chengdu; his Dunhuang journey lasted two years and seven months.

In 1944, the "Zhang Daqian Copies of Dunhuang Murals" exhibition was shown in Chengdu and Chongqing, displaying 44 works. The "Zhang Daqian Collection of Ancient Calligraphy and Painting" exhibition opened in Chengdu.

In 1945, he traveled with Li Fu to Dazu, Ziyang, and Jianyang to study stone carvings. Ye Qianyu and his wife stayed at Zhaojue Temple; Ye consulted Zhang Daqian on Chinese painting. He painted a monumental 12-zhang "Lotus" panoramic screen and "Xiyuan雅集." He held an exhibition of recent works in Chengdu. In winter, he canceled his planned trip to Xinjiang to study grottoes and instead diverted to Beijing for a joint exhibition with Yu Feian.

In 1946, he spent a fortune acquiring masterpieces: "Evening Scene by the Riverbank" (Song Dynasty), "Endless Streams and Mountains" (Song Dynasty), and "Two Poems by Zhang Jizhi" (Song Dynasty). Pu Xinyu, Xie Zhi Liu, and Wu Hufan successively inscribed the unsigned "Evening Scene by the Riverbank." He made his third ascent of Emei Mountain, creating monumental landscape paintings "Three Peaks of Emei" and "Longevity Mountain Terrain," exhibiting them in Shanghai. At year’s end, he traveled from Shanghai to Beijing, painting "Nine Songs Scroll" and "Literary Gathering." His "Four Seasons Flowers" and "Ink Landscape" participated in exhibitions at the Sainsbury Museum and Musée d’Art Moderne de Paris.

1947: "Zhang Daqian’s Copies of Dunhuang Murals" (Volume I) was color-printed and published in Shanghai. "Disciples of Dafengtang Exhibition" opened in Shanghai. "Zhang Daqian Painting Exhibition" opened in Shanghai. He traveled to Xikang with Yang Xiaoci, making numerous sketches and composing twelve travel poems in "Journey Through Xikang." He held the "Xikang Travel Sketch Exhibition" in Chengdu. "Travels in Xikang" and "Recent Works of Master Daqian" were published successively in Shanghai.

In 1948, he held an exhibition in Shanghai, mostly featuring detailed colorful works. He compiled the "Dafengtang Disciple Register." Representative Guo Yonglu of Dunhuang criticized Zhang Daqian for damaging Dunhuang murals at the Gansu Provincial Council’s Sixth Session, prompting ten councilors to sign a petition demanding severe punishment. The Northwest Daily published an article titled "Who is Zhang Daqian?" revealing statements by Chang Shuhong and Dou Jingzhuang (former Dunhuang Institute preparatory committee member) defending Zhang Daqian. He traveled to Hong Kong with his fourth wife, Xu Wenbo, holding an exhibition.

In 1949, Zhang Daqian was brought to Taiwan by Chiang Kai-shek’s regime. In the year of Chou Chou, aged 51, the Seventh Session of the Gansu Provincial Council concluded that "Zhang Daqian did not damage the Dunhuang murals," though this finding was not publicly disclosed. Invited by the Indian Society of Fine Arts, he planned an exhibition in India and a visit to the Ajanta Caves. In October, he held his first solo exhibition in Taiwan. In late November, he boarded a military aircraft back to Chengdu. On December 6, 1949, he flew from Chengdu to Taiwan aboard a military plane with Xu Wenbo.

In 1950, he traveled from Hong Kong to India, holding an exhibition in New Delhi. He studied and copied Ajanta murals. He resided in Darjeeling for over a year, producing abundant poetry and paintings.

In 1951, he held an exhibition in Hong Kong. He visited Taiwan, touring the National Palace Museum with Tang Jingnong. He then traveled to Tokyo, Japan, to meet friends.

1952: He traveled to Argentina. In May, he returned to Hong Kong, planning to relocate to South America. To raise travel funds, with Xu Bojiao’s introduction, he contacted Zheng Zhenduo and sold famous works—"Night Revels of Han Xizai," "Xiaoxiang Scroll," and Song Dynasty album leaves—to mainland China. Xu Beihong and Ye Qianyu jointly wrote letters urging him to return to the mainland; he politely declined. He moved to Mandos, near Buenos