In the early 1950, Zhang Daqian travelled to India via Hong Kong, China, to stage his exhibitions. In March and April, he visited Ajanta Caves located in Vindhyan Range of the Southwest India. By copying murals in the caves, he found new inspiration for his brushwork. In May, Zhang Daqian arrived at Darjeeling, the south of Himalaya in Northern India. The grandiose landscape of ranges and ever transforming sceneries fascinated him who could not bear to leave. Therefore, he rented a house and stayed there for months. As Zhang once acclaimed, “I was at my most prolific and energetic stage during my stay in Darjeeling, with so many paintings and poems created…My eyesight was perfect then, so the paintings were executed in great details.”

The lady wearing sari depicted here is an Indian maid. She has thick and beautiful hair, with long and crescent-like eyebrows. The sari is delineated in fluent and solid lines, showing the high-quality texture of the fabric. Zhang Daqian inscribed that “In India, sari refers to the heavenly garment in Buddhist scripture…It was said that there was a princess who wore a sari with seven layers, yet her skin was still visible. In the 268 caves in Dunhuang, Gansu Province, you could also find Buddhist masters painted by artists of Tang Dynasty wearing seven layers of sari. I was amazed by the magnificent brushwork every time I thought about it.” It can be inferred that in order to demonstrate the light and flimsy texture of sari, Zhang Daqian drew from the techniques he acquired while copying Dunhuang murals characterized by the resolute aura and refined delineation imitating the thread of silkworm. With no specific background applied to the figure, he only painted two sprays of flowers to create a tranquil and elegant atmosphere, as most decorative murals do. The lily and the peony also signify wealth and auspiciousness.

According to the inscription, this painting is a gift to Tai Jingnong, the artist’s friend, not only to express good wishes to an old mate, but also a comfort to their homesickness. The maid in the painting, with her eyes looking down, carries a slight sense of melancholy, regardless of her rich and elegant dress, reminding us of “the solitary autumn scenery that no one appreciates”. Thousand miles away from his homeland and hometown, Zhang Daqian could only relieve the nostalgia to his families and friends through paintings back then.

(Edited by Li Hanning & Yang Zhige, 2021)