张大千是全能型画家，其创作达“包众体之长，兼南北二宗之富丽”，集文人画、作家画、宫廷画和民间艺术为一体。于中国画人物、山水、花鸟、鱼虫、走兽，工笔、无所不能，无一不精。诗文真率豪放，书法劲拔飘逸、外柔内刚、独具风采。
张大千的画风，在早、中年时期主要以临古仿古居多，花费了一生大部的时间和精力，从清朝一直上溯到隋唐，逐一研究他们的作品，从临摹到仿作，进而到伪作。
张大千的画风，先后曾经数度改变，晚年时历经探索，在57岁时自创泼彩画法，是在继承唐代王洽的泼墨画法的基础上，揉入西欧绘画的色光关系，而发展出来的一种山水画笔墨技法。可贵之处，是技法的变化始终能保持中国画的传统特色，创造出一种半抽象墨彩交辉的意境。
张大千30岁以前的画风可谓“清新俊逸”，50岁进于“瑰丽雄奇”，60岁以后达“苍深渊穆”之境，80岁后气质淳化，笔简墨淡，其独创泼墨山水，奇伟瑰丽，与天地融合。增强了意境的感染力和画幅的整体效果。
Zhang Daqian is an all-purpose painter, whose creation has reached " the length of the whole body and the magnificence of the north and south", integrating literati painting, writer painting, palace painting and folk art. In Chinese painting, people, landscapes, flowers and birds, fish and insects, animals, meticulous, omnipotent, all-round and all - round. The true style of poetry and prose is bold and unconstrained. Calligraphy is vigorous and elegant, soft outside and rigid inside, and unique in style.
Zhang Daqian's painting style was mainly ancient and archaic in the early and middle ages, spending most of his life time and energy from Qing Dynasty to Sui and Tang Dynasties, studying their works one by one, from copying to imitation and then to pseudograph.
Zhang Daqian's style of painting has changed several times. He went through exploration in his later years and created his own painting method at the age of 57, which is a landscape painting technique based on inheriting the painting method of Wang Qia in the Tang Dynasty and blending the color and light relationship of Western European painting. The valuable thing is that the change of techniques can always maintain the traditional characteristics of Chinese painting and create a semi-abstract artistic conception of ink painting.
Zhang Daqian's painting style before the age of 30 can be described as " pure and fresh and elegant". He entered " magnificent and magnificent" at the age of 50, and reached " pale deep mu" after the age of 60. After the age of 80, his temperament was pure and his pen Jian Mo was light. His original painting style was ink - splashing, magnificent and magnificent, blending with heaven and earth. It enhances the appeal of artistic conception and the overall effect of the painting.
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