張大千在20世紀的繪畫成就極高，其中以山水畫中的潑墨和潑彩風格最為世人關注與敬仰，但卻無文章論述其古法積墨的精深學習與運用。筆者以此為文，探討張大千傳世水墨山水畫作，於其一生不同時間，運用積墨在不同階段的重要性。 本文先以古文獻中的確實記載，透過古法積墨釋義，再探討張大千早期的習古作品中，確實深得古代名家畫作的積墨內涵精髓，中期畫作結合積墨法，在傳統格局探討研發新精神，到晚期時作品以古法積墨，融合新式的潑墨潑彩，更得古文獻的積墨神韻。張大千深得多種技法融合且相得益彰，為20世紀山水畫增添多元風貌。

Chang Dai-chien is a highly skilled painter of the 20th century. Most researchers focus on his splash ink and color styles in landscape painting but there are few discussions on the ink accumulation technique in his landscape paintings. This paper will examine Chang's oeuvre and analyze the different functions of ink accumulation technique in the different phases of Chang's career. This paper begins with examination of ink accumulation technique in ancient literatures then turns the attention to Chang's works. In Chang's early works, his ink accumulation technique was derived from his study of ancient artists and their works. In the middle period, Chang utilizes ink accumulation technique to create new possibilities with traditional medium. In his later works, ink accumulation technique is combined with splash ink and color technique and opens up new territories for landscape painting.