Recommended Boutique --Horse by Xu Beihong
徐悲鸿（1895年7月19日—1953年9月26日），原名徐寿康，汉族，江苏宜兴屺亭镇人，中国现代画家、美术教育家，被尊称为中国现代美术教育的奠基石，与张书旗、柳子谷三人被称为画坛的“金陵三杰”，所画国画彩墨浑成，尤以奔马享名于世。其主要绘画作品有《田横五百士》《九方皋》《漓江春雨》《泰戈尔像》《奔马》等。徐悲鸿于1916年考入震旦大学攻读法文；1919年2月，考入巴黎国立高等美术学校，学习油画、素描，并游历西欧诸国，观摹、研究美术作品；1924年，创作作品《萧声》《马夫和马》《远闻》；1930年，创作完成油画作品《田横五百士》；1934年，先后在德国柏林和法兰克福举办个人画展，后在莫斯科和列宁格勒举办中国近代画展；1935年，创作完成油画作品《彩霞》《黄山》，创作完成国画作品《漓江野渡》《墨猪》《桄榔树》《虎与兔》；1938年，创作完成作品《牛浴》《光岩》《象鼻山》，并在香港举办个人画展；1941年，创作完成作品《奔马》，并先后在马来西亚槟榔屿、怡保、吉隆坡举办筹赈画展；1946年，任国立北平艺术专科学校校长，并任北平美术作家协会名誉会长；1949年7月，当选为中华全国文学艺术界联合会常务委员和中华全国美术工作者协会主席，9月，应邀出席中国人民政治协商会议，并被任命为中央美术学院院长；1951年，创作作品《工程师张晋像》《农民任继东像》《劳动模范吕芳彬像》；1953年，创作作品《首之瞻处即光明》《铲尽崎岖人道平》，9月，任第二届全国文艺工作者代表大会执行主席，9月26日，在北京逝世，享年58岁。
Xu Beihong (July 19, 1895 - September 26, 1953), formerly known as Xu Shoukang, Han nationality, Jiangsu Yixing Ting town, Chinese modern painter, art educator, is respected as the cornerstone of modern Chinese art education, and Zhang Shuqi, Liu Zigu three people known as the painting of the "Jinling three Jie", the painting of the color ink blend, especially to the horse enjoy the name in the world. His main paintings include "Five hundred men", "Nine Fang Gao", "Li Jiang Chunyu", "Tagore Portrait", "Galloping Horse" and so on. Xu Beihong was admitted to the University of Sinian in 1916 to study French. In February 1919, he was admitted to the Ecole Nationale Superieure des Beaux Arts in Paris, where he studied oil painting and drawing, and traveled to Western European countries, copying and studying fine art works. In 1924, he created works "Xiao Sheng", "Groom and Horse" and "Far Wen"; In 1930, he completed the oil painting "Five Hundred Men"; In 1934, he held solo exhibitions in Berlin and Frankfurt, Germany, and later held exhibitions of modern Chinese paintings in Moscow and Leningrad. In 1935, he completed oil paintings "Rosy Clouds" and "Yellow Mountain", and Chinese paintings "Li River Wild Ferry", "Ink Pig", "Palm Tree" and "Tiger and Rabbit"; In 1938, he completed the works "Cow Bath", "Light Rock" and "Elephant Trunk Mountain", and held a personal exhibition in Hong Kong; In 1941, he completed the work "Galloping Horse", and successively held relief exhibitions in Penang, Ipoh and Kuala Lumpur, Malaysia; In 1946, he was the president of the National Beiping Art Academy and honorary president of the Beiping Art Writers Association. In July 1949, he was elected as the standing Committee member of All-China Federation of Literary and Art Circles and the chairman of All-China Fine Arts Workers Association. In September 1949, he was invited to attend the Chinese People's Political Consultative Conference and was appointed as the president of the Central Academy of Fine Arts. In 1951, he created works "Engineer Zhang Jin", "Farmer Ren Jidong" and "model worker Lv Fangbin"; In 1953, he created the works "The first look is bright" and "Shovel the rugged humanity flat". In September, he was the executive chairman of the second National Congress of Literary and Art Workers. He died in Beijing on September 26, at the age of 58.
近期我公司征集了一幅徐悲鸿《马》,规格为40cm*30cm。图中绘一骏马急驰飞奔的情景。笔墨淋漓酣畅，意蕴深刻，神型兼备，栩栩如生。身姿矫健。徐悲鸿画马，采用大角度透视的手法，大阔笔勾勒，笔墨厚重大气，马的动态感十足，马的两只前腿弯曲状，后腿交叉在一起，展现奔马的动态。线条刚健，水墨味痛快淋漓、有自由奔放之感。马的各部位以浓淡墨晕染，在笔墨深浅变化和层次中，表现西画所强调的明暗关系，特别是在马的头部施一笔白粉，表现出头部的高光，增强了立体感和质感。笔力道劲，力透纸背，马鬃及马尾用笔洒脱飘逸，整个马的姿态生动活泼，马腿的刻画细劲有力，犹如钢刀，而腹部、臀部及鬃尾的弧线很有弹性，富于动感。马的颈部和腹部弧线粗重，表现出肌肉的力度，而鬓毛和马尾在运笔施墨上杂而不乱，表现出马奔跑时鬓毛飞扬的潇洒。马的神态活灵活现。只寥寥几笔，就使这匹马有形有体，刚劲有力。马鬃和马尾在画里随风飘动，看似静止的画面，充满的生机感。马跳跃奔跑，将“野性”展示得淋漓尽致，实在生动有趣。
Recently, our company collected a painting "horse" by Xu Beihong, the specification is 40cm*30cm. The picture shows the sight of a steed galloping. The ink is dripping, the meaning is profound, the god type is both, lifelike. The body is strong. Xu Beihong painted the horse with a large-angle perspective technique. He sketched the horse with a large broad brush and the ink was thick and atmospheric. The horse's two front legs were curved and the hind legs were crossed together, showing the dynamic of the horse. The lines are strong, the ink taste is happy and dripping, and there is a sense of free and unfettered. Each part of the horse is stained with thick and light ink. In the changes and levels of the brush and ink, the relationship between light and shade emphasized in Western painting is expressed. In particular, a white powder is applied to the head of the horse to show the highlight of the head and enhance the three-dimensional sense and texture. The pen is strong, the back of the paper is strong, the horse's mane and the horse's tail are free and flowing, the whole horse's posture is lively, the horse's legs are carved fine and strong, like a steel knife, and the arc of the abdomen, buttocks and the mane tail is very elastic and dynamic. The horse's neck and abdomen arc thick and heavy, showing the strength of the muscles, while the hair and the horse's tail in the brush and ink mixed without chaos, showing the horse running hair flying cool. The horse was very lively. With a few strokes of the pen, the horse was strong and strong. The horse's mane and tail move in the wind in the painting, which seems to be a static picture, full of vitality. The horse jumps and runs, showing the "wild" incisively and vividly, which is really lively and interesting.
徐悲鸿笔下的马是应时代背景而生的，它的出现影响了中国画马领域，是中国马画史上的里程碑。马的动作最难把握，但徐悲鸿以笔墨表现出了马的绝佳比例。徐悲鸿所画的马非常的骠实，与人类圈养的马有着完全不同的神态，它们的身姿充满了野性，徐悲鸿对这些野马的关键部位都进行了细致的绘画，徐悲鸿所画的马既写实，又充满意境。徐悲鸿汲取了我国传统绘画的精髓，和西方的具象化艺术相互结合，在画坛形成了一种非常独特的风格，这也是为什么大家都非常的喜爱徐悲鸿所画的马的原因。
The horse under Xu Beihong's works is born in response to the background of The Times. Its appearance has influenced the field of Chinese horse painting and is a milestone in the history of Chinese horse painting. The horse's movement is the most difficult to grasp, but Xu Beihong shows the excellent proportion of the horse in pen and ink. The horses painted by Xu Beihong are very husky and have completely different expressions from the horses kept in captivity. Their posture is full of wild animals. Xu Beihong painted the key parts of these horses in detail, and the horses painted by Xu Beihong are realistic and full of artistic conception. Xu Beihong draws the essence of Chinese traditional painting, and combines with Western figurative art to form a very unique style in the painting world, which is why everyone likes Xu Beihong's horse painting very much.
徐悲鸿画马，是将自己的个性和政治理想寄寓其中的。徐悲鸿擅长以马喻人、托物抒怀，以此来表达自己的爱国热情。他的马除了在《九方皋》中的那匹才有绳辔，其他许多马，都是一无绳辔，二无鞍蹬，自由自在反映了人民热爱自由的精神。随着祖国命运的起伏变化，不同历史时期他画出了不同情态的马，解放前的奔马或驰奔，或驻足，或企望；而当祖国解放、人民新生时，他的马纵身奔驰，欢腾跳跃，画家的强烈爱憎跃然纸上。艺术美是艺术家的主观情感在客观形象上的流露和交融。徐悲鸿早期有一幅画马的题词是：“直须此夜非长夜，漠漠穷荒有尽头。”还有一幅题词是：“所向无空调，聊堪记死生。”不仅反映了旧社会的黑暗，而且充满了对光明的向往和追求。回到新中国，有一幅奔马的题词是：“山河百战归民主，除尽崎岖大道平”，这就是在欢呼了。
Xu Beihong painted horses in which he imbued his personality and political ideals. Xu Beihong is good at using horses as metaphors and objects to express his patriotic enthusiasm. In addition to the horse in the "nine Fang Gao" only have a rope, many other horses, are one rope and two saddle, freedom reflects the people's spirit of love for freedom. With the ups and downs of the fate of the motherland, he painted different modes of horses in different historical periods, horses before liberation or gallop, or stop, or hope; When the motherland was liberated and the people were born again, his horse galloped and jumped joyfully, and the painter's strong love and hatred appeared on the paper. Artistic beauty is the revelation and fusion of the artist's subjective emotion on the objective image. The inscription on an early painting of a horse by Xu Beihong is: "This night is not a long night, and the desert has an end." Another inscription reads: "No air conditioning, chat can remember death." It not only reflects the darkness of the old society, but also is full of longing and pursuit of light. Back in New China, there is a galloping horse inscription is: "Mountains and rivers to democracy, in addition to the rugged road flat", which is cheering.
在徐悲鸿的作品中，随处可见他的爱国热忱，无论是历史主题还是现实题材，无论是“奔马”还是“雄鸡”，都体现了他热爱祖国和人民的情感。在中国人民抗日战争的艰苦岁月里，他用艺术表现民族奋起抗争的精神，给人以感染力。他以自己的作品和社会活动争取中国国内外社会各界赞助，赈灾济民，支持抗战，展现出一位艺术家的爱国情怀。
In Xu Beihong's works, his patriotic enthusiasm can be seen everywhere, whether it is historical theme or realistic theme, whether it is "galloping horse" or "rooster", it reflects his love for the motherland and the people. In the difficult years of the Chinese people's War of resistance against Japanese aggression, he used art to express the spirit of national struggle, which is appealing to people. With his works and social activities, he won sponsorship from all walks of life in China and abroad to help the people in disaster relief and support the War of resistance, showing the patriotic feelings of an artist.
徐悲鸿画的马是中国画，他用中国画的传统，以线造型，常用饱酣的重墨、奔放的笔势加以表现，显示了中国画的笔墨美。同时他又吸收了西方的画法，局部用体面造型并注重物象的光影阴暗。这幅《马》中马的外形以圆浑有力的线条勾勒，浓墨重笔融入魏碑兼草隶的书法笔意，用重笔直下，笔触明快，表现强壮有力而转侧灵活的势态；身体以稍淡的笔墨纵笔挥洒，将躯体块面清晰交代；用劲健的线条，勾画突出的关节、坚硬的马蹄等处；马鬃马尾最有气势，阔笔横扫，飞动之势破空而出。徐悲鸿以痛快淋漓的笔墨尽抒胸臆，将马的神韵表现备至，飞泻直出的笔势，遒劲流畅的线条，如同他满腔难以遏制的热情。正是这种把中国画法结合的表现手法，使他的马充满笔情墨趣，达到了新的境界。徐悲鸿在艺术创作上提出“古法之佳者守之，垂绝者继之，不佳者改之，未足者增之，西方画之可采入者融之”的改革理念。留学欧洲的经历，促使徐悲鸿进一步主张用西方写实主义绘画来改造中国传统绘画，走出了中国美术的现实主义道路。他的美术作品熔古今中外技法于一炉，显示了其极高的艺术造诣，在中国现代美术史上起到了承前启后、继往开来的作用。
The horse painted by Xu Beihong is a Chinese painting. He uses the tradition of Chinese painting to form a line, and often uses heavy ink and bold brushwork to express it, showing the beauty of Chinese painting. At the same time, he also absorbed the western painting, the local use of decent modeling and pay attention to the shadow and shadow of the image. The shape of the horse in this painting "Horse" is outlined with a round and powerful line, thick ink and heavy brush into the calligraphy brushwork of Wei Bei and Cao Li, with heavy straight down, the brushwork is bright, showing a strong and flexible situation; The body with a slightly light brush strokes, the body mass surface clear replacement; With strong lines, outline the protruding joints, hard hooves, etc.; The mane and tail of the horse are the most imposing, the broadbrush sweeps, and the flying potential bursts out of the sky. Xu Beihong expresses his feelings with a lively and dripping ink, the charm of the horse is expressed to the fullest, the flowing brushstrokes and the strong and smooth lines are as if he were full of uncontrollable enthusiasm. It is this combination of Chinese painting technique of expression that makes his horse full of pen emotion and ink interest, reaching a new realm. In artistic creation, Xu Beihong put forward the reform idea of "keeping the good of ancient methods, inheriting the dead ones, changing the bad ones, increasing the ones that are not enough, and integrating the Western paintings that can be adopted". The experience of studying in Europe prompted Xu Beihong to further advocate the use of western realist painting to transform traditional Chinese painting, and walked out of the realistic road of Chinese art. His art works show his high artistic attainments and play a role in linking past and future in the history of Chinese modern art.
我国有一个成语叫做“龙马精神”，自古以来，龙在中国人的心里就是一种非常神圣的动物，而马是一种有着强健的体魄、充满生机和朝气的动物，在中国人的心里，这两种动物都代表了旺盛和奋发向上等充满正能量的含义。因此，龙和马走进了许多作品之中，成为了文学家和画家热衷的对象。徐悲鸿，善于画马，这一点家喻户晓，徐悲鸿的马是意气风发，刚健而威武的，在中国的画坛上，没有几个人能够画出这样的马。
China has an idiom called "dragon horse spirit", since ancient times, the dragon in the heart of the Chinese people is a very sacred animal, and the horse is a strong body, full of vitality and vigor of the animal, in the heart of the Chinese people, these two animals represent the meaning of exuberance and work upward full of positive energy. Therefore, the dragon and the horse entered many works, and became the favorite objects of writers and painters. Xu Beihong, good at painting horses, this point is well known, Xu Beihong's horse is spirited, vigorous and powerful, in the Chinese painting circle, few people can draw such a horse.
几千年来，马用自己的力量和赤诚经历了血与火的洗礼，随人类的发展流动为一种精神，成就了源远流长的神韵。马，从远古的沙场尘烟中驰骋而来，雄浑、高昂、豪迈，是保家卫国、惩恶扬善、匡扶正义的英雄征战疆场、驰骋翱翔的翅膀。从人类的发展中去追溯马的精神，更能感受到马是人类最亲密、最友善的朋友的真正含义。这幅画不仅表现了马的精神和特征，更赋予了画家自己的个性和理想，为振兴民族艺术而奋斗，更寓意中华民族像马一样昂扬前进，不屈不饶。此幅画作绘骏马急驰飞奔的情景。笔墨淋漓酣畅，意蕴深刻，神型兼备，栩栩如生。马的各部位以浓淡墨晕染，在笔墨深浅变化和层次中，表现西画所强调的明暗关系，画家以粗犷豪放的线条，在雪白的宣纸上绘一匹精神抖擞挺立的骏马。马的精神，是忠诚，是高贵，是奔驰，是不可征服。马的神韵，则是马在与人类同生死、共荣辱的历史中所表现出来的一种奉献美的史诗。
For thousands of years, horses have experienced the baptism of blood and fire with their own strength and sincerity, and have flowed into a spirit with the development of mankind, achieving a long-standing charm. The horse, galloping from the dust of the ancient sand field, is vigorous, lofty and heroic. It is the wings of the heroes who defend the home and the country, punish evil and promote good, and uphold justice. Tracing the spirit of the horse from the development of human beings, we can feel the true meaning of the horse as the closest and friendliest friend of human beings. This painting not only shows the spirit and characteristics of the horse, but also gives the painter his own personality and ideals, and struggles to revitalize the national art, but also means that the Chinese nation is like a horse and indomitable. The painting shows a galloping horse. The ink is dripping, the meaning is profound, the god type is both, lifelike. The various parts of the horse are dyed with thick and light ink, and the relationship between light and shade emphasized in Western painting is expressed in the changes and levels of the brush and ink. The artist draws a spirited and upright horse on the white rice paper with rough and bold lines. The spirit of the horse is loyalty, nobility, galloping, and unconquerable. The charm of the horse is an epic of the beauty of dedication shown by the horse in the history of sharing life and death with human beings.
留学法国学西画回国之后，徐悲鸿先生投身美术创作和教育直至终生，为奠定中国美术教育理论体系不遗余力。他提倡“素描是造型艺术的基础”，提出“宁方毋圆，宁脏毋净，宁拙毋巧”的素描要求，在教学上引导学生提高全面学养，求真求美。他提出“尽精微、致广大”的艺术理念，给人以启示。徐悲鸿被尊称为中国现代美术教育的奠基者，他主张发展“传统中国画”的改良，立足中国现代写实主义美术，提出了近代国画之颓废背景下的《中国画改良论》。
After studying Western painting in France and returning to China, Mr. Xu Beihong devoted himself to art creation and education for the rest of his life, and spared no effort to establish the theoretical system of Chinese art education. He advocated that "sketch is the foundation of plastic arts", put forward the sketch requirements of "rather square than round, rather dirty and not clean, rather clumsy and not skillful", and guided students to improve their comprehensive learning and seek truth and beauty in teaching. He put forward the artistic concept of "doing all the subtle and giving the vast", which gives people enlightenment. Xu Beihong is honored as the founder of Chinese modern art education. He advocated the improvement of "traditional Chinese painting", based on Chinese modern realist art, and put forward the Theory of Chinese Painting Improvement under the decadent background of modern Chinese painting.
在向西方艺术学习的过程中，徐悲鸿思考的是中国美术现代演进所需要的新的价值和内涵。这种精神还体现在他对“传统”与“创新”的辩证判断上。他的艺术从中国画起步，因此对中国画的历史和价值有自己的评价，一方面尖锐批判因循守旧的观念和思想内容上的历史局限，一方面积极弘扬中国画艺术传统的精华，引导画坛的目光朝向唐宋时期中国画的宽广意境和宏大气象，并上溯中国画作为东方艺术代表的体系性价值。在绘画上，徐悲鸿主张现实主义美术，强调写实，提倡师法造化。他的油画长于人物、风景，作品体现了爱国主义和人道主义思想；中国画则融西方艺术手法于中国传统艺术之中，别具一格。徐悲鸿在油画和中国画的主题性创作上，他选用的是中国历史与人文经典，讲述的是中国故事和中国精神。在20世纪中国画的发展取向上，他提倡“师法造化”，高度评价宋元时期的中国画传统，强调复兴宋元以来的人物画精髓。他在中国画、人物画创作上所形成的笔墨与造型有机统一的画风，开山立派，展现了中国画的时代新貌，在中国画坛影响深远。
In the process of learning from Western art, Xu Beihong thought about the new value and connotation required by the modern evolution of Chinese art. This spirit is also reflected in his dialectical judgment of "tradition" and "innovation". His art started from Chinese painting, so he has his own evaluation of the history and value of Chinese painting. On the one hand, he sharply criticizes the historical limitations of traditional concepts and ideological content, and on the other hand, he actively carries forward the essence of traditional Chinese painting art, guiding the attention of the painting circle to the broad artistic conception and grand atmosphere of Chinese painting in the Tang and Song dynasties. And trace back to the systematic value of Chinese painting as a representative of Oriental art. In painting, Xu Beihong advocates realistic art, emphasizes realism and advocates learning from nature. His oil paintings are good at figures and landscapes, and his works reflect patriotism and humanitarian thoughts. Chinese painting, on the other hand, combines Western artistic techniques with traditional Chinese art and has a unique style. In the thematic creation of oil painting and Chinese painting, Xu Beihong chose Chinese history and humanities classics, telling Chinese stories and Chinese spirit. In terms of the development orientation of Chinese painting in the 20th century, he advocated "imitating nature", highly valued the Chinese painting tradition in the Song and Yuan dynasties, and emphasized the revival of the essence of figure painting since the Song and Yuan Dynasties. In the creation of Chinese painting and figure painting, he formed the organic unity of pen and ink and shape, Kaishanli school, showing the new era of Chinese painting, and has far-reaching influence in the Chinese painting world.
徐悲鸿是第一代油画家中正规接受法国学院派训练时间最长的一位画家，留欧八年锤炼出了他敏锐的观察能力和能够准确，迅捷地传达这种感觉的造型能力，徐悲鸿先生的创作题材广泛，山水花鸟、走兽人物、历史神话，富有生气，栩栩如生。马是徐悲鸿绘画的标志性题材，他笔下的马千姿百态，充满着激情和活力。并且他的奔马往往因时因事有感而作，激情寓于笔墨间，具有动人心魄的力量。他画的奔马、雄狮、晨鸡等，给人以生机和力量，表现了令人振奋的积极精神。尤其他的奔马，笔墨淋漓潇洒，带着时代的风雷驰骋在画坛上，给当时的中国画坛带来了清新、有力、刚劲的气息，几近成了“现代中国画”的“象征”和“标志”。徐悲鸿对马的研究可谓是用心良苦。他常常观察马的形态和动态，甚至亲自去马场观摩，以求准确地捕捉马的神韵。他在创作中注重细节，尤其是马的肌肉线条和鬃毛的流动，通过精妙的技法，将马的力量和优美展现得淋漓尽致。
Xu Beihong is one of the first generation of oil painters who received formal training from the French academy for the longest time. His eight years in Europe have tempered his keen observation ability and the modeling ability to accurately and quickly convey this feeling. Mr. Xu Beihong's creative themes are wide, including landscapes, flowers and birds, animal figures and historical myths, which are full of vitality and lifelike. Horses are the iconic subject of Xu Beihong's paintings, which are full of passion and vitality. And his galloping horses are often made because of the sense of time and things, the passion is in the pen and ink, with a stirring power. His paintings of galloping horses, male lions, morning chickens, etc., give people vitality and strength, and show an exciting positive spirit. In particular, his galloping horse, dashing and dashing with the wind and thunder of The Times, brought a fresh, powerful and vigorous atmosphere to the Chinese painting world at that time, and almost became the "symbol" and "symbol" of "modern Chinese painting". Xu Beihong's research on horses can be described as well-intentioned. He often observed the shape and dynamics of the horse, and even personally visited the horse farm to observe, in order to accurately capture the charm of the horse. He pays attention to detail in his creation, especially the horse's muscle line and the flow of the mane, and through exquisite techniques, the horse's power and beauty are vividly displayed.
徐悲鸿的写意国画，往往可见工笔功底，不仅写意，而且写实。在粗狂中有细腻之感，在写意中不乏生命之真。擅长人物、走兽花鸟，主张现实主义，国画改革融入西画技法，作画主张光线、造型，讲求对象的解剖结构、骨骼的准确把握，对当时中国画坛影响甚大。在马画领域，徐悲鸿以全新的思维理念，融西画因素于中国绘画技法之中，经长期实践终以大写意的形式呈现于世人面前——这就是悲鸿马。悲鸿马与传统马相比更加昂扬、奔放、蓬勃，更具视觉冲击力，更具精神感召力，更加具有时代精神。悲鸿马注重解剖，徐悲鸿早期画马有过大量速写素描写生稿，对马的结构了如指掌，通过研究马的解剖学，熟知马的骨骼，所以，悲鸿马不管哪个角度、哪种动态都生动自然。焦点透视的引入，彻底改变了传统绘画的散点透视，从而使马画更加科学，马体更加具有立体感，画面更具现实意识，也更加符合人们的审美需求。这些徐悲鸿先生的创作风格都可在此幅作品《马》上鲜明体现。
Xu Beihong's freehand Chinese painting, often visible meticulous skills, not only freehand, but also realistic. There is a delicate feeling in the rough, and there is no lack of life in the freehand. Good at figures, animals, flowers and birds, advocating realism, traditional Chinese painting reform into western painting techniques, painting advocates light, modeling, and focuses on the accurate grasp of the anatomical structure of the object, the bone, which had a great influence on the Chinese painting world at that time. In the field of horse painting, Xu Beihong integrated western painting elements into Chinese painting techniques with a new thinking concept, and finally presented it to the world in the form of brushwork after long-term practice - this is Beihongma. Compared with the traditional horse, the Beihong horse is more spirited, bold, vigorous, more visual impact, more spiritual appeal, and more of the spirit of The Times. Hui Hongma pays attention to anatomy, Xu Beihong has a large number of sketching sketches of horses in his early days, and he is familiar with the structure of horses. Through studying the anatomy of horses, he is familiar with the bones of horses. Therefore, no matter what Angle and what kind of dynamics, Hui Hongma is vivid and natural. The introduction of focal perspective completely changed the scatter perspective of traditional painting, thus making horse painting more scientific, the horse body more three-dimensional, the picture more realistic awareness, but also more in line with people's aesthetic needs. These creative styles of Mr. Xu Beihong can be clearly reflected in this work "Horse".
徐悲鸿先生是20世纪中国美术的先驱，是功垂后世、影响深远的艺术巨匠和一代宗师。徐悲鸿作为一位被写入“时代”的艺术家，其理由至少有两点。一是，在中国现代历史的风云变幻中，他始终与国家、民族同呼吸，用画笔表现出浓烈的时代关切。其作品体现出一位有良知的艺术家对那个时代最敏锐的感受、最深切的关怀，因此具有鲜明的时代精神以及社会价值。其作品虽不是对于第一现场的直接展现，但其传递的情感信息仍具有厚重的历史含量，让人们可以穿过历史烟尘而看到那一时代的民族焦虑与忧思。徐悲鸿也因此为中国画的象征表现拓展了新意象，它已不再限于文人所习用的梅、兰、竹、菊。二是，徐悲鸿呼应了五四以来中国画发展的历史潮流，其《中国画改良论》提出的‘古法之佳者守之’等一系列主张，体现了鲜明的中国画主体意识；他选择的以西润中的发展路径是一种历史的必然，其水墨人物与水墨畜兽体现出不同的笔墨价值。如果结合中心词‘民族’来看上述两点，那么，前者体现了徐悲鸿先生的民族情怀，后者则体现了他的民族根性。
Xu Beihong is a pioneer of Chinese art in the 20th century, a great artist and a great master with far-reaching influence. There are at least two reasons why Xu Beihong has been written into The Times as an artist. First, in the changing landscape of modern Chinese history, he always shared the same breath with the country and the nation, and showed strong concerns of The Times with his brush. His works reflect the most sensitive feeling and the deepest concern of a conscientious artist for that era, so he has a clear spirit of The Times and social value. Although his works are not a direct display of the first scene, the emotional information conveyed by him still has a heavy historical content, so that people can see the national anxiety and worry of that era through the historical dust. Therefore, Xu Beihong also developed a new image for the symbolic expression of Chinese painting, which was no longer limited to the plum, orchid, bamboo and chrysanthemum used by scholars. Second, Xu Beihong echoed the historical trend of the development of Chinese painting since the May Fourth Movement, and a series of propositions such as "the best of ancient methods should be kept" put forward in his Theory of the Improvement of Chinese Painting reflected the distinct subject consciousness of Chinese painting; The development path he chose in the West of Runzhong is a historical necessity, and his ink figures and ink animals reflect different ink values. If we look at the above two points in combination with the central word "nation", then the former reflects Mr. Xu Beihong's national feelings, while the latter reflects his national roots.
徐悲鸿的马可谓“一洗万古凡马空”，传统画马往往以细线勾勒为主，烘染为辅，徐悲鸿的大写意马，突破前人藩篱，以粗犷豪放的线条表现，并带有书法“写”的精神，既有现实主义的格调，又不失传统中国画的笔墨气韵。徐悲鸿赋予马新的形象与意义，新的审美趣味，充满时代气息，带有恣肆澎湃的激情，鼓舞观者昂扬向上的情绪。徐悲鸿的马画不仅仅是艺术作品，更是对马的致敬和对生命的赞颂。他深知马作为中国传统文化的重要符号，代表着力量、奔放和自由。他的马画不仅展现了艺术的美感，更寓意着人类对自由和追求的渴望。徐悲鸿对马艺的追求不仅停留在绘画上，他还将马的形象融入到了自己的书法创作中。他笔下的马，一笔一划，仿佛马儿奔腾的身姿，给人一种动感和力量感。他的马字书法成为了他艺术生涯中的瑰宝，备受后人追捧。
Xu Beihong's horse can be described as "a wash of all ancient vanma empty", traditional painting horses are often sketched in thin lines, supplemented by dyeing, Xu Beihong's brushwork horses, breaking through the previous barriers, with rough and bold lines performance, and with the spirit of calligraphy "writing", both realistic style, but also without losing the traditional Chinese painting of ink charm. Xu Beihong gives Ma a new image and meaning, a new aesthetic taste, full of the atmosphere of The Times, with a wimpy passion, encouraging the audience to be uplifting emotions. Xu Beihong's horse painting is not only a work of art, but also a tribute to horses and a tribute to life. He is well aware that the horse, as an important symbol of traditional Chinese culture, represents strength, unrestrained and freedom. His horse paintings not only show the beauty of art, but also symbolize human's desire for freedom and pursuit. Xu Beihong's pursuit of horse art did not stop at painting, he also integrated the image of horses into his calligraphy creation. His horse, a stroke, like a horse galloping posture, giving people a sense of movement and power. His horse calligraphy became the treasure of his artistic career and was sought after by later generations.
这幅《马》不仅表现了马的精神和特征，更赋予了画家自己的个性和理想---为振兴民族艺术而奋斗。徐悲鸿早期画的马颇有一种文人的淡然诗意，显出“踯躅回顾，萧然寡俦”之态。至抗战爆发后，徐悲鸿认识到艺术家不应局限于艺术的自我陶醉中，而应该与国家同呼吸共命运，将艺术创作投入到火热的生活中去，所以他的马成为正在觉醒的民族精神的象征。寓意中华民族像马一样昂扬前进，不屈不饶。在徐悲鸿的作品中，我们能感受到他对祖国的深深热爱和人民的真挚情感，都透露出他对中国文化的传承和传统艺术的追求。徐悲鸿以其独特的画马技法和对马的深入研究，成为了马艺的奇才。他笔下的马，不仅是中国画的代表之一，更是徐悲鸿艺术世界的瑰宝。
This painting "Horse" not only shows the spirit and characteristics of the horse, but also gives the painter his own personality and ideal - to fight for the revitalization of national art. Xu Beihong's early paintings of horses have a kind of literati's indifferent poetry, showing the state of "wandering around looking back, desolate and few friends". After the outbreak of the War of Resistance, Xu Beihong realized that artists should not be confined to the narcissism of art, but should breathe and share the fate with the country, and put artistic creation into the fiery life, so his horse became a symbol of the awakening national spirit. It means that the Chinese nation, like a horse, marches forward with high spirit and indomitability. In Xu Beihong's works, we can feel his deep love for the motherland and the sincere feelings of the people, which reveal his pursuit of the inheritance of Chinese culture and traditional art. Xu Beihong, with his unique horse painting techniques and in-depth study of horses, became a genius in horse art. The horse under his works is not only one of the representatives of Chinese painting, but also the treasure of Xu Beihong's art world.
“徐悲鸿是近现代史上一位有多方面成就的文艺大家。他是大画家，也是大书法家。现代中国美术史上能诞生徐悲鸿这样融合中西，在油画、国画、书法、诗词等领域都独步一时的艺术家实是这个时代的骄傲。他是千里马，也是伯乐。20世纪中国人物画所取得的成就，是超迈历史的，而打开这个局面与奠基这个局面的就是徐悲鸿。”徐悲鸿先生是现实主义的巨匠，是写实主义引入中国的先驱。他把西方艺术手法融入到中国画中，创造了新颖而独特的风格。在绘画创作上，提倡“ 尽精微，致广大 ”，徐悲鸿以画笔为旗帜，以墨彩为武器，身体力行地诠释和实践着以愚公移山精神为代表的中华民族精神。徐悲鸿的一生为国人留下了巨大的精神财富，其艺术光辉、艺术造诣与对国家民族的责任结合在一起，把绘画艺术的社会功能发挥到前所未有的地步，其作品所折射出的人格魅力也将恒久流传，为世人敬仰。所以这幅《马》无论是从画作本身的艺术价值欣赏，还是从创作背景下的深刻意义又或者是具象的物所代表的精神寓意来说，都无疑是一件难得的珍品。
"Xu Beihong is a literary master with many achievements in modern history. He is a great painter and a great calligrapher. In the history of modern Chinese art, it is the pride of this era that Xu Beihong can be born such a combination of Chinese and Western artists who are unique in the fields of oil painting, Chinese painting, calligraphy, poetry and so on. He is a thousand-li horse, but also a bole. The achievements of Chinese figure painting in the 20th century are beyond history, and it is Xu Beihong who opened this situation and laid the foundation for this situation." Mr. Xu Beihong is a master of realism and a pioneer of introducing realism into China. He incorporated Western artistic techniques into Chinese painting, creating a new and unique style. In painting creation, Xu Beihong advocates "to the subtle, to the vast", with the brush as the banner, with ink color as the weapon, the physical interpretation and practice of the spirit of the Chinese nation represented by the spirit of Yugong moving mountains. Xu Beihong's life has left a huge spiritual wealth for the Chinese people. His artistic brilliance, artistic attainments and responsibility to the country and the nation have combined together to play the social function of painting art to an unprecedented level. The personality charm reflected in his works will be everlasting and admired by the world. Therefore, this painting "Horse" is undoubtedly a rare treasure, whether it is from the artistic value of the painting itself, or from the profound meaning of the creation background or the spiritual meaning represented by the concrete object.
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