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Lot Essay
The horse is one of Xu Beihong's most popular subjects. Winning high acclaim for their bold and lively styles, Xu's horse paintings were admired amongst collectors and connoisseurs not only for their charming look, but also their expression of patriotic feelings. Long regarded as a symbol of strength and courage by the Chinese, Xu's horses were created during the Second Sino-Japanese War (1937-1945), such as the current lot Running Horse, exemplified Chinese resistance against foreign invasion and symbolized the spirit of a new nation. These paintings were highly appreciated by overseas Chinese who had great sympathy for the conditions and the people of China.
Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail, rendering his unique style of horse painting. Painted with exceptionally bold and expressive brushwork, Running Horse is full of vigour and passion. A breakthrough from the conventional horse painting techniques of using fine-line and applying colour washes meticulously, Xu employed freehand strokes and outlined only the critical parts, such as the nose, the chest, and the hooves. The shape of the large muscles at the shoulders, breast and back is accentuated with ink washes in various tones, creating a handsome and robust figure. Using a few simple strokes of thick and dry ink, the texture and the movement of the mane and tail fluttering in the wind are vividly illustrated.
Compare a similar horse painting dated the same year of 1937 and dedicated to Mr. Qipan, in a private collection, as previously exhibited in Singapore (Singapore, The Singapore Art Museum, Xu Beihong in Nanyang, 5 April 2008-13 July 2008). (See Illustration)
Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail, rendering his unique style of horse painting. Painted with exceptionally bold and expressive brushwork, Running Horse is full of vigour and passion. A breakthrough from the conventional horse painting techniques of using fine-line and applying colour washes meticulously, Xu employed freehand strokes and outlined only the critical parts, such as the nose, the chest, and the hooves. The shape of the large muscles at the shoulders, breast and back is accentuated with ink washes in various tones, creating a handsome and robust figure. Using a few simple strokes of thick and dry ink, the texture and the movement of the mane and tail fluttering in the wind are vividly illustrated.
Compare a similar horse painting dated the same year of 1937 and dedicated to Mr. Qipan, in a private collection, as previously exhibited in Singapore (Singapore, The Singapore Art Museum, Xu Beihong in Nanyang, 5 April 2008-13 July 2008). (See Illustration)