A white picture at night: Han Gan's scroll ink is 30.8 cm long and 33.5 cm wide (US).
The White Night in this painting is a famous Xuanzong horse painted by Han Gan during the Tianbao period of Tang Dynasty. In the picture, the night photos tied to the horse piles are white, eager and full of vitality. The horse is fat and full of Tang rhyme. According to experts' research, the horse's head, neck and predecessor are authentic, and the second half is the supplement of later generations, but the ponytail has disappeared. On the back of the picture are the words "It's cold and dry at night" inscribed by Li Yu, Queen of the Southern Tang Dynasty, and the words "Yanyuan" inscribed by Zhang Yanyuan, a famous art historian in the Tang Dynasty. What are the titles of Qianzi Zun and Wu Shuo? There are eleven inscriptions by Su Wei and Shen Deqian in Yuan Dynasty.
The image of Han Gan in "Night White" was asked to create "Night White", and the composition went straight to the theme. The whole painting only depicts the image of "night white" in the middle of the picture. "Zhao Yebai" was tied to a ten-edged horse pile behind him, but it obviously didn't want to be bound. It was glaring and screaming and struggling. In particular, its flowing mane, towering ears, dilated nostrils and rising front feet all aggravate the tension of the picture. The painter outlined the outline of the horse with fine line drawing, and smudged the neck and four legs with light ink, fully showing the horse's strong figure and muscle texture. Delicate brushwork and dynamic modeling make people savor it, just like a fine horse. The blank part of the picture left an imagination space for the audience, as if the horse was about to break free and disappear into endless reverie. Although the whole picture is tense, I won't feel scared after reading this volume. The seemingly thin and simple picture is actually full of rich plots and feelings. Han Gan's pen is concise, and the ink line drawing is completed. The lines are thin and powerful, outlining the outline of the horse. The body part of the horse is slightly rendered in light ink, showing the figure, streamline and majestic demeanor of the horse. This is exactly what the painter got through long-term practice and observation. It is also said by Jingu Kaizhi that the vividness is all blocked.
Han Gan's horse painting is different from the previous Han and Jin abstractions, and also different from the later Song and Yuan Dynasties. During the Han and Jin dynasties, horses were mostly bone-shaped, which shows that horses have infinite strength. For example, the bronze horse unearthed in Maoling, Emperor Wu of the Han Dynasty, has upright limbs, a small head and a long neck, and upright ears like bamboo. Take the dragon shape as the pursuit goal and transcend reality. After the Song and Yuan Dynasties, Maduo painted horses with lines, but did not emphasize the structure, lacking the three-dimensional sense of painting horses in the Tang Dynasty. Moreover, Mongolian horse breeds are the main description objects. Because of its small size, the picture lacks the strength and momentum of Tang Ma. Only in the Tang Dynasty, due to the early Southern and Northern Dynasties, Zhang Sengyou of the Liang Dynasty painted "convex and concave flowers" by the method of "contrast between light and shade", which enhanced the three-dimensional sense of the painted object. And influenced by the sculpture art of Central Asia and India, it attaches importance to the proportional relationship of objects. Coupled with the prosperity of the Silk Road and the establishment of the capital of the western regions, Ma Liangbao entered China directly and went straight to Wang Ting. Therefore, the beautiful horses in Arabia and Europe, coupled with the light and dark painting techniques just introduced to China, make the magical Ma Baojun vividly presented on the gorgeous picture scroll of the Tang Dynasty, fully demonstrating the aesthetic tendency and expression techniques of the Tang Dynasty, which are different from those of previous dynasties. Because Han Gan's painting skills are related to spirit, he has also created many stories that are inspired by things. For example, it is recorded in Zhang Yanyuan's "Famous Paintings of Past Dynasties" in the Tang Dynasty: Lushan Rebellion, Pei's love for horses was extinct, and the Han army was destroyed. Suddenly, someone called the Ghost Messenger and asked for a horse. Han Jun drew a horse and burned it. Hell, one day I'll bring a horse to thank you. It feels like this. ?
There is also such a legend in Youyang Zayu in the Tang Dynasty:? At the beginning of the founding of the People's Republic of China, someone took a horse to a horse doctor, saying that the horse had beriberi and asked for twenty times of treatment. Horse hair looks like bones, which is not common in horse doctors. He smiled and said, "Ma Jun is as big as a horse painted by Han Gan, but there is nothing solid about a real horse." Because the horse owner was asked to go around the city, the horse doctor followed. Suddenly, he was surprised when he was on duty in Hangan, and said, "It's really my colorist." You know what you are doing if you know what you are doing at will. So I rubbed my horse and it tripped because it hurt my front foot. Do things in different ways. If you want to give up, just look at the horse book he drew, and your feet are a little short of ink, knowing that you are drawing psychic. The money that Dr. Ma got was mud money. ? The story above has something in common, that is, Han Gan painted a horse like a real horse. The poet Wang Ling even said in the poem "Huangfuren Daohan Ganma": "It is said that Sanma died on the same day and died in anger." ? The well-known orderly legacy? The work "Looking at the White Picture at Night" is also a well-known and orderly work in the history of painting. There is the word "Yanyuan" at the top left of the picture, which is the title of Zhang Yan Garden, a famous art historian in the Tang Dynasty. His works include "Famous Paintings of Past Dynasties", which recorded the paintings before and after the Tang Dynasty in detail. The inscription "Painting White Nights in Han Gan" is an inscription by Li Yu, Queen of Southern Tang Dynasty (its font is Jin Cuodao, which is as famous as Evonne's thin gold body in Song Dynasty). On the lower left is the inscription of Mi Fei in the Song Dynasty, and it is stamped with Zhu's seal, which is a natural and true reward. Li Junxi collected seals in the Northern Song Dynasty, Qiu Gu and Xiang Dao by Jia Sidao in the Southern Song Dynasty, and Xiangzijing and others collected seals in the Ming Dynasty. Xiang Ziyin and Wu Shuo in the Southern Song Dynasty all left inscriptions on their works, followed by Su Wei in the late Yuan and early Ming Dynasties and Shen Deqian in the Qing Dynasty. This painting was collected by Xiang, An Qi and others. After entering the Qing Dynasty, it was included in the imperial palace, and the Night White Map was also deeply loved by Emperor Qianlong. Up to now, he has written many poems. In the turbulent late Qing Dynasty, the "night sketch" flowed out of the Qing Palace, and two more seals were added to the picture scroll, namely "Prince Gong" by Pu Ru, a famous painter in modern times and a descendant of the Qing Dynasty, and "Tibetan seal by an expert painter in Pu Ru". After the Japanese army occupied Beijing in 1930s, Japanese invaders plundered China's cultural relics, and Xinyu Pu was worried that his collection of paintings and calligraphy might be in danger. In addition, the decline of the royal family made the living expenses of the palace expensive. After many twists and turns, through the intermediary of Shanghai antique dealer Ye, "Night White Map" finally fell into the hands of British collectors at the price of 10 thousand silver dollars. After that, the painting was transferred from Edgeworth Beresford David to the Japanese, and then to the Americans after World War II. Finally, 1977 Tommy Tam Foundation donated it to the Metropolitan Museum of Art, and it has been collected ever since.
The National Palace Museum in Taipei wraps a horse map. Silk book, color setting. It is 27.5 cm long and 34. 1 cm wide.
"Wrapping Horses" was originally a frame in "Famous Paintings and Treasures", with the inscription "Han Gan's Original Works, Ding Hai's Imperial Pen" written by Song Huizong and Evonne on the left. There are two black and white horses in this painting. An official walked slowly with a headscarf and a reins in his hand. Ermayina and The Shepherd are neither moving nor intense, and their themes are dull, but they are vividly displayed in Han Gan's works. The scene of the whole painting seems to be that the herdsmen jumped on the horse, sounded the golden pedal and pulled up the reins. The author describes the image of the horse by grasping the reaction of the dark horse at the moment of pulling the reins, such as the hesitant light in his eyes and the four ups and downs in an uncertain order. However, the white horse seems to understand its master's intention, stepping lightly and shaking its ponytail, showing a completely different appearance from the black horse in his eyes. This makes the image of the horse in the painting delicate and interesting, and also makes the whole painting more poetic.
The lines are slender and vigorous, and the pen is rigorous. Its lines always buckle the structure of the horse and fluctuate up and down along the body. The thickness and weight of the conveying line also change easily according to the texture of different parts of the object. For example, the lines of abdomen and buttocks give people a feeling of elasticity when touching the skin, which is completely different from the lines of hooves. Even the hooves have different effects because of the different front and back parts. The front part is tough because of the hoof bones, and the lines are quite hard. The back part is lively and lively because of tendons and hoof hair. The black horse and the white horse use different lines. The author not only pays attention to the perspective relationship of thick before and thin after, but also does not ignore the color effect of heavy before and light after. The black horse pattern is thick and thick, and the white horse pattern is thin and smooth. The figures' clothing patterns are also dense, well-organized, calm and vivid with pens, and are purely from sketches.
In composition, "Wrapped Horse Map" is also quite ingenious. The black horse is placed in the front of the frame, highlighting the majestic momentum of the whole horse; The white horse, on the other hand, uses the overlap of dark horses to show strength with hips, emphasize expression with eyes, and point out action with tail. The operating position of two horses and people is also very reasonable. If the white horse moves half a step, the picture will look dull; To say the least, it will make the whole picture unstable.
A map of gods and horses
The national treasure now in the Liaoning Provincial Museum was painted by Han Gan, a painter in the Tang Dynasty. Vivid form and rigorous composition. The Picture of the Gods depicts the story of Zhi Dun, a representative figure of the Eastern Jin Dynasty and a monk who loves horses. According to the literature, the monk in Zhidun lived in seclusion, preferring to keep eagles and horses instead of riding them. Someone laughed at him, and Zhi Dun said, "I love my God."
This painting is divided into left and right parts. On the right, Zhi Dun and a Gao Shi are sitting on the stone bed on the water slope under the old shade. He was dressed in a cassock, holding a mord in his hand, leaning on the stone bed with one hand, his feet stretched back and his head tilted slightly; A guest opposite me, wearing a robe with wide sleeves, also propped up the stone bed with one hand and stretched back with one foot, all in the same direction as Zhidun, and looked at the God King on the left with rapt attention. Although this guest doesn't look like him, he can see the seriousness of horse appreciation from his back posture. On the hillside stood a man in a Hu suit, his hands clenched, and an eagle stood on it, with his head down, as if looking for something underground, waiting for an opportunity to pounce. On the left is a boy with a ponytail, a stick brush, riding a horse and riding a wave. The horse's head is flat, its hooves are open, its tail is upturned and its mouth is slightly open, which seems to tell the pleasure after bathing. There is no money in this painting, and there is a thin gold word "Han Gan Shen Jun Tu" on the water in front of it. The picture itself is separated from the yellow flowers before and after the water, and there are many marks before and after the Song Dynasty in the collection. The ambiguity before Song Dynasty is not easy to identify, but the seals of Guo Daoheng, Chen Hongshou and Qing Dynasty are still clearly visible.
Originally, the theme of the painting was Zhi Dun's love for horses, but the author did not deliberately depict the characters, but focused on the fine horses, which seemed to highlight horses rather than people. But in fact, the author sets off Zhi Dun's character, character and emotion through the temperament of a fine horse.
In terms of composition, the layout of this picture is relatively loose, the right part of the scene is relatively dense and the left part is relatively loose. In order to prevent the center of gravity of the picture from tilting to the right, the author made careful arrangements. On the one hand, the characters on the shore form a triangular layout according to their identities and relationships; On the other hand, the center of the picture focuses on the horse through the eyes of the characters, which strengthens the weight on the left side of the picture. The area of water in this painting accounts for more than half of the whole painting. The waterline is tortuous and smooth, and there are waves at the horseshoe. The horse is strong and fat, just like Du Fu said, "painting meat without painting bones", but it is not heavy on the water, but it feels very light. Although the right half is painted with three people and trees and stones, it is not crowded, but it feels particularly steep and the stone bed is particularly wide. Although the crown is not drawn, according to the thick roots, when the tree is old, there will be more cool shadows. Both of them are sitting forward, indicating that there must be something to catch people from a horse, which makes the people watching the horse so lost in thought. The harmony of the whole picture shows the beauty of the painter's composition.
In terms of skills, the author described the horse with bones and meat. The horse stepped on the waves on the water to slow down its progress. It will not hide its unique bones because of obesity, nor will it give people a heavy feeling because of its size. On the contrary, I feel as light as a swallow. The steed held its head high and its tail tilted, and the flesh and blood accurately expressed the texture of fur; The transition of coat color is extremely subtle and ingenious. Through accurate description, the author vividly shows the personality of each character in the picture. Zhi Dun's facial expression was silent, looking at Shen Jun's Mercedes-Benz; Although you can't see his facial expression, you can see his aloof character from behind; Stable boy's depiction has a naive spirituality, which seems to have the same hobby as his master. The waiter was attracted by the expression of the guest of honor and unanimously praised Shen Jun. People, horses, trees, stones and water waves in the painting are all drawn with lines first, and then dyed with solid colors such as stone green, bitter green, flower green, harmony stone and self-powder. The color is exquisite and there are no signs of stagnation.
"People Show Horses" hand scroll; Silk ink color is 30.5×5 1. 1 cm. Collection of the Metropolitan Museum of Art?
Han Gan, a famous horse painter in Xuanzong period of Tang Dynasty, handed down masterpieces. This picture shows a herdsman leading a horse on stilts. Vividly shows the horse's posture, accurate, concise and true. The image of herders is powerful and vivid. He wore a tiger hat and a robe of conference semifinals, and he looked fierce. The wrinkles around his eyes and the beard on his cheeks show that he has experienced many vicissitudes. This horse is very strong and energetic. There is an inscription by Song Huizong: "Originally Han Gan, Ding Hai wrote an imperial pen. 」
"Sixteen Shenma" is a hand scroll, and the paper is colored 27x333cm, which is a private collection.
In this hand scroll, Master Han depicts a rider and another 65,438+05 ponies with different postures, which are lifelike. At the beginning of the picture, two horses play side by side dynamically, and the whole picture moves. At the end of the picture, a burly horse stands and looks at the whole herd, especially its strong figure, which seems to be the leader. Its standing is in sharp contrast to other moving companions in the whole picture, and its dark brown figure suddenly stabilizes the picture. The horse in the whole painting is very strong without losing its sense of bone. With their long manes, lively and comfortable nerves and powerful limbs, you can see at a glance that horses that have not been worked by ordinary people or experienced wars live so well that they are really like horses.
In this painting, there are three prints before painting, eight prints in the middle part, one print in the lower left corner after painting, and thirteen prints in * * *. I have seen seals in Zhao's other paintings and calligraphy. The lines are round and harmonious, and the joints of strokes are natural, which was used by Zhao in his early years. The seal of Xiang is consistent with its ordinary seal, but the seal of "grandparents and grandchildren" is rare.