“哀鸣思战斗，迥立向苍苍”——《美术里的中国》从水墨奔马看民族精神

它的运笔，挥洒自如，仿佛须臾之间随性而就。它的细节，精准到位，仿佛心无旁骛沉静描摹。这，就是我国著名画家徐悲鸿的名作《奔马》。

马，是徐悲鸿先生最钟爱描绘的题材。他笔下的奔马淋漓潇洒，带着时代的风雷驰骋于画坛之上，为当时的国画界注入了清新、有力、刚劲的气息。中央广播电视总台纪录片《美术里的中国》创新传统表现形式，令观者在画面中感受到的不仅是马儿奔腾而来的生命力，更是浓缩在画卷里的剧变中国。

While the sense of freedom in the brushwork appears almost whimsical, the accurate and precise detail is a testament to the artist's adroit draftsmanship. "Galloping Horse" by Chinese painting master Xu Beihong expanded the frontier of the country's painting techniques in depicting equine elegance.

Horses were Xu Beihong's favorite subjects. The vivid nature of the galloping horses rendered on his canvas gave a fresh impetus and power to the Chinese painting circles of his time. "Fine Arts in China," a documentary series produced by China Media Group, draws on its own innovative filmmaking techniques to not only give viewers a sense of the painted horses' vitality, but also the Chinese history and national spirit condensed in these classical works.

《奔马》创作于 1944 年，这正是抗日战争临近胜利之际，也是国画大师徐悲鸿艺术创作的巅峰之时。大师画马强调骨骼，在其躯干和头部都可看到明显的骨骼结构；马腿、马蹄处的细节亦都刻画得十分清晰到位。为了表现马的肌肉，画家将西方的光影画法应用到作品中，形成中国传统水墨与西方写实技法的完美融合。马的臀部和背部常见有大面积留白，目的是通过明暗对比来表现马的雄健，透视感、体积感十足。

"Galloping Horse" was created in 1944 when China's War of Resistance Against Japanese Aggression was drawing to a close. At the peak of his artistic creativity, the 49-year-old Xu Beihong displayed remarkable poise and confidence. Apart from its lifelike form and sense of motion, the image captured the spirit of the horse in full stride, showing the irrepressible dynamism of Chinese fine art.

图：徐悲鸿作品《奔马》

徐悲鸿被誉为“中国现代美术的奠基者”，他一生创作过数以千计的马匹速写稿，对马的气质、结构和日常活动相当熟悉。在他的笔下，一匹匹骏马奋鬃扬蹄，在广袤的土地上飞奔，英姿尽显，神态各异；有的腾空跃起，有的蹄下生烟，有的回首顾盼，有的勇往直前，似乎要破纸而出。这一幅幅万马战犹酣的壮丽画卷，也在推动着中华民族的历史滚滚向前。

图：徐悲鸿作品《九方皋》

1927年，32岁的徐悲鸿结束了八年的旅法生活归国，以旺盛的精力投入到美术教学与国画创作中。他积极推行、实践艺术教学革新，多次举办画展，为抗战筹款，为人民控诉，为国家鼓与呼。

徐悲鸿擅长以马喻人、托物抒怀，并以此来表达自己的爱国热情。1931年，徐悲鸿在作品《九方皋》中倾吐内心郁闷：“愿为知己者用，不愿为昏庸者制”；1941年的《奔马图》以马踏漠野抒发了画家的抗敌之志；1942年的画作《哀鸣思战斗》则以马儿孑立的背影明志向死而生，威武不屈；1944年，抗日战争进入最后的关键阶段，徐悲鸿又一次拿起画笔，让自由的奔马代替他呐喊嘶鸣，向世界宣告中国终将迎来辉煌的凯旋。

In portraying a horse, Xu would give priority to its skeletal structure. For body and head alike, the bones and joints are meticulously sketched. To depict the animals' rippling muscles, the painter demonstrated a mastery of shading and highlighting on the horse's back and haunch. His modeling of the horse also offers an incredible sense of volume. The head and legs were treated similarly. And with his imaginative use of perspective, the horses feel as though they are leaping off the canvas. Dubbed "one of the founders of China's modern fine art," Xu Beihong created thousands of sketches of horses during his lifetime, based on his growing familiarity with the temperament, physique, and daily activities and behavior of these magnificent beasts.

The art maestro was adept at expressing his patriotism using images of horses. Xu returned to China from France in 1927 after spending eight years studying there, and plunged whole-heartedly into teaching and painting. Through a series of exhibitions, he helped raise funds for the war. His pent-up anger and indignation found expression in his paintings.

图：中国现代著名画家徐悲鸿

所向无空阔，真堪托死生。如今，《奔马》就像一位不屈的猛士，伫立于中国美术馆。它不是曲高和寡，不是自命清高，而是呈现出与人民群众、与家国社会同呼吸共命运，能够彰显人文关怀与社会精神的傲然形象。徐悲鸿借马抒情，寄托了人民的爱憎，同时在它们驰骋的马蹄上，烫下了鲜明的时代烙印。

In "Horse Judge" created in 1931, Xu showed how he longed for more opportunities to serve his country with like-minded compatriots. In 1941, he wrote about his profound anguish at the ominous tidings of an important battle against the aggressors; one year later, the whinnying steeds in his painting highlighted his feelings of defiance and resolve against the invading forces. In 1944, as the war was turning to a close, Xu took up his brush again. He painted a free and proud horse to announce his joy at the imminent victory.