Chinese+art+-+Heavenly+Horse

Heavenly Horse, Metropolitan Museum of Art, hanging scroll; ink on paper

http://www.metmuseum.org/Collections/search-the-collections/60046642


 * Heavenly Horse, Xu Beihong, China, Republic Period, 26"X11", 2005.509.15, The Lin Yutang Family Collection**

**Introduction**: This is a painting, created by ink on hand scroll was of the work of Xu Beihong (dates), in 1942. A portrait of a horse is a dynamic image of Chinese culture, which Beihong has shown here, incorporating this western imagery of horse into a Chinese painting. Historically, horses were a foreign animal, and well sought after by the Chinese as they were seen as images of power, eliteness, and national pride. Being a symbolic animal in itself, Beihong recreates a rather naturalistic representation of a horse figure by using depth and gradation to enhance the contours of the animal.The horse figure here is not of a muscular, powerful animal, but rather mature and somewhat weathered. Coinciding with this, a poem at the top of the painting gives somewhat of a political approach to encourage patriotism and compare old war horses to war veterans and touches on their fighting spirit.

**Descriptive Analysis**: This painting depicts a single horse amidst a washed background of smokey gray exterior, displaying a minimal outline and heavier shading in the definitive features of the horse. The horse is centered with the head facing to the left, and windblown mane and tail carried in opposite ways. The physical condition of the horse is rather skeletal, yet yields to a previously strong animal, with a worn exterior. The head of the horse is held high and is shadowed with a mid tone gray wash, and leaving a streak of white along the bridge of the nose. Dry brush strokes create a feathered thick mane and tail. There is a definitive muscle tone in the neck of the horse that is emphasized by contrasting black and white shadows and highlights with very little grayscale, yet softens around the belly of the horse, showing a slight curvature in the back and a rounded abdomen. The hoofs are white, and the stance of this horse is straightforward, with legs close together. The legs of the horse also give a slight knobby appearance, which contrasts with the soft cloudy background. There is no definite horizon line behind the figure, but a darker foreground gives the depth around the horse with a faded use of ink as the background emerges. At the top of this painting is a poem by Du Fu (712-770) about retiring old war horses that still show their fighting spirit (Met Museum 2013). The text is written the standard script and fills nearly 1/8 of the composition.

**Formal and Contextual Analysis:** This image of a retired war horse created by Xu Beihong, was a symbol of the artist's passion for the importance of horses in Chinese culture (footnote). Formerly viewed as symbols of power, this portrait shows another somewhat reflective attitude of the horse and can be linked politically to the tides of the time. Illustrating an older horse, yet still strong in spirit, can display a less powerful nation with a strong sense of patriotism. Xu Beihong was a very passionate believer in the symbolism of horses as it relates to the culture of China. Originally associated with supernatural beings and carrying chariots, horses became symbols of art that were perfected into popular styles especially during the Tang Dynasty (Harrist 17). Including a coinciding poetic verse was also popular at this time, to enhance the artist's vision as it was transferred to an audience. The poem shown here is also important to the image of the horse and the true meaning of the portrait. Horses have historically been around the Chinese culture and were found even as remains near ancient sites (Proceedings 162). What has evolved over time is the importance of the horse to the Chinese people. No longer a symbol of just beauty and intelligence, the horse became a political symbol used by the rulers of China (footnote). The relationship between man and horse in a military and economic sense has created a much more inclusive importance of the horse to China. This is especially relevant in this model of the horse in that it is not shown as ornate or powerfully muscular, but rather a stoic and defined stance as a domestic animal. There is no wild factor shown here, and the reserved nature of the animal shows a history of domestication, a link to mankind. China has also valued horses throughout the culture as a connection to the west, as horses were at one time a great advantage in warfare that the Chinese learned was integral to their military success. Historical Chinese art includes various references to horses as a way to put China on a global scale of power and military skill. All of these strong references to the horse can be culminated in this particular portrait as a backstory to the lone horse shown in Beihong's model. Many other works of this nature tend to show either a very weak horse that is skeletal and miserable, or a powerful and wild animal. This painting nearly meets in the middle in terms of mood and impression of attitude.

**Personal Interpretation:** I personally feel very connected to this painting because it seems more realistic and truthful in nature. I can understand the political references that may have been intended with this piece as far as looking back onto the past and keeping a patriotic spirit, even though the physical abilities may be long gone. There is a somewhat lonesome stance in this horse that leaves a little to mystery, which I find interesting. This painting keeps me intrigued as to the backstory of this horse and to what the future will hold. There is a sense of determination that is very evident in the stance and expression of the horse that enhances the approachability of the piece. I certainly think that the poem textually enhances the already strong composition and gives added insight to the artist's intentions, which I appreciate as a viewer.

Sources: Metropolitan Museum of Art, [|Met Museum] Silk Road Art [|horses and camels] Harrist, Robert E. //Power and Virtue: The Horse in Chinese Art//. New York: China Institute Gallery, 1997 Stanley J. Olsen.The Horse in Ancient China and Its Cultural Influence in Some Other Areas.Proceedings of the Academy of Natural Sciences of Philadelphia, Vol. 140, No. 2 (1988), Chinese Horses. Margareta M. Salinger. Parnassus, Vol. 6, No. 5 (Oct., 1934) H. G. Creel. The Role of the Horse in Chinese History. The American Historical Review. Vol. 70, No. 3 (Apr., 1965)