徐悲鸿奔马图留白：徐悲鸿奔马图赏析
徐悲鸿奔马图留白：徐悲鸿奔马图赏析躯干的大量留白展现了奔马丰硕的体型。腹部的勾线让躯干的体积感非常具有形体的视觉冲击力，背部用淡墨皴染的寥寥数笔，勾勒出了奔马的骨骼肌理，同时也交代了奔马躯干体积的光影关系。It is the most difficult for Xu Beihong to show the movement of horse hair and tail in the wind. However with his deep sketching skills Xu Beihong showed the texture of hair and the movement of dancing with the brush incisedly with ink technique. With the brush technique of both flying white and strong ink side
徐悲鸿的国画具有童子功，自幼随父学习绘画，他四岁入私塾。后又留洋法国，深的西洋绘画的技法，并系统学习了西方绘画的理论，在西方素描的透视关系、空间关系、光影关系的处理上驾轻就熟，并将西方的绘画理论与东方绘画的技法结合起来，产生了独特的笔墨效果。后来他强调"尽精微、致辞广大"、"惟妙惟肖"、"直接师法造化"就是这种东西方绘画技法融合的体现。徐悲鸿所画的奔马图以形神兼备著称，奔马的神韵跃然纸上，整体造型俊朗丰满。
Xu Beihong's traditional Chinese painting had the skill of a boy. He learned painting from his father at an early age. He went to a private school at the age of four. Later he studied the western painting techniques in France and systematically studied the western painting theories. He mastered the perspective relationship spatial relationship and light and shadow relationship of western sketch and combined the western painting theories with the eastern painting techniques to produce unique brush and ink effects. Later he stressed that the integration of eastern and Western painting techniques was reflected in the following aspects: "to the utmost detail to make a speech" "to imitate vividly" and "to imitate directly". The galloping horse drawing by Xu Beihong is famous for its combination of form and spirit. The galloping horse's verve appears on the paper and its overall shape is handsome and plump.
头部使用虚实变化的用笔勾出头颅的轮廓，通过墨色的变化来体现体积穿插关系，使头部的刻画相当生动，特别是头部用淡墨皴染出光影的变化关系，前额的留白让笔墨更加空灵，交代了奔马头部的颅骨体积造型。
The head USES the pen to draw the outline of the head with virtual and real changes and reflects the volume intertexture relationship through the change of ink color which makes the characterization of the head quite vivid. In particular the head is texted with light ink to create the light and shadow change relationship. The blank of the forehead makes the ink more empty and explains the skull volume modeling of the head of The Running horse.
四肢马蹄部位使用浓墨勾线交代出造型关系，浓墨皴染出骨骼与肌肉的变化与衔接，墨色的虚实强调了四肢的骨骼，勾勒出四蹄生风的韵味。
Thick ink lines are used to explain the modeling relationship of the horseshoe part of the limbs. Thick ink stains the changes and cohesion of bones and muscles. The ink highlights the bones of the limbs and Outlines the charm of the wind generated by the four hoofs.
马鬃与马尾在风中的舞动最难表现，然而徐悲鸿以深后的素描功底，熟练的用墨技巧将毛发的质感与飞舞的动感表现的淋漓尽致，以浓墨侧峰皴染兼具飞白的用笔技巧，寥寥数笔勾出了鬃毛马尾飞舞的动感与轻盈。
It is the most difficult for Xu Beihong to show the movement of horse hair and tail in the wind. However with his deep sketching skills Xu Beihong showed the texture of hair and the movement of dancing with the brush incisedly with ink technique. With the brush technique of both flying white and strong ink side peak texturizing a few strokes showed the movement and lightness of the mane and tail dancing with the brush.
躯干的大量留白展现了奔马丰硕的体型。腹部的勾线让躯干的体积感非常具有形体的视觉冲击力，背部用淡墨皴染的寥寥数笔，勾勒出了奔马的骨骼肌理，同时也交代了奔马躯干体积的光影关系。
The bulk of the trunk shows the rich body of the galloping horse. The pointing line of the abdomen makes the bulk of the trunk have a visual impact on the body. The few strokes that are textured with light ink brush on the back outline the skeleton and texture of the running horse and explain the light and shadow relationship of the volume of the running horse.
