In the history of Chinese painting, horses are an eternal subject.
Since the Han Dynasty, horseback riding or horse-drawn carriages has been a symbol of status, so there are a large number of images of carriages and horses in Han Dynasty murals. In the Tang Dynasty, saddle culture prevailed, forming a form of painting with the theme of saddle horse.
In the field of modern Chinese art, Xu Beihong's horse has become an iconic symbol, and it can be said that Xu Beihong's horse is well known to everyone and everyone knows it. His horse drawings are well-known at home and abroad, especially his most famous "Galloping Horse Diagram".
In the autumn of 1941, in the Second Battle of Changsha, our side was once defeated, the Japanese occupied Changsha, when Xu Beihong went to Penang, Malaysia to collect donations for the War of Resistance, learned the news, was anxious, sleepless all night, the moon was full of thick ink, "Running Horse Map" was completed in one go.
Next, I will show you how such a horse is drawn.
Xu Beihong draws a diagram of the horse steps
1. Light horse body
According to the physical characteristics, horses can be divided into three types: light horses, heavy horses, and small horses, and the Sadhong horse is obviously changed on the basis of light horses.
2. Tall and long horse neck
The tall and long type is the variant characteristic of Xu Beihong's horse.
Observe the height of the sad horse's neck. The necks of heavy horses are thick and short. The neck of the light horse is long and thin, and the sad horse has obviously raised the length even more. From the demonstration diagram, we can observe the mutual position of the head and the back, from which we can see the degree of elevation of the neck.
The neck of the Saddall horse is basically unchanged at the positive angle. This angle is like the front of the back, elongating the neck and making it uncomfortable, giving people a feeling of indifference. Therefore, whether it is elongated or not is for the purpose of beauty. If the neck is elongated in the lower left figure, it feels uncomfortable.
Third, exaggerated horse legs
The limbs are longer than those of a normal horse, which is one of the deformations of the Sadhong horse.
Fourth, the eyes and nose should be large
The structure of the eyes and nose is also very complex, and the tragic horses summarize them into a circle and a point. The horse breeds with narrow brain gate, large nostrils and large eyes are excellent, and we can observe from the works that these three tragic horses have. Horses with large nostrils also have a large lung capacity, and this horse is good at galloping.
Fifth, the ponytail must move
With less light horsetail hair and thick heavy horsetail hair, the Sadhong horse draws on the characteristics of the heavy horsetail, while enhancing its agility and exaggeration, making it in a state of "moving". Even for static horses, their tails are wobbly, thus enhancing the morphological beauty of the horse. The heavy ponytail root is pressed against the hips, while the light ponytail is quite a distance from the hips.
The sad horsetail pen is like an orchid, the pen is heavy first and then light, and the dry pen gradually comes out. Like a calligraphic pen, smooth and flowing. Use the pen to have interlaced variations. Pay attention to the virtual and real changes of the sense of motion. The perspective of the tail of the angle changes greatly, and these characteristics should be taken into account in the shaping of pen and ink, first thick and then light, first real and then virtual, first heavy and then light, which is the principle to be followed.
Compared with the mane, the tail momentum, change, range of motion, perspective relationship, etc. are greater, therefore, it is important to strengthen the practice of the tail, and the tail shape of the Sadhong horse is comfortable, the generalization is strong, the momentum is large, and the style is many, which is a model for painting horses. Writing from left to right is the usual way of drawing, but from right to left is more difficult to master.
Sixth, the mane is plump
You should draw a deep ink layer first, and then a light ink layer. The pen should be fast, the real in and out, the water should be less, the center is the mainstay, there are lateral fronts, and the pen and the pen should be staggered with each other to have thickness; after a little drying, it will be supplemented with a light pen to make the mane more plump.