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臺灣DM德馬甲骨文數字文化非遺傳承館20260204期 香港東方書畫院［院長梁君度］ 《徐悲鴻與韓幹畫馬》 Xu Beihong and Han Gan's Paintings of Horses 
當徐悲鴻的「奔馬」與韓幹《照夜白圖》中的「白馬」隔空對望，一場跨越千年的藝術對話就此展開。他們以不同的筆墨，為中國美術史留下了「馬」的雙重寫照：韓幹定格了盛唐的雍容；徐悲鴻則賦予了馬現代的精神。 他們的創作是其各自時代精神的投射。韓幹身處開元盛世，宮廷御馬是物質豐饒的象徵。他筆下的「馬」，如《照夜白圖》中繫樁的「白馬」，膘肥體壯、靜穆從容，這既符合「以肥為美」的唐代審美，也成為一個鼎盛王朝自信的隱喻。而徐悲鴻的「奔馬」，誕生於民族存亡的抗戰時期。他筆下四蹄騰空的馬，不再是玩物，而是「山河百戰」的象徵，充滿着衝破畫面、奔赴戰場的力量感。 在技法上，兩人的突破同樣具有里程碑意義。韓幹開創「畫肉」技法，以細筆勾勒與皴擦，細膩呈現御馬豐腴的質感與光澤，在傳統「骨法用筆」中融入體積感，為後世水墨寫實奠基。徐悲鴻則融合西方解剖學與中國寫意，創立「寫骨」新範式。他以大寫意潑墨塑形，焦墨勾骨，通過明暗對比強化立體感，飛白技法表現動勢，使馬兼具東方神韻與現代衝擊力。 兩者筆下的馬，承載着截然不同的精神內核。韓幹的御馬靜穆從容，是「太平有象」的象徵，蘊含着儒家「致中和」的理想，與盛唐藝術的整體「靜氣」相通。徐悲鴻的「奔馬」則是「天行健」的現代詮釋，是獨立精神與民族覺醒的載體，如同激勵民眾的視覺號角。 從韓幹到徐悲鴻，馬的形象演變折射出中國文化基因的傳承與嬗變。韓幹的「肥馬」體現農耕文明下人與自然的和諧；徐悲鴻的「奔馬」則凸顯工業文明時代人的主觀能動性。這一轉變，既是時代的必然，也是藝術的自覺。 他們的藝術路徑也為後世留下寶貴啟示：韓幹「師法自然」的原則，倡導深入生活觀察；徐悲鴻「中西合璧」的理念，開拓了傳統水墨的現代化道路。 在藝術星空下，韓幹與徐悲鴻以馬為媒，完成了一場跨越千年的對話：韓幹說「這是我們的過去」，徐悲鴻答「這是我們的未來」。在這場對話中，中國藝術的生命力，如同那駿馬，永遠在傳承與創新的道路上馳騁不息。 
When Xu Beihong's "Galloping Horse" and Han Gan's "White Horse" "Night Light" are separated by time and space, a dialogue across a millennium of art unfolds. With different brushwork, they have left a dual image of "horse in the history of Chinese art: Han Gan captured the prosperity of the flourishing Tang Dynasty; Xu Beihong, on the other hand, endowed the horse with a spirit. Their creations are a reflection of the spirit of their respective times. Han Gan, who lived during the Kaiyuan Flourishing Age, saw the royal horses a symbol of material abundance. The "horses" in his works, such as the "white horse" tied to a stake in "Night Light," are strong, calm and composed, which not only meets the Tang Dynasty's aesthetic of "fat is beautiful" but also becomes a metaphor for the confidence of a prosperous dynasty. In contrast,u Beihong's "Galloping Horse," born during the war-torn period of the nation's survival, is no longer a plaything but a symbol "hundreds of battles in the mountains and rivers." The horses with their hooves in the air are full of power and a sense of breaking through the picture and rushing to battlefield. In terms of techniques, both men's breakthroughs are also of milestone significance. Han Gan pioneered the "painting flesh" technique, using fine lines cinnabar to meticulously present the rich texture and luster of the royal horse, integrating a sense of volume into the traditional "bone method with a brush," laying foundation for later ink-wash realism. Xu Beihong, on the other hand, integrated Western anatomy with Chinese freehand brushwork, creating a new paradigm of "writing." He used bold freehand brushwork to shape the horse, used burnt ink to outline the bones, and enhanced the sense of volume through the contrast of light and dark. flying white technique expressed the momentum, making the horse both embodying the Eastern charm and possessing the modern impact. The horses under their brushes carry completely different spiritual cores Han Gan's royal horse is calm and composed, a symbol of "peaceful images," containing the Confucian ideal of "achieving the mean," and is harmony with the overall "serenity" of the flourishing Tang art. Xu Beihong's "Galloping Horse," on the other hand, is a modern of "Heaven's movement is vigorous," a carrier of independent spirit and national awakening, like a visual trumpet that inspires the people. From Han Gan tou Beihong, the evolution of the image of the horse reflects the inheritance and evolution of China's cultural genes. Han Gan's "fat horse" embodies the between man and nature under the agricultural civilization; Xu Beihong's "galloping horse" highlights the subjective initiative of human beings under the industrial civilization. This transformation not only the necessity of the times but also the self-consciousness of art. Their artistic paths also leave precious inspirations for later generations: Han Gan's principle "learning from nature" advocates observing life in depth; Xu Beihong's concept of "blending Chinese and Western" pioneered the modernization path of traditional ink. Under the artistic starry sky, Han Gan and Xu Beihong, with the horse as the medium, completed a dialogue across a millennium: Han Gan, "This is our past," and Xu Beihong replied, "This is our future." In this dialogue, the vitality of Chinese art, like thateed, is always running on the road of inheritance and innovation. 
特別鳴謝合作單位： Special thanks to partners: 
開創人：CEO/林鏡德 LIN JING DE DMSIXSEVEN / 林鏡德 LIN JING DE 1973 
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