Ma Ta Yan Fei, also known as Ma Long Chao Que, is an outstanding representative of bronze art in the Eastern Han Dynasty. A swift horse is galloping, strong and handsome, with its head held high, its tail cocked, its mouth screaming, its legs flying and a bird standing under its right hind hoof. The bird spread its wings and looked back in surprise. Everything happened in an instant, but it gave people a very broad imagination. Ancient artisans in China used the artistic technique of combining realism with romanticism, combined galloping horses with flying birds wonderfully with rich imagination, ingenious ideas and skillful skills, set off galloping horses with the swiftness of flying birds, and combined the unrestrained momentum of galloping horses with the smooth and stable mechanical structure. Its vigorous vitality and indomitable momentum are the symbols of the Chinese nation.
Copper galloping horse (riding on a swallow) (Eastern Han Dynasty)
It is 34.5cm high, 45cm long and 10. 1 cm wide.
Unearthed from Leitai Han Tomb in Wuwei County, Gansu Province 1969
Now in the Gansu Provincial Museum.
Yumatu
Yuan Zhao Mengfu's "Bathing Horse Map" volume, silk, colored; Longitudinal 28. 1cm, transverse155.5cm.
1964 Zheng Dongguo donated it to the Palace Museum.
This volume depicts a bay of streams, clear and transparent, with phoenix trees weeping willows and interesting shade. There are several good horses and nine horse officials. The horses in the painting have different postures and vivid expressions. Some stood in the water, some drank water and ate grass, some held their heads high and screamed, and some lay looking around. Ma Guan led the horse to the stream, or bathed it, or took a nap on the shore. Figures and pommel horses are depicted in different colors, which are rich and beautiful, so that the color does not cover the pen. Fine pen, rich color, fresh and beautiful style. It represents the typical style of Zhao Mengshun's pommel horse painting, and it is a fine work of art with both form and spirit, interesting and elegant style.
Zhao Mengfu was a leading figure in the painting circle in Yuan Dynasty and the main founder of literati painting in Yuan Dynasty. The core of Zhao Mengfu's aesthetic thought is that painting is precious in the realm. He advocated the artistic thought of the Tang people, but actually denied the realistic painting style of deliberately seeking form in the Song Dynasty. By worshiping the past and seeking the new, he emphasized that it is better to paint characters to describe their temperament, and he also emphasized the imitation of nature when painting landscapes.
Zhao Mengfu (A.D. 1254 ~ 1322) was born in Huzhou. Imperial clan in Song Dynasty used his father's shadow to be an official and joined the army in Ren Zhen. In the Yuan Dynasty, he was recommended as an official, and served as general manager of Jinan Road, bachelor of Confucianism in Jiangsu and Zhejiang, and bachelor of Hanlin. During Yanyou years, he served as a bachelor in Jixian County.
After his death, he was named Wang Wei and became Wenmin. He is highly valued by Yuan Shizu and Yuan Renzong, especially Ren Zongzuo. They often respect his talent and compare him to Li Bai and Su Shi.
He is well-read and proficient in ancient poetry, melody and appreciation. There are 1 notes in Shangshu, Qinyuan and Leyuan respectively, and the works of poetry and prose have been handed down from generation to generation.
Zhao Mengfu also organically combined calligraphy with brush, and found the internal relationship between calligraphy and painting. Zhao Mengfu is good at landscapes, flowers and birds, figures, pommel horses and bamboo graphite plays. He is also proficient in meticulous brushwork, freehand brushwork, color setting and ink painting, which has played a pioneering role in the prosperity of the theory, techniques and styles of literati painting in Yuan Dynasty.
He inherited a generation of painting style and played an important role in the history of China painting. At the same time, he is an outstanding calligrapher.