By aesthetic standards of the day, they were quite realistic. Horses made frequent appearances in ancient scroll paintings, but most were static and inconspicuous, acting as loyal companions to reclusive scholars or officials seeking sanctuary in nature.
Unlike ancient artists obsessed with saddled horses, Xu Beihong (1895-1953) preferred feral and wild ones. Trained in France, the Chinese master studied equine anatomy, spending hours observing horses' movements and expressions. Especially fond of Mongolian breeds, he left a treasure trove of up to 1,000 sketches.
Xu's portrayals of horses galloping or trotting past, in a rich variety of poses, are some of the most captivating of their kind. Using mostly black ink, they combine the best methods from East and West. The lines and brush strokes are simple, yet invariably evoke the essence of the animals.
They are a contrast to the horses painted by Giuseppe Castiglione (1688-1766), an Italian missionary who created many eight-horse images for the Qing emperors. In full color and resembling traditional European oil paintings, they were, however, closer in spirit to the Chinese style of depicting horses. There was nothing of the energy and exhilaration found in Xu's drawings.
Different emphasis
While the tale of Pegasus is not widely known in China, "flying horse" is by no means a strange term. Several brands are named after it, most notably a cigarette with a long history.
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