徐悲鴻（1895年7月19日~1953年9月26日），生于中國江蘇省宜興屺亭橋。中國現代美術事業的奠基者，是兼采中西藝術之長的現代繪畫大師，前驅式的美術教育家。 自幼隨父親徐達章學習詩文書畫，歷任中央大學藝術系教授等職。
Xu Beihong (July 19, 1895 ~ September 26, 1953), born in Qiting bridge, Yixing, Jiangsu Province, China. The founder of China's modern art career is a modern painting master and a pioneer art educator who is also the leader of Chinese and Western art. Since childhood, he studied poetry, calligraphy and painting with his father Xu Dazhang, and successively served as a professor in the Art Department of Central University.
徐悲鴻擅長中國畫，油畫，尤精素描。他的畫作滿含激情，技巧極高。所作國畫彩墨渾成，尤以奔馬享名于世，奔馬最能反映徐悲鴻個性，表達他思想感情。他的繪畫創作堅持“師法造化，尋求真理”的原則。
Xu Beihong is good at Chinese painting, oil painting and sketch. His paintings are full of passion and skill. The color and ink of the traditional Chinese painting is perfect, especially in the world. Galloping horse can best reflect Xu Beihong's personality and express his thoughts and feelings. His paintings adhere to the principle of "learning from nature and seeking truth".
徐悲鴻先生是推動中國畫繼承、發展和傳播的美術教育家，更是將自己的藝術、個人的生活、工作、社會交往與影響，甚至生命，與國家、民族的利益、榮辱相互結合、緊密聯系、融為一體的文化斗士和著名的社會活動家。
Mr. Xu Beihong is an art educator who promotes the inheritance, development and dissemination of Chinese painting. He is also a cultural fighter and a famous social activist who combines his own art, personal life, work, social interaction and influence, even life, with the interests and honor of the country and the nation.
徐悲鴻早期畫的馬頗有一種文人的淡然詩意，顯出"躑躅回顧，蕭然寡儔"之態。至抗戰爆發后，徐悲鴻認識到藝術家不應局限于藝術的自我陶醉中，而應該與國家同呼吸共命運，將藝術創作投入到火熱的生活中去，所以他的馬成為正在覺醒的民族精神的象征。
Xu Beihong's early paintings of horses have a kind of literati's indifferent poetry, showing a "wandering review, desolate couple" state. After the outbreak of the Anti Japanese War, Xu Beihong realized that artists should not be limited to the narcissism of art, but should share the same fate with the country and put art creation into the fiery life, so his horse became a symbol of the awakening national spirit.
此《奔馬圖》作于1941年秋季第二次長沙會戰期間。此時，抗日戰爭正處于敵我力量相持階段，日軍想在發動太平洋戰爭之前徹底打敗中國，使國民黨政府俯首稱臣，故而他們傾盡全力屢次發動長沙會戰，企圖打通南北交通之咽喉重慶。二次會戰中我方一度失利，長沙為日寇所占，正在馬來西亞檳榔嶼辦藝展募捐的徐悲鴻聽聞國難當頭，心急如焚。他連夜畫出《奔馬圖》以抒發自己的憂國之情。
This painting of galloping horses was made during the second battle of Changsha in autumn 1941. At this time, the Anti Japanese war is in a stage of stalemate between the enemy and our forces. The Japanese army wants to completely defeat China before launching the Pacific War, so that the Kuomintang government will bow to the throne and become a minister. Therefore, they have made every effort to launch Changsha war repeatedly, trying to get through Chongqing, the throat of North-South transportation. In the second battle, our side once lost. Changsha was occupied by Japanese aggressors. Xu Beihong, who was collecting money for an art exhibition in Penang, Malaysia, was very anxious to hear about the national crisis. He painted "galloping horses" all night to express his feelings of worrying about the country.
馬是徐悲鴻繪畫的標志性題材，他筆下的馬千姿百態，充滿著激情和活力。并且他的奔馬往往因時因事有感而作，激情寓于筆墨間，具有動人心魄的力量。
Horse is the symbol theme of Xu Beihong's painting. His horses are full of passion and vitality. And his galloping horse is often made because of the time and the feeling of things. His passion lies in the ink, which has a soul stirring power.
在此幅畫中，徐悲鴻運用飽含奔放的墨色勾勒頭、頸、胸、腿等大轉折部位，并以干筆掃出鬃尾，使濃淡干濕的變化渾然天成。馬腿的直線細勁有力，有如鋼刀，力透紙背，而腹部、臀部及鬃尾的弧線很有彈性，富于動感。整體上看，畫面前大后小，透視感較強，前伸的雙腿和馬頭有很強的沖擊力，似乎要沖破畫面。
In this painting, Xu Beihong uses bold ink to outline the big turning points of head, neck, chest, leg, etc., and uses a dry brush to sweep out the mane, making the change of density, dryness and wetness natural. The straight line of the horse leg is thin and powerful, just like a steel knife, which is powerful through the back of paper. The arc of the abdomen, buttocks and mane is very elastic and dynamic. On the whole, the picture is large in front and small in back, with a strong sense of perspective. The stretched legs and horse head have a strong impact, which seems to break through the picture.
畫中的馬肌肉強健，腹部圓實，頭略向右傾，鼻孔略大。這匹馬正騰空而起，昂首奮蹄，鬃毛飛揚，精神抖擻，意氣風發，讓人熱血沸騰。作者只寥寥幾筆，就使這匹馬有形有體，剛勁有力。作者用濃墨來體現鬃毛的厚密，用淡墨枯筆掃出其飛揚之勢。
The horse in the picture has strong muscles, round abdomen, slightly right leaning head and slightly large nostrils. The horse is rising in the air, head up and feet up, mane flying, energetic, spirited, people boiling. With only a few strokes, the author made the horse strong and physical. The author uses thick ink to reflect the thick mane, and uses light dry ink to sweep out its flying potential.
該畫中，采用了西方繪畫中體與面、明與暗分塊造型的方法，同時吸收傳統沒骨法，結合線描技法，縱情揮灑，獨具一格。馬的頭頂、胸部、馬蹄、臀部留白，有強烈的光影效果。腹部陰影處，用墨比較淡，顯示出了柔軟而富有彈性的質感。這幅《奔馬圖》能讓人感受到馬呼出的熱氣、滾燙的體溫，甚至淋漓的汗水。它強健的生命力正是抵抗侵略的中國人民的民族精神的象征。
In this painting, the method of body and surface, light and dark block modeling in Western painting is adopted. At the same time, the traditional boneless method is absorbed, combined with line drawing technique, and the painting is unique. The horse's head, chest, hooves and buttocks are left blank, with strong light and shadow effect. The shadow of abdomen is lighter with ink, showing a soft and elastic texture. This "galloping horse" can make people feel the heat, hot body temperature, and even sweat. Its strong vitality is the symbol of the national spirit of the Chinese people who resist aggression.
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