典藏單位:國立中正紀念堂管理處

館藏編號:PT06906800

賀張誠

尺寸:222x87x6.1(含框)

賀張誠，生平不詳。
自古以來，馬在中國富有多重性徵性意義，是歷代畫家喜愛的主題之一。唐代韓幹擅畫宮中駿馬，重視寫生，所繪《牧馬圖》與《照夜白》出神入化，《唐朝名畫錄》將其列為「神品」，以「開廚已走，拔壁而飛」之語盛讚其技。宋代李公麟亦擅畫鞍馬，《五馬圖》描繪西域進貢五匹良馬與馬伕，以白描技法畫就，精準記錄貢馬的身形姿態與神情。元代趙孟頫以不同角度描繪《人馬圖》、《人騎圖》、《浴馬圖》等作品，除了展現畫家深厚的筆描功力以外，亦將人馬賦予伯樂相馬之隱喻。到了清代，畫馬翹楚當為義大利畫師郎世寧，他運用西畫光影與透視手法，結合工筆技法，紀錄從康熙至乾隆朝宮中豢養之奇駿異馬，著名傳世作品有《百駿圖》等。
民國以來，畫馬的方式產生很大轉變，畫家少以過去宮廷院畫的方式精細描繪，寫意筆法的奔馬反而普受歡迎。其中，最著名的畫家莫過於徐悲鴻。受過日本與西方學院的寫實訓練，徐悲鴻重視動物寫生，造型逐漸由繁化簡，創造出筆簡意賅、豪氣奔放的《奔馬圖》等作品。透過奔馬主題，召喚民族精神，激勵中國人民奮起抵禦外侮，藉以保家衛國。
賀張誠以奔馬象徵蔣中正總統戎馬生涯與為國奔驅之偉業，畫法仿自徐悲鴻卻略顯生硬，然卻忠實傳達出奮進不懈的勇往精神。（507字）

Ho Chang-cheng: biographical details unknown.

Since antiquity, the horse has carried multiple layers of symbolic meaning in China, and has been one of the subjects most beloved by painters throughout the ages. The Tang dynasty master Han Gan excelled at painting the magnificent horses of the imperial stable, and placed great importance on painting from life. His works "Pastured Horses" and "Zhao Ye Bai" are executed with consummate skill, and the "Record of Famous Painters of the Tang Dynasty" placed them in the category of "divine works," praising them with the words "open the door and they will walk out, pull them from the wall and they will fly." The Song dynasty's Li Kung-lin also excelled in saddle-horse painting; his "Five Horses" depicts five fine horses presented as tribute from the Western Regions together with their grooms, rendered in the baimiao (plain line) technique with precise recording of the horses' physique, demeanor, and expression. The Yuan dynasty's Zhao Mengfu depicted men and horses from multiple angles in "Man and Horse," "Man on Horseback," and "Bathing Horses," among other works, not only displaying the painter's deep skill in brushwork and line but also lending the relationship of person and horse the allegorical resonance of a sagely judge of horses. In the Qing dynasty, the foremost painter of horses was the Italian Jesuit painter Giuseppe Castiglione, who employed Western techniques of light and shadow and perspective combined with gongbi brushwork to record the remarkable and extraordinary horses housed in the palace from the Kangxi to the Qianlong reigns; his celebrated surviving works include "One Hundred Horses."

From the Republican era onward, the manner of depicting horses underwent a great transformation; painters seldom followed the precise manner of earlier court academic painting, and freehand brushwork depictions of galloping horses became widely favored. The most celebrated painter of horses in this period is undoubtedly Xu Beihong. Trained in the realistic tradition of Japan and the West, Xu Beihong placed great importance on painting animals from life; his forms gradually moved from complexity to simplicity, producing works such as "Galloping Horses" with their fluid brevity and bold, unrestrained spirit. Ho Chang-cheng's galloping horse technique is modeled on Xu Beihong's manner, though somewhat less fluent in execution, yet it faithfully conveys the spirit of unceasing striving and indomitable forward momentum.