首页社会【精品推荐】徐悲鸿钟馗捉鬼

【精品推荐】徐悲鸿钟馗捉鬼

来源：生活好品牌时间：2020年11月21日 10:27

原标题：【精品推荐】徐悲鸿钟馗捉鬼

钟馗在中国传统文化中是捉鬼的神，其相貌丑陋，却心地善良，嫉恶如仇，是非分明。人们常挂钟馗画以辟邪驱魔，历代画家也多有涉猎钟馗形象。自钟馗画出现以来，钟馗形象都是面貌丑陋、样子古怪的，但是徐悲鸿先生笔下的钟馗明显以现实生活的人为原型，比例适度，神态饱满，充满了人情味。

Zhong Kui is a ghost hunter in Chinese traditional culture, his appearance is ugly, but kind-hearted, jealous of evil as enmity, clear right and wrong. People often hang Zhong Kui painting to ward off evil spirits, the past generations of painters have also dabled in the image of Zhong Kui. Since the appearance of Zhong Kui's paintings, his images are all ugly and eccentric, but the ones under Mr. Xu Beihong's pen are obviously based on the artificial prototype of real life, with a moderate proportion, full expression and full of human affection.

根据本画题款可知，此画是1938年6月2日端午节在重庆沙坪坝所作。根据徐伯阳、金山合编的《徐悲鸿年谱》记载：1937年抗日战争全面爆发后，中央大学开始搬往重庆，11月中央大学美术系在重庆复课。1938年1月13日，徐悲鸿住进中大宿舍。

According to the title of the painting, this painting was made in Shapingba, Chongqing on June 2, 1938. According to the chronicle of Xu Beihong compiled by Xu Boyang and Jinshan, after the outbreak of the Anti-Japanese War in 1937, Central University began to move to Chongqing. In November, the Fine Arts Department of Central University resumed its classes in Chongqing. On January 13, 1938, Xu Beihong moved into the dormitory of CUHK.

当时日寇侵占了我大半个中国，国土沦丧，生灵涂炭，徐悲鸿悲愤难忍，这一时期钟馗图常见于徐悲鸿的笔下，此画根据题款可知是作于端午节，传统习俗这天是要挂钟馗或者画钟馗以驱鬼辟邪。徐悲鸿此时作此钟馗图，或是借作品聊舒忧愤，寄托自己的爱国情怀。画中钟馗头戴官帽，身着官袍，脚踩黑靴，腰佩宝剑，侧身回望。右侧的小鬼头顶果盘，手提酒壶，其矮小猥琐、低眉顺眼与钟馗的昂首挺立、高大刚毅构成强烈的对比。钟馗之造型生动逼真，比例适度，神态饱满，尤其是面部的刻画，枣红色的面庞上，浓眉大眼，宽口阔鼻，其粗硬的双眉，怒视的双目和飘拂的长髯无不表现出人物的刚劲雄强。

At that time, more than half of China was occupied by the Japanese invaders, the land was lost, the people were in ruins, and Xu Beihong's picture of Zhong Kui was full of grief and anger. In this period, His picture was commonly seen in his pen. According to the inscription, it is known that it was painted in the Dragon Boat Festival, and it was traditionally hung up or painted on this day to ward off evil spirits. At this time, Xu Beihong made this zhongkui map, or through his works to chat about relief of grief and anger, to express his patriotic feelings. Zhong Kui, wearing an official cap and robe, stood with black boots on his feet and sword on his waist, looked back sideways. The little devil on the right head fruit plate, hand wine pot, its small and shabby, low eyebrow pleasing to the eye and Zhong Kui's head erect, tall and resolute form a strong contrast. The modelling of Zhong Kui is vivid and vivid, scale is appropriate, manner is full, especially facial depict, the face of jujube red goes up, thick eyebrow big eye, wide mouth wide nose, its thick and hard double eyebrow, the double eye that glares and the long beard that float whisk all show character's firm vigor and masculine.

在徐悲鸿的人物画中，钟馗是一项很重要的题材，多为近景特写，一般无背景，身穿官服，一身凛然正气，精神矍铄，个性刚烈。他之所以选择以钟馗为题材，大约与他景仰和崇拜任伯年有相当大的关系。任伯年的历史风俗故事类人物中，所绘钟馗多且精，任伯年对这个独特人物十分钟爱。他在《哦诗钟馗图》中写道：“不绘钟馗趋殿时，写他弹铗哦新诗。如今畿辅称宁服，无劳先生吸魅魑”，从诗中不难看出，他是把钟馗作为一种正义的象征。作为任伯年的“后身”，徐悲鸿对钟馗同样视作是他所追求的人格魅力的化身。

Zhong Kui was a very important subject in Xu Beihong's figure paintings. Most of them were close-up close-ups of kui, who was wearing official robes with an austere and upright spirit and strong personality. The reason why he chose Zhong Kui as his subject matter is probably related to his admiration and worship of Ren Bonian. Ren Bonian's historical customs and stories, zhong Kui draw more and fine, Ren Bonian is very fond of this unique figure. In his picture of Zhong Kui in his poem, he wrote: "When not painting his house, write his new poem with clips. Italy is now known as Peaceful clothing, Mr. Wulei absorption ", from the poem, it is easy to see that he is zhong Kui as a symbol of justice. As ren's "back body", Xu Beihong also regards Zhong Kui as the embodiment of the personality charm he pursues.

传统的钟馗画多古怪和夸张，徐悲鸿却对这一定式思维有所改变，他将西画中的素描技巧融入到传统绘画中，亦加入了自己的想象和审美趣味。画法上结合了西画中的造型方法，以线条的干湿、浓淡、缓急的变化表现出人体的结构，脸部的线条细谨精确，衣褶的用笔则方正硬直，笔笔不同，通过对比、疏密的变化，强调了体积感和空间感，线条简单却富有表现力。

Traditional Zhong Kui painting is more eccentric and exaggerated, Xu Beihong has changed this fixed mode of thinking somewhat, he will draw the sketch technique in the Western painting into the traditional painting, also joined his imagination and aesthetic interest. The drawing method combines the modeling method in the Western painting to show the structure of human body with the changes of dry and wet lines, shade and urgency. The lines of the face are fine and precise. The pleats are square and straight with different pens.

本画中钟馗的眼睛成为整幅画的点睛之笔，眼睛瞪大，目光坚定，望向天空，一种愤慨的坚定气氛顿时贯穿全画。相对于技法层次的东西，徐悲鸿更希望通过这幅画激起全民的爱国情怀，为保卫自己的祖国奋斗，同时传达抗日战争必将胜利的坚定信念。

The eyes of Zhong Kui in this painting become the pen of the eyeball of whole picture, eyes stare big, the eye is firm, hope to the sky, the firm atmosphere of a kind of indignation runs through immediately whole picture. Compared with the level of techniques, Xu Beihong hopes to arouse the patriotism of the whole people through this painting, to fight for his country, and to convey the firm belief that the Anti-Japanese War will be won.

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