Depiction of Legendary Horses in Tang Dynasty Art by Du Fu
Since the inception of our nation, few artists have captured the essence of equestrian art as brilliantly as the esteemed Jiangdu Wang. General Cao has gained renown over three decades for his unparalleled portrayal of horses, once again bringing to life the mythical divine horse known as “Cheng Huang.” His depiction of “Zhaoye Bai,” named after the Emperor Xuanzong, reverberates like thunder over the Dragon Pool in the Tang palace, resonating for ten days.
Stored within the imperial treasury is a coveted deep red agate plate, retrieved by order of the imperial concubine, which the general graciously accepted as a token of imperial favor, enhancing the splendor of his mansion with delicate silks and fine fabrics. Nobles and dignitaries who possess samples of General Cao’s personal calligraphy find their estates elevated with added prestige.
In the days of Emperor Taizong, the renowned steed “Quan Mao?” graced the imperial stable, while in more recent times, Guo Ziyi’s household was celebrated for the prized horse “Lion Flower.” Today, these two horses are immortalized in the latest artworks, evoking profound admiration and reflection among connoisseurs of equine excellence.
These paintings depict horses renowned for their prowess in battle, capable of challenging thousands, their images unfolding like silk upon the canvas, capturing the essence of thundering hooves stirring up the sands of war. The other seven steeds depicted are equally extraordinary, appearing distinct and ethereal, akin to smoke and snow dancing in a wintry sky.
The frosty hooves of these steeds echo through the ancient groves of towering oaks, tended to meticulously by grooms and stable hands who stand at attention in their ranks. These nine majestic horses, with their dignified and regal bearing, captivate all who gaze upon them, embodying elegance, depth, and stability.
Who among us truly cherishes these divine steeds with earnest admiration? The legacy of Wei Fang and his contemporary, Zhi Dun, shall echo throughout the ages, reminiscent of the days when Emperor Xuanzong embarked upon his triumphant journey to the palace of Xinfeng, with thirty thousand magnificent steeds whose sinews and strength mirrored those depicted in these timeless artworks.
Following the offering of treasures to the River Ancestor, and the departure of King Mu to the heavens, Emperor Xuanzong no longer ventured to the waters of the Jiao River. Have you not seen the pine and cypress groves before the Golden Sacks Mound, once teeming with fine steeds, now echoing only with the cries of birds amidst the wind and rain?
These immortalized horses in Du Fu’s verses and the artwork of General Cao serve not only as symbols of martial prowess but also as tributes to the enduring spirit of artistic expression and cultural legacy in the Tang Dynasty. Their depiction transcends mere representation, resonating with the soul of admirers across generations, perpetuating the timeless allure of equestrian artistry in Chinese history.