【精品推薦】徐悲鴻鍾馗捉鬼

鍾馗在中國傳統文化中是捉鬼的神，其相貌醜陋，卻心地善良，嫉惡如仇，是非分明。人們常掛鍾馗畫以闢邪驅魔，歷代畫家也多有涉獵鍾馗形象。自鍾馗畫出現以來，鍾馗形象都是面貌醜陋、樣子古怪的，但是徐悲鴻先生筆下的鐘馗明顯以現實生活的人為原型，比例適度，神態飽滿，充滿了人情味。

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.

根據本畫題款可知，此畫是1938年6月2日端午節在重慶沙坪垻所作。根據徐伯陽、金山合編的《徐悲鴻年譜》記載：1937年抗日戰爭全面爆發後，中央大學開始搬往重慶，11月中央大學美術系在重慶複課。1938年1月13日，徐悲鴻住進中大宿舍。

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.

當時日寇侵佔了我大半個中國，國土淪喪，生靈塗炭，徐悲鴻悲憤難忍，這一時期鍾馗圖常見於徐悲鴻的筆下，此畫根據題款可知是作於端午節，傳統習俗這天是要掛鍾馗或者畫鍾馗以驅鬼闢邪。徐悲鴻此時作此鍾馗圖，或是借作品聊舒憂憤，寄託自己的愛國情懷。畫中鍾馗頭戴官帽，身著官袍，腳踩黑靴，腰佩寶劍，側身回望。右側的小鬼頭頂果盤，手提酒壺，其矮小猥瑣、低眉順眼與鍾馗的昂首挺立、高大剛毅構成強烈的對比。鍾馗之造型生動逼真，比例適度，神態飽滿，尤其是面部的刻畫，棗紅色的面龐上，濃眉大眼，寬口闊鼻，其粗硬的雙眉，怒視的雙目和飄拂的長髯無不表現出人物的剛勁雄強。

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.

在徐悲鴻的人物畫中，鍾馗是一項很重要的題材，多為近景特寫，一般無背景，身穿官服，一身凜然正氣，精神矍鑠，個性剛烈。他之所以選擇以鍾馗為題材，大約與他景仰和崇拜任伯年有相當大的關係。任伯年的歷史風俗故事類人物中，所繪鍾馗多且精，任伯年對這個獨特人物十分鐘愛。他在《哦詩鐘馗圖》中寫道：「不繪鍾馗趨殿時，寫他彈鋏哦新詩。如今畿輔稱寧服，無勞先生吸魅魑」，從詩中不難看出，他是把鍾馗作為一種正義的象徵。作為任伯年的「後身」，徐悲鴻對鍾馗同樣視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.

傳統的鐘馗畫多古怪和誇張，徐悲鴻卻對這一定式思維有所改變，他將西畫中的素描技巧融入到傳統繪畫中，亦加入了自己的想像和審美趣味。畫法上結合了西畫中的造型方法，以線條的乾濕、濃淡、緩急的變化表現出人體的結構，臉部的線條細謹精確，衣褶的用筆則方正硬直，筆筆不同，通過對比、疏密的變化，強調了體積感和空間感，線條簡單卻富有表現力。

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.

本畫中鍾馗的眼睛成為整幅畫的點睛之筆，眼睛瞪大，目光堅定，望向天空，一種憤慨的堅定氣氛頓時貫穿全畫。相對於技法層次的東西，徐悲鴻更希望通過這幅畫激起全民的愛國情懷，為保衛自己的祖國奮鬥，同時傳達抗日戰爭必將勝利的堅定信念。

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.