Analysis of "韦讽录事宅观曹将军画马图" - Classical Chinese Poetry

Introduction

This poem, attributed to the renowned Tang Dynasty poet Du Fu (杜甫), celebrates the artistry of General Cao Ba (曹霸), a famous horse painter during the Tang era. The poem not only praises Cao Ba's skill but also reflects on the fleeting nature of fame and the enduring power of art. Du Fu, known for his socially conscious and vividly descriptive poetry, captures both the majesty of the painted horses and the melancholy of their real-life counterparts.

The Poem: Full Text and Translation

Full Text:

国初已来画鞍马，神妙独数江都王。
Guó chū yǐ lái huà ān mǎ, shénmiào dú shǔ Jiāngdū wáng.
Since the founding of our state, none painted horses as divinely as the Prince of Jiangdu.

将军得名三十载，人间又见真乘黄。
Jiāngjūn dé míng sānshí zǎi, rénjiān yòu jiàn zhēn chénghuáng.
The General earned his fame thirty years ago—now the world sees again the true Chenghuang (mythical horse).

曾貌先帝照夜白，龙池十日飞霹雳。
Céng mào xiāndì zhào yè bái, lóng chí shí rì fēi pīlì.
Once he portrayed the late Emperor’s "Shining Night White," lightning struck the Dragon Pool for ten days.

内府殷红玛瑙盘，婕妤传诏才人索。
Nèifǔ yīnhóng mǎnǎo pán, jiéyú chuán zhào cáirén suǒ.
From the palace came crimson agate trays, court ladies bore edicts, attendants sought his art.

盘赐将军拜舞归，轻纨细绮相追飞。
Pán cì jiāngjūn bài wǔ guī, qīng wán xì qǐ xiāng zhuī fēi.
The General bowed, received the tray, and left—fine silks fluttered as nobles chased his favor.

贵戚权门得笔迹，始觉屏障生光辉。
Guìqī quánmén dé bǐjì, shǐ jué píngzhàng shēng guānghuī.
Only when nobles obtained his brushstrokes did their screens glow with newfound splendor.

昔日太宗拳毛騧，近时郭家狮子花。
Xīrì Tàizōng quánmáo guā, jìnshí Guō jiā shīzi huā.
Once, Taizong’s "Curly-Haired Gua," now the Guo family’s "Lion-Flower."

今之新图有二马，复令识者久叹嗟。
Jīn zhī xīn tú yǒu èr mǎ, fù lìng shízhě jiǔ tànjiē.
Now this new painting holds two steeds, leaving connoisseurs sighing in awe.

此皆骑战一敌万，缟素漠漠开风沙。
Cǐ jiē qí zhàn yī dí wàn, gǎosù mòmò kāi fēngshā.
Each could charge through ten thousand foes, their white silk backdrop swirling with desert storms.

其余七匹亦殊绝，迥若寒空动烟雪。
Qíyú qī pǐ yì shūjué, jiǒng ruò hán kōng dòng yān xuě.
The other seven are sublime—distant as frosty skies where snow and mist swirl.

霜蹄蹴踏长楸间，马官厮养森成列。
Shuāng tí cùtà cháng qiū jiān, mǎ guān sī yǎng sēn chéng liè.
Their hooves trample autumn lanes, grooms and stablemen stand in solemn rows.

可怜九马争神骏，顾视清高气深稳。
Kělián jiǔ mǎ zhēng shénjùn, gù shì qīnggāo qì shēn wěn.
Nine noble steeds vie in divine vigor, their gaze lofty, their spirit profound.

借问苦心爱者谁，后有韦讽前支遁。
Jièwèn kǔxīn ài zhě shéi, hòu yǒu Wéi Fěng qián Zhī Dùn.
Who loves them with such devotion? After Wei Feng, before Zhi Dun.

忆昔巡幸新丰宫，翠华拂天来向东。
Yì xī xúnxìng Xīnfēng gōng, cuìhuá fú tiān lái xiàng dōng.
I recall the imperial procession to Xinfeng Palace, emerald banners brushing the sky.

腾骧磊落三万匹，皆与此图筋骨同。
Téng xiāng lěiluò sān wàn pǐ, jiē yǔ cǐ tú jīngǔ tóng.
Thirty thousand galloped, noble and free—all shared these painted steeds’ spirit.

自从献宝朝河宗，无复射蛟江水中。
Zìcóng xiàn bǎo cháo hé zōng, wú fù shè jiāo jiāng shuǐ zhōng.
Since the river-god received treasures, no more dragons are shot in the streams.

君不见金粟堆前松柏里，龙媒去尽鸟呼风。
Jūn bú jiàn Jīnsù duī qián sōngbǎi lǐ, lóng méi qù jìn niǎo hū fēng.
Do you not see? Before the golden mound, among pines, the dragon-steeds are gone—only birds cry in the wind.

Line-by-Line Analysis

1. Opening Praise for Artistry
   Du Fu begins by comparing Cao Ba to the legendary Prince of Jiangdu, emphasizing his unmatched skill. The Chenghuang (乘黄), a mythical horse, symbolizes Cao Ba’s ability to bring divine beauty to life.

2. Imperial Recognition
   The reference to Emperor Xuanzong’s prized horse, "Shining Night White," and the lightning at Dragon Pool suggests Cao Ba’s art was so lifelike it moved heaven. The agate trays and courtly attention highlight his prestige.

3. Nobility’s Admiration
   The poem critiques the aristocracy’s fickle admiration—only after obtaining Cao Ba’s work did they value it. The "Curly-Haired Gua" and "Lion-Flower" were famous steeds, linking past and present glory.

4. The Painting’s Power
   The two central horses embody battlefield might ("charge through ten thousand foes"), while the other seven evoke ethereal beauty ("frosty skies where snow and mist swirl"). The grooms’ solemnity contrasts with the horses’ vitality.

5. Historical Nostalgia
   Du Fu laments the Tang Dynasty’s decline. The "thirty thousand galloping horses" recall past splendor, while the final lines mourn their absence—only birds remain where dragon-steeds once roamed.

Themes and Symbolism

• Art vs. Transience: Cao Ba’s paintings immortalize horses, contrasting with the fleeting glory of empires.
• Nostalgia for Greatness: The poem mourns the Tang’s golden age, symbolized by majestic steeds and imperial processions.
• Myth and Reality: Mythical references (Chenghuang, dragon-steeds) blur with historical figures, elevating Cao Ba’s art to the divine.

Cultural Context

During the Tang Dynasty, horse painting was a revered art form, reflecting military prowess and imperial prestige. Du Fu wrote this poem after the An Lushan Rebellion (755–763), a catastrophic event that weakened the Tang. His elegiac tone mirrors the era’s melancholy—celebrating art while grieving lost grandeur.

Conclusion

Du Fu’s poem transcends mere praise for a painting. It is a meditation on art’s power to preserve beauty amid decay, and a lament for a fading empire. For modern readers, it resonates as a reminder of culture’s endurance beyond political turmoil. The "nine noble steeds" gallop eternally on silk, while the world they once inhabited exists only in memory.