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拍品專文
The horse became a central part of Husain's oeuvre since his first representations of the animal in the early 1950s. Almost always, the artist portrays his equestrian figures as strong creatures, usually galloping, with reared heads, flared nostrils and a tremendous sense of dynamism. His inspiration to paint horses was derived from a combination of sources, notably his travels in China and Italy, where he studied Tang pottery horses and discovered the equestrian sculptures of the artist Marino Marini (1901-1980). However, what is liable to have been more influential is an event he witnessed for the first time as a fifteen year old boy: once a year during Muharram, when the religious mourned the death of Imam Husain, the Prophet's son, they would carry tazias or effigies of Imam Husain's faithful horse in a procession through the streets. "[...] the earliest icon that he had a part in creating was the apocalyptic horse of the tazias. He was to remain loyal to that icon; it never strayed far from his imagination in his subsequent paintings." (R. Bartholomew and S. Kapur, Husain, Harry N. Abrams, New York, 1971, p. 32)
Husain's horses are not plastic forms treated to stylistic variations; rather, they are sensuous creatures that have become his personal symbols. In this painting, the horses are dramatically intertwined against the moody, twilight sky, as the black sun they seem to be chasing is about to dip under the horizon. The sky works as a backdrop that gives the composition a theatricality that may find inspiration in Husain's long association with cinema and cinema billboards. Through the uninhibited use of impasto Husain conveys the sense of raw unimpeded power of a herd of wild and untamed horses. According to E. Alkazi, horses are usually recognised as symbols of the sun and knowledge. They are associated with life giving and sustaining forces. Husain's horses have become "[...] a vehicle for multiple utterances - aggression, power and protection." (R. Shahani, Let History Cut Across Me Without Me, New Delhi, 1993, p. 8)
Husain's horses are not plastic forms treated to stylistic variations; rather, they are sensuous creatures that have become his personal symbols. In this painting, the horses are dramatically intertwined against the moody, twilight sky, as the black sun they seem to be chasing is about to dip under the horizon. The sky works as a backdrop that gives the composition a theatricality that may find inspiration in Husain's long association with cinema and cinema billboards. Through the uninhibited use of impasto Husain conveys the sense of raw unimpeded power of a herd of wild and untamed horses. According to E. Alkazi, horses are usually recognised as symbols of the sun and knowledge. They are associated with life giving and sustaining forces. Husain's horses have become "[...] a vehicle for multiple utterances - aggression, power and protection." (R. Shahani, Let History Cut Across Me Without Me, New Delhi, 1993, p. 8)