A Millennium of Inscriptions on Han Gan’s Night-Shining White
Interpretation Date: 2026-10-23
Artwork Information
한간은 서기 750년경, 당 현종이 소유했던 전설적인 전쟁마 '조야백'의 불타는 듯한 영혼을 포착했습니다. 백마는 어두운 기둥에 묶여 있으며, 눈을 크게 뜨고 입을 벌린 채 격렬하게 몸부림치며 밤속으로 달려나갈 듯합니다. 이 그림은 건륭제의 메모를 포함하여 붉은 색 수집가 인장과 서예로 유명하게 덮여 있어, 여백 부분은 천 년 이상 이어져 온 소유권의 역사적 방명록이 되었습니다.
- Technique
- Ink on paper
- Material
- Paper
Location: The Metropolitan Museum of Art, New York
Interpretation Content
Night-Shining White, painted around 750, depicts a celebrated horse from Emperor Xuanzong’s imperial stables. Han Gan served at the Tang court and studied under Cao Ba, but he placed greater emphasis on painting from life. By repeatedly observing the thoroughbreds in the imperial stables, he was able to capture their fiery temperament. In the image, the white horse is tethered to a wooden post, head raised and mouth open, mane and tail flying, eyes wide with alarm as it strains to break free and gallop into the night. The brushwork is vigorous, the ink spare and pale, and no color is applied; yet the painting fully conveys the powerful, imposing spirit of High Tang horse painting.
In later centuries the scroll accumulated a continuous history of transmission, with colophons and collectors’ seals forming a second historical record. Li Yu, the last ruler of the Southern Tang, inscribed the title slip “Han Gan’s Night-Shining White,” establishing both the painting’s name and its attribution. Song connoisseurs such as Mi Fu added poems and comments praising its brush strength. Jia Sidao of the Southern Song, Wei Su of the Yuan, and Xiang Yuanbian of the Ming, among others, recorded their successive ownership, layer upon layer of seals accumulating. In the Qing dynasty, the Qianlong Emperor repeatedly added poems and affixed numerous imperial viewing seals, bringing court connoisseurship and collecting to a peak.
These red seals and ink traces, spanning a millennium, turn the paper surrounding the central image into a “guestbook of history”: they record authenticity judgments and the sequence of transmission, while also reflecting how different eras imagined Tang painting. Later evaluations remain in tension: Du Fu’s criticism that Han Gan painted flesh but not bone stands alongside Zhang Yanyuan’s praise that he was unsurpassed in ancient and modern times, and the contradiction only enhances his classic status. Han Gan’s horses became models that influenced Li Gonglin, Zhao Mengfu, and others. Night-Shining White is therefore not merely a portrait of a fine horse but a microcosm of Chinese connoisseurship, collecting, and colophon culture.