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Watching General Cao Paint Horses at the Residence of Recorder Wei Feng

Ever since our dynasty rose, masters of the saddle-steed
Were crowned by the Prince of Jiangdu alone, supreme in craft indeed.
For thirty years the General's brush has held a deathless name,
And here upon the silk once more we see the divine beast flame.
He captured once the Former Emperor's mount, the Shining White,
That soared across the Dragon Pond like ten days' sudden light.
From inner courts of agate red, a polished, glowing bowl,
Sent forth by imperial hand while courtly ladies sought the goal.
The bowl bestowed, the General bowed and danced out through the door,
While light silks and fine brocades pursued his steps before.
When mighty houses and high gates secured his ink and trace,
Only then the folding screens burst forth with living grace.
We call to mind Taizong's fine steed, the Curly-Maned Bay,
And recent days Guo's Lion-Flower, famed in yesterday.
Yet this new scroll displays two beasts so wondrously designed,
They leave discerning connoisseurs in lingering sighs behind.
Behold them charge like mounted hosts where single warriors dare,
Against vast plains of drifted snow and howling desert air.
The other seven span the scroll, distinct and fierce and grand,
As though cold mists and driving snow swept through the frozen land.
Their frosty hooves tread deep among the catalpas in the glade,
While grooms and royal officers stand dense in stern parade.
How marvelous these nine great steeds, contending in their pride,
With noble gaze and steady breath, serene and deep inside.
Who is this passionate patron, whose devotion matches art?
Wei Feng behind, and Zhi Dun of old within the master's heart.
I call to mind the royal tour to Xinfeng's ancient state,
When emerald banners brushed the skies and surged the imperial gate:
Some thirty thousand charging steeds in magnificent array,
Shared every bone and sinew with the beasts portrayed today.
Since tribute vanished to the depths where River Lords reside,
No more we hunt the river dragons down the swirling tide.
Look where Jinshuai Mound stands silent in the cypress gloom—
The dragon steeds are dust and gone, and winds call through the tomb.
國初已來畫鞍馬,神妙獨數江都王。
將軍得名三十載,人間又見真乘黃。
曾貌先帝照夜白,龍池十日飛霹靂。
內府殷紅馬腦盌,倢伃傳詔才人索。
盌賜將軍拜舞歸,輕紈細綺相追飛。
貴戚權門得筆跡,始覺屏障生光輝。
昔日太宗拳毛騧,近時郭家師子花。
今之新圖有二馬,復令識者久歎嗟。
此皆騎戰一敵萬,縞素漠漠開風沙。
其餘七匹亦殊絕,迥若寒空動煙雪。
霜蹄蹴踏長楸間,馬官廝養森成列。
可憐九馬爭神駿,顧視清高氣深穩。
借問苦心愛者誰,後有韋諷前支遁。
憶昔巡幸新豐宮,翠華拂天來向東。
騰驤磊落三萬匹,皆與此圖筋骨同。
自從獻寶朝河宗,無復射蛟江水中。
君不見金粟堆前松柏裏,龍媒去盡鳥呼風。
guó chū yǐ lái huà ān mǎ, shén miào dú shù jiāng dōu wáng.
jiāng jūn dé míng sān shí zài, rén jiān yòu jiàn zhēn chéng huáng.
cēng mào xiān dì zhào yè bái, lóng chí shí rì fēi pī lì.
nèi fǔ yīn hóng mǎ nǎo wǎn, jié yú chuán zhào cái rén suǒ.
wǎn cì jiāng jūn bài wǔ guī, qīng wán xì qǐ xiāng zhuī fēi.
guì qī quán mén dé bǐ jī, shǐ jué píng zhàng shēng guāng huī.
xī rì tài zōng quán máo guā, jìn shí guō jiā shī zi huā.
jīn zhī xīn tú yǒu èr mǎ, fù lìng shí zhě jiǔ tàn jiē.
cǐ jiē qí zhàn yī dí wàn, gǎo sù mò mò kāi fēng shā.
qí yú qī pǐ yì shū jué, jiǒng ruò hán kōng dòng yān xuě.
shuāng tí cù tà cháng qiū jiān, mǎ guān sī yǎng sēn chéng liè.
kě lián jiǔ mǎ zhēng shén jùn, gù shì qīng gāo qì shēn wěn.
jiè wèn kǔ xīn ài zhě shuí, hòu yǒu wéi fèng qián zhī dùn.
yì xī xún xìng xīn fēng gōng, cuì huá fú tiān lái xiàng dōng.
téng xiāng lěi luò sān wàn pǐ, jiē yǔ cǐ tú jīn gǔ tóng.
zì cóng xiàn bǎo cháo hé zōng, wú fù shè jiāo jiāng shuǐ zhōng.
jūn bù jiàn jīn sù duī qián sōng bǎi lǐ, lóng méi qù jìn niǎo hū fēng.
Since the dynasty's founding painting saddle-horses,
Divine and wondrous solely counts the Prince of Jiangdu.
The General has won fame for thirty years,
In the human realm again we see the true Chengming horse.
Once he portrayed the former Emperor's Night-Shining White,
At the Dragon Pond ten days flying lightning.
Within the inner palace vermilion agate bowls,
Jieyu transmitted imperial edicts, court ladies demanded them.
The bowl bestowed, the General bowed and danced away,
Light white silk and fine brocade chasing and flying together.
Noble relatives and powerful gates gained his brushstrokes,
Only then realizing screens generate brilliant light.
In former days Taizong's Curly-Maned Bay,
In recent times the Guo family's Lion-Flower.
Now of new paintings there are two horses,
Again making those who understand sigh for long.
These all in mounted battle one opposes ten,
Plain white silk dim and vast opens wind and sand.
The remaining seven horses are also extraordinary,
Farthest away like the cold sky stirring mist and snow.
Frosty hooves tramping amid long catalpa trees,
Horse officers and grooms standing dense in ranks.
Pitiable the nine horses contend in divine spiritedness,
Glance back lofty, their breath deep and steady.
Ask you, who is the painstaking lover of these?
Behind is Wei Feng, ahead is Zhi Dun.
Remembering of old the imperial tour to Xinfeng Palace,
Kingfisher banners brushing heaven came heading east.
Prancing and majestic thirty thousand horses,
All with this painting shared sinew and bone.
Since offering treasures to court the River Lord,
No longer shooting dragons in river waters.
Do you not see before Jinshuai Mound amidst pines and cypresses,
Dragon steeds completely gone, birds call to the wind.

I. Formal Poetic Architecture & Meter

This masterwork belongs to the genre of Ancient-Style Poetry in Seven-Character Lines. Unlike the rigid constraints of regulated verse, this composition features an expansive, free-flowing rhythm with shifting rhyme schemes in the Level Tone category. Du Fu employs masterful structural modulation, moving seamlessly from historical genealogy and close visual ekphrasis to sweeping political elegy. The pacing shifts dynamically across narrative paragraphs, balancing breathless admiration for artistic genius with profound lamentations over the waning military glory of the imperial house.

II. Historical Chronology & Existential Impulse

Composed during the Dali era of the mid-Tang Dynasty, the poem reflects Du Fuls lifelong obsession with the lost military vigor and golden age of the Kaiyuan reign. At the residence of Recorder Wei Feng, the poet confronts a masterpiece by General Cao Ba, descendant of imperial lineage turned master painter. Witnessing these painted steeds evokes a poignant contrast between the vibrant, expansionist martial culture of early Tang emperors and the fractured, exhausted state of the empire following the catastrophic An Lushan Rebellion. The painting serves not merely as aesthetic representation, but as an elegiac monument to a vanished world of heroic capability.

III. Line-by-Line Exegesis & Allusion Decoding

The poem unfolds across a grand architectural arc, moving from ancient masters to the living brush, culminating in a vast historical sigh.

  • Lines 1-2 (Opening Couplet): The poet establishes an august historical lineage, placing General Cao Ba in direct succession to the peerless Prince of Jiangdu from the founding years of the dynasty.
  • Lines 3-4 (First Antithetical Turn): Tracing the thirty-year renown of the General, the verse invokes mythological equine archetypes, bridging reality and transcendent artistic vision.
  • Lines 5-6 (Second Antithetical Turn / Climax): The ekphrastic core vividly recalls imperial patronage under earlier sovereigns, contrasting intimate palace favor with the enduring magic of the brush that transforms ordinary screens into luminous landscapes.
  • Closing Lines (Resolving Couplet): The poem widens from intimate studio appreciation to a cosmic, elegiac vista at Jinshuai Mound, where the living dragon steeds of the past have vanished into ghostly winds through the cypresses.

IV. Cultural Symbolism & Key Metaphors

The imagery of horses in classical Tang verse carries profound geopolitical and spiritual resonance.

  • Divine Steeds (Longmei): Symbolize imperial vitality, military invincibility, sage governance, and the untamed cosmic energy of the state.
  • Pine and Cypress: Represent steadfast endurance, generational decay, and the immutable passage of time over imperial tombs.

V. Philosophical Core & Global Resonance

Du Fu intertwines Confucian statecraft with Daoist transience, mourning the decay of dynastic strength while meditating on the paradoxical permanence of art against the ravages of history. The poem transcends its immediate art-historical subject to interrogate how human civilization records, mourns, and ultimately outlives its greatest moments of martial and aesthetic triumph.

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