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本画涵盖其画马的各种造型，汇聚多种经典元素于一身，马之头部刻画细致入微，眼、鼻、嘴、耳皆栩栩如生，马身细长，颈、胸、肚、臀、腿处比例精确，虽瘦骨嶙峋，却有一种四蹄生风的力量感，马尾与颈鬃飘动飞逸，笔墨酣畅淋漓，一气呵成，简单的线条将柔韧的踝关节和坚硬的蹄子等体面转折关系惟肖惟妙地刻划出来，达到尽微致广的境界，画面中，徐悲鸿不仅充分发挥传统笔墨的轻重、疾徐、枯湿、浓淡、疏密、聚散的节奏韵律的抒情性，而且充分掌握笔墨作为“造型语言”的严格写生、写实的造型性，使两者巧妙地合而为一，标志著中西融合的艺术理论和理想在创作实践中的最高成就。This painting covers various forms of horses, gathering multiple classic elements into one. The depiction of the horse's head is meticulous, and the eyes, nose, mouth, and ears are all lifelike. The horse's body is slender, and the proportions of the neck, chest, belly, buttocks, and legs are precise. Although it is thin and rugged, it has a sense of the power of the four hooves. The ponytail and neck mane flutter and fly freely, and the brushwork is vivid and flowing. The simple lines vividly depict the graceful turning relationship between the flexible ankle joint and the hard hooves, achieving a state of micro to wide. In the painting, Xu Beihong not only fully utilizes the traditional brushwork of light and heavy, slow, dry and wet, thick and light, The lyrical nature of the rhythm and rhythm of density and dispersion, as well as the strict sketching and realistic modeling of brush and ink as the "language of form", cleverly integrate the two into one, This marks the highest achievement of the fusion of Chinese and Western artistic theories and ideals in creative practice.