設色紙本 鏡框 一九三八年作

款識：
廿七年大暑。悲鴻。

鈐印：「東海王孫」、「半榻琴書」。

香港蘇富比，一九八九年五月，中國書畫拍賣，編號162

-Signs of paper loss can be found at the inscription, where the dedication made by the artist appears to be removed. Signs of paper loss can be found at the top and at the bottom, where there appears to be paper tear previously. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：本幅原具上款，首次釋出時挖去，僅剩「存」字。現藏者得後重裱整理，「存」字亦去掉。

徐悲鴻在眾多動物中，畫馬以外，特別喜歡獅子，此淵源可追溯自留學歐洲時期。他曾暫居德國柏林，一連三個月到動物園裏觀察獅子動態，並進行速寫，積稿頗多，自云：「速寫猛獸，其樂無窮，習之既諗，幾通其性」，且賦詩擬人法咏其性格，日後屢現畫中，表現了他對此動物的鍾愛和了解。

返國後，正值局勢危急，戰火逼近眉睫，他筆下的獅子又增添多一重意義。一九三九年，他完成了名作〈側目〉，圖中獅子側目注視在岩石上爬行的蛇，取象徵手法，以生動的圖象影射了當時國難方殷下的蜩螗政局，清晰地反映了他愛憎分明的態度：擁抱光明，唾棄黑暗！如此構圖，或借鑑法國雕塑家巴里（Antoine Louis Barye，1795-1875）之作品，如〈待獵之獅〉、〈在壓迫蛇的獅子〉等，都對悲鴻創作頗具影響。他在四一年寫有〈獅〉，題曰「思Barye安可及乎！」，即反映了畫家此題材創作淵源的承傳。

若考悲鴻之創作過程，〈側目〉之原型更早見於一九三五年之〈猛獅圖〉，局部稍作修改。日後反覆寫之，僅略為改動矣。本幅與〈側目〉相距一年，構圖最為接近，只是獅子軀體較粗壯，岩邊點綴嫩草，畫面稍添色感。圖中，獅子身軀佔畫面大半，側身作勢，蓄勁待發，瞠目直瞪，精光迸射，烱然有神，呈不怒自威之貌。右下方長蛇瑟縮爬行，頭部昂起，張口吐信，裝腔作勢，似欲反撲，呈對峙之局。但從位置經營，以至體積大小比例，強弱之勢立判。畫家對正義鎮服邪惡之決心及意志，其盼望之殷及思想深度，由此見矣！

參考資料：

一九三五年〈猛獅圖〉可參見香港蘇富比，二○○七年十月，張宗憲珍藏中國近代書畫（第二部份）專拍，編號8
一九三九年〈側目〉可參見〈徐悲鴻彩墨畫選〉（人民美術出版社，一九八一年六月），圖版61
一九四一年〈獅〉可參見〈徐伯陽藏畫展〉展覽目錄（香港，一九九○年），頁15