1938, Ma Wanli and Zhang Daqian jointly painted the top of Guilin, and Xu Beihong wrote the first line of the picture scroll "Top of Guilin" and wrote a poem. The map of Guilin's Duxiu Peak is now in the Museum of Guangxi Zhuang Autonomous Region.
The long scroll of Guilin's Duxiufeng is one of the most representative artistic creations, and it is also called Ma San's long scroll with Nine Hundred Lithograms and Yunxi Map. Although Ma Wanli is famous for his flower-and-bird paintings at home and abroad, his landscape paintings, such as "Mount Guilin", "Beautiful House in Yunxi" and "Laorenshan in Guilin", are also rare works of art with personal style.
The Portrait of Du Xiufeng in Guilin (the long scroll painting part) was created in the Republic of China and was completed by two famous modern painters, Ma Wanli and Zhang Daqian, on 1938. The author chose two sides to describe the beautiful scenery of Duxiufeng from different angles. One is Ma Wanli's self-painting after he went down the mountain in June, and the other is the cooperation between Ma Wanli and Zhang Daqian after revisiting Du Xiufeng in August. Attached to the volume are the long postscript of Xu Beihong, Zhang, Yu Dafu, Qiao Dazhuang and Zhu Lezhi. The poems in the volume are gorgeous and the calligraphy is exquisite, which has very precious cultural and artistic value. Colored paper, 33.8 cm long and 840 cm wide. The book "Red Claws of Snow Mud" (Twenty-three Opens) was written during Ma Wanli's stay in Beijing in 1954. In Beijing, he and Jin Moyu, the last generation of Gege, experienced a tearful, half-life and lost love. Faced with such a teenager, the last descendant of the royal family in the former Qing Dynasty, Ma Wanli used "wordless poems" to express the feelings of two people in love vividly: wanton, sad, sweet, bitter, happy or lost.
On the artistic level, the works are based on a wide range of materials: flowers, feathers, mountains and rivers, grass insects, everything in the world, and all kinds of things; Poetry, books, paintings and seals come together; Among them, Ma Wanli dressed up with the rouge of Jin Moyu and laughed at the beautiful woman, which was very interesting and casual.
The painter attached his feelings to the pen, and the sad feelings of the lonely literati were given to the pen tip and jumped to the paper. Ma Wanli's life state and inner world in that period are presented in a rich and vivid way, which makes the viewers clear at a glance. Joy, anger, sadness, joy, homesickness, lamenting the unfair fate ... there are many forests. I am desperate when I am depressed, and sometimes I will say that I am a teenager. There are both high spirits and low self-mockery. All-encompassing, it is really the highest refinement of Ma Wanli's transcendental artistic attainments. The ink of Jin Moyu is also in a miscellaneous book. At that time, their emotions and moods set off against each other, and the isomorphism became a mixed life scene, with laughter and scolding. It can be said that a flower is a world and a book is a life. Sweet and sour are paid. It can even be said that Snow Mud Claw is a very readable novel, which depicts the mixed life of Ma Wanli and Jin Moyu. The book "Full Miao" (14 pages) is written in pure ink painting. The book covers the calligraphy of flowers, birds, insects and vines, and describes the relationship between Ma Wanli and Jin Moyu from bosom friends to lovers. As far as the artistic level of the work itself is concerned, the scholar Miao is not under the book Snow Mud Claw at all.
In the early days of the founding of the People's Republic of China, the country was busy building production, political movements were frequent, the cultural atmosphere was very depressed, and art was not valued. From the prosperous south of the Republic of China to Beijing, the newly established capital of New China, no matter the influence of the current situation and political environment or the gap between regions and cultures, Ma Wanli, as a traditional literati, feels particularly lost and even desperate about his situation and the prospect of painting art. Even if the pride of "literati" still exists, I try my best to calm myself down and face life with an open mind. But he still can't hide that his confidence has been lost, his life is frustrated, his mood is low, and he shows resentment from time to time. At this time, Jin Moyu's appearance was like a bright light illuminating his world, and it was hard to find a bosom friend, let alone in that situation. Both of them are strongly attracted to each other, know each other, know each other and fall in love.
The book "People Miao" was written before the book "Snow Mud Red Claw". Emotionally speaking, the book "People Miao" is slightly more cheerful than the book "Snow Mud Red Claw". In the period of snow mud and red claw, because of the differences and differences in personality, it presents a more bitter and tangled emotional state. These two albums are more like the first and second volumes (episodes) of a novel, and the first (prequel) and second (sequel) of a movie. They are sisters to each other and show a personal life with deep feelings and intertwined moods. Written by Guilin Laorenshan at 194 1. With deep and sad brushstrokes, Mr. Ma Wanli described the gloomy and desolate scene of Laorenshan after the Japanese invaders wantonly slaughtered the people of Guilin.
According to the personal description of the survivor, Mr. Zhenqiu, the author described in detail the terrible massacre of Guilin civilians by the Japanese invaders on August 4. First, the plane was bombed by surprise, and then those who fled into the mountains were randomly shot by machine guns. The people in Guilin failed to take refuge, and the victims were overwhelmed and the blood flowed like a river.
The long postscript on the painting was written by Mr. Wan Li in one go after the painting, accounting for more than one third of the whole work. The author's pain and anger at the Japanese invaders' extermination of human atrocities can be described as a blow to the face and can still be clearly felt today. The long postscript of thousands of words of running script shows the author's profound calligraphy skills, solid brushwork and full of pain and persistence.
It implies that the sons and daughters of the Chinese nation will stand firm like the surviving Mr. Zhenqiu. With the indomitable struggle of the people, we can recover the rivers and mountains and China. Ma Wanli 900 Lithographic Fine House Map Long Volume
This exquisite 900-stone building is the name of Ma Wanli. 1938, Zhang Daqian wrote "Nine Hundred Lithographs of Fine Houses" to praise Ma Wanli's seal cutting. Ma Wanli chose 168 seals carved by him and personally put them on the back of the painting. 1940, Ma Wanli entered Sichuan, met Zhang Daqian in Qingcheng Mountain, took out 900 lithographs, and enjoyed them 168. Zhang Daqian added the words "Tao Zhu Ji Jin Xerox" to the picture scroll, which is the first of 168 prints. Famous artists such as Zhang, Zhang, Qiao Dazhuang, Zhou Tianyou, Zhu Lezhi and Wu Jingyu were invited to inscribe on the scroll, and Zhang Daqian's paintings, printed calligraphy and inscriptions were all collected into a long scroll. 900 lithographs are now in the Guangxi Museum. 1935 in early summer, Ma Wanli went south to Guangxi. Seeing the beautiful scenery of fishing boats singing late in Yongzhou (now Nanning), I began to miss the beautiful leisure of my hometown, Baiyun Stream, Lanling Yanghu and Wuxia South. Recalling that since I left my hometown, I have traveled all over the country and written about the mountains, rivers, flowers and trees of the motherland. I haven't set foot on my homeland for nearly 20 years, and I can't help feeling a lot. Then he revealed his desire to return to his hometown after he achieved something. So I began to write "Yunxi Jingshe Map" and wrote a long postscript on it. The hand scroll of Yunxi Jing She Tu is now in Guangxi Museum.
The frontispiece of Yunxi Jingshetu Shoujuan was inscribed by Zhang Daqian, and the calligraphy of Wang Shouling, Feng he jun (sealing Zhu Qi) and Zhu Lezhi was attached to the volume.
Mr. Chen Yupu, a famous contemporary painter in China and a professor at Nankai University in Tianjin, thinks that this is a masterpiece "The Portrait of Du Xiufeng in Guilin", which is better than the cooperation between Ma Wanli and Zhang Daqian 1938. Everything is going well in Ma Wanli.
In the early days of the founding of New China, Ma Wanli reached the peak of his artistic career. Not only in painting, but also in calligraphy and epigraphy. In painting, he learned from the former dynasty, Chen Boyang, Li Futang, Hua Xinluo and others in his early years, and gradually explored them, integrating the western painting techniques he learned in his youth and the accumulation of long-term sketching scenes, forming his own distinctive creative style with personal characteristics. Thanks to his profound calligraphy and seal cutting skills, the plants, flowers and fruits in his works are full of vitality and unique charm.
The scale of "everything goes well" is very small. In the painting, two persimmons are dipped in cinnabar, but they are very tender and full, especially the persimmon stalks, which are very vivid. Ruyi is simple and interesting. The pen and ink are extremely delicate and dry, and the pen is frustrated and vigorous. In particular, the author's use of dry pen and scattered front is simply wonderful, and then a little smudge with light ink makes the lines of the picture smooth and vivid.