The Study On Calligraphy And Painting Works Of Ma Dai In The Cultural Relics Institute In Huili County Of Sichuan Province

The County of Huili is a historic city at the southern tip of Liangshan Prefecture,Sichuan Province,an important ancient town on the ancient Silk Road,and an important material and transportation center at the intersection of Sichuan and Yunnan.In numerous transactions,many paintings and calligraphy works with historical and cultural values have been left.During a field visit to Huili Cultural Relics Management Institute,the author learned from Director Tang Xiang that there are more than 1,600 paintings and calligraphy works in the collection,and the quantity and quality of works are rare in cultural management institutes of the same level.After sorting out the works,the author found that there are as many as 24 works by the famous Shanghai-style painter Ma Dai from the local area of Xichang.Through the study of Ma Dai’s works,not only can Ma’s superb painting level and extraordinary artistic achievements be understood,but also the value of these collections of works can be reflected.In addition,Xichang is preparing to build the "Xichang Madai Memorial Hall" and "Xichang Poetry,Calligraphy and Painting Academy",and it is self-evident to study the value of Ma’s works.According to Director Tang,due to the lack of art-related researchers,in addition to the protection of cultural relics,the calligraphy and painting works of the institute have not conducted any research in the field of fine arts.The author’s research on the Ma Ma’s calligraphy and painting works in the collection received strong support from Director Tang and provided first-hand information,which is an important prerequisite for the development of this paper.As a famous Shanghai style painter,art theorist and art educator from the late Qing Dynasty to the early Republican period,Ma Xiang was one of the most important figures in the history of modern art.However,due to the premature death in England and the lack of academic research for a long time,Ma Dai’s artistic achievements have gradually been forgotten by history.The article focuses on the 24 paintings and calligraphy of Ma Dai,which has been collected by Huili Wenguan and has not yet been published.From the perspective of fine arts,the article discusses the life and art exchange activities of Ma Xiang,reveals Ma Dai’s family history,painting experience and Ma Dai’s objects and methods of communication,and found the impact of these interactions on his art;further studied the classification of collection works,interpretation of prints,calligraphy,seal cutting,and inscriptions of collection works,to understand the characteristics and value of collections of Ma’s works;At the same time,combining some of Ma Dai’s works outside the museum to discover the characteristics of the fusion of Western painting factors,and further analysis of Ma’s inscribed poems and poetic paintings,fully reflecting the diversity of Ma’s works;then explore the modern art system Ma Dai.Understand the influence of modern exhibition,publication,market and other factors on Ma’s art,and thus discover a little-known real Ma Dai;finally summarize and analyze the value of these collections of works and Ma Yang’s artistic achievements.Through this research,I hope to reawaken people’s attention to Ma Dai: Ma Dai,who is known by Zeng Xi as "Dr.of Contemporary Painting",is one of the few painters with excellent poetry,calligraphy and painting in modern art history,and a pioneer of modern Chinese painting higher education,especially As a theorist and educator,he edited "Ma Dai Hua Bao" shows his profound artistic skills,reaching a high artistic level,and made a great contribution to the modern Chinese art education.It was the first half of the 20 th century.During the transition period from traditional Chinese painting to modern painting,he was one of the pioneers and famous masters with outstanding achievements.Although this article is a case study,the collection of Ma’s works and Ma Yang’s artistic life have also witnessed the tortuous development of the history of Chinese painting in the late Qing Dynasty and the early Republic of China.This case study is inseparable from the vivid history of modern Chinese art and is a vivid part of it.