马国强，当代中国画坛具有重要影响的实力派水墨人物画画家。曾任河南画报美术编辑，总编辑。河南日报副总编辑兼大河报总编辑，河南省广电局常务副局长，河南省文联主席，河南省美术家协会主席。现为中国画学会副会长，中国国家画院研究员，中国美术家协会理事，中国美协中国画艺委会委员，中国国家画院研究员、河南省文学艺术界联合会名誉主席、河南省美术家协会名誉主席、河南省中国画学会会长。

从事中国人物画的创作与研究二十余年，其作品多取材于现代生活、民族风情和历史人物。画面人物造型准确生动、夸张适度，线条流畅飘逸、风动遒劲，墨色浓淡有致、虚实相应，具有较强的东方韵致与较强的现代审美情趣。

2011年8月21日，马国强个人作品展“生活，生活——马国强水墨人物画展”在中国美术馆举行，这是河南画家第一次在这全国艺术最高殿堂举办的高规格的个人展览。

 马国强先生长期从事中国水墨人物画创作，具有强烈的个性特征和极强的学术品位。在中国画界具有较大影响，是当代中国人物画坛为数不多的实力派画家。

马国强先生创作态度严谨，从不以逸笔散草应酬之作面世，每幅作品无论尺幅小品或是大幅之作，必以生活速写为原型，不复制不臆造，人物造型个性鲜明，无雷同之弊，作品具有浓郁的生活气息和时代气息，因而其作品既以较高的学术性受到学术界的高度评价，同时又以健康的形象和高难度的绘画技巧受到爱好者和收藏者的青睐。　马国强水墨人物画作品融传统水墨技巧与现代绘画观念为一体，以写实人物见长，造型功力深厚，笔墨飘逸生动，既具备学院派绘画的严谨，又有中国文人画的空灵，尤其是其对线的掌握运用和发展方面有较大的突破，具有鲜明的个人风格。

马国强画家

 马国强艺术三论

马国强先生之绘画特色可概括为六字体正、气厚、格清。

体正者，继承与创新之脉络明晰，线条简率泼辣，水墨清雅冲和，构图稳健饱满，表情晴朗真淳，可谓儒风习习、堂皇正大；气厚者，书法用笔，五笔七墨咬合无间，雄强浑沦，内力充盈；格清者，统观画面有超逸之气徐徐袅袅，不绝如缕，纤纤若初月之升天涯，泠泠比渊泉之鸣石罅。马国强先生精进不懈，一手上追任伯年，一手紧扣时代脉搏，冶传统与现实于一炉，取精用宏，形神并至，风格幡然而变，戛然开创了不同于师辈的自家式样。其意象、境界和笔墨之美，呈现出特有的艺术个性，在当今画坛独标一帜。

一、于火热的现实生活中冷静取材，藉以表达“为万千基层劳动者写真传神”之宏旨，是马国强艺术之首要特点。

在马国强先生笔下，没有牵强注解既有观念的先入为主，没有身在庐山不辨西东的莫名惶悚，却有着真切的感动和深入的思索。有对劳作艰辛的凝眸关注，有对晴朗笑容的由衷叹赏，有困境中的坚守、沧桑中的淡定，更有对时代心声的把握和对生活真谛的诠释。

马国强先生笔锋所向，大致有少数民族人物、古装诗意人物、中原地区基层劳动者三类。一直以来，这三类表现对象交杂于画家毫端，在艺术上各有优长。

马国强先生选择“二十一世纪的大平原基层劳动者”作为主攻方向，同样令人折服于他敏锐的艺术洞察力。在这方面，以《建设者（农民工）》为代表的一批现实主义新作，已经峥嵘展露、其势咄咄。在这幅描绘了数十个人物的阔大作品中，画家创造了崭新的人物形象与笔墨意境。尽管现实中有着风雨霜雪，有着愁闷与烦忧，但他们在画面中所营造的群体氛围，却具有一种美好而抒情的意境，清新、欢快、潇洒、豪迈、乐观、坚毅。这是一种典型的大平原人的精神面貌，朴实而果敢，隐忍而开朗。画家用细腻而又奔放的笔触，充分刻画并完满展示了这种感人的群体气质，既有很强的现实感召力，又有不容忽视的艺术价值。

二、在扎实的写实性基础上戮力托举中国笔墨精神，是马国强先生艺术之又一大端。马国强先生的过人之处在于，苦修“技术”却绝非沉溺其中不能自拔。他十分清醒地认识到，写实是手段而非目的。西方写实主义的引进，无疑打破了空泛概念的传统水墨程式对生活的歪曲与束缚，但国画的核心内质是笔墨写意，是具象刻画基础之上的宇宙精神把握，舍此则势必沦入“反玉辂于椎轮，易雕宫於穴处”的泥沼。基于此，他的水墨人物画创作，时刻注意把握形体大局，关键处严格定位，非关键处适当放，有夸张有省略，以写实为基础参酌写意，寓丰富于简练，出繁杂以整饬，悦于目复能赏于心。

挺括的用笔，明快的形象，简练的构图，丰盈的水墨随着中锋使转的笔痕欢快地浸洇开去，带燥方润，将浓逐枯，清新浪漫，虚实相生，构筑成一种似曾相识又多有陌生的审美系统。这些带有强烈个性化色彩的创作印记，处处志之，正是中国笔墨精神直通马国强先生艺术内心的路标。

三、在线条运用上独出新面，突破性地实现了造型感与书写味的统一，是马国强先生艺术协奏之三。

国画或书法，最基本的起点是线，最小的构成要素也是线，国画正是以具有书法趣味的线的造型别于西画。中国画这片以线构架的天地，包容了多种艺术种类的文化特徵，经由线条、点、横、竖、撇、捺、转折等有组织有规律地叠加而成。挥毫之际，线条似断还连，无形处神气萦绕，无笔处气脉关联，或妍美流便，或势巧形密，或天然神纵，多自成格局。

马国强画作

 1986年中国画作品《山雀》、《淡淡的晨雾》、《春暖》入选第六届全国美展，其中《山雀》被评为优秀作品晋京展出，《春暖》被辑入《中国新文艺大系·美术卷》。《凉山秋》入选第八届全国美展，《无奈都市》入选全国首届中国画展并被选入《1993年中国画年鉴》。入选中国画研究院“东方之韵·中国画创作成就展”，获中国艺术研究院颁发的“黄宾虹艺术奖”，入选中国美术创作院主办的“南北人物·当代中国人物画学术交流展”，入选中国国际书画艺术研究会主办的“神州颂”长卷创作，该作品搭载“神舟六号”飞船遨游太空。获由国家科学技术奖励办公室、中国美术家协会授予的“优秀人民艺术家”荣誉称号。

《上河工》入选全国纪念5.23五十周年综合性画展后被台北国父纪念馆收藏，《小海军你好》为毛主席纪念堂收藏并编入《毛主席纪念堂珍藏画集》。中国美术界权威的官方刊物《美术》1998年5月号破例以9个页码的规模予以重点评介；中央电视台“美术星空”栏目2001年1月在“当代中国水墨人物画家”专题中亦有重点评介。曾在开封、郑州、香港、台北举办个人画展和联展。

1995年作品《安塞腰鼓》入选全国第八届美术作品展；l997年、1999年两次获中国文联授予的“中国画坛百杰”称号；1999年作品《豫西节日》入选全国第九届美术作品展；2001年作品《春暖》入选“百年中国画展”，2003年作品入选中国画研究院“东方之韵·中国画创作成就展”；2004年作品获中国艺术研究院颁发的“黄宾虹艺术奖”；2004年《版纳集市》入选全国第十届作品展；2005年入选中国美术创作院主办的“南北人物·当代中国人物画学术交流展”；2005年获由国家科学技术奖励办公室、中国美术家协会授予的“优秀人民艺术家”荣誉称号；2007年作品《河山》获建军八十周年全国美展三等奖；出版有《马国强人物画集》、《马国强人物画》、《马国强人物画选》和《现代中国人物画库》马国强分册等多种画集。

马国强画家

 大凡一位成功的画家都要经历一段彷徨、迷惘的探索过程。马国强先生作为美术科班出身，先是学工笔，兼攻小写意，且有所成，后受时风影响，一度又觉得中国画应大笔纵横、水墨淋漓，或逸笔草草，形怪体异。于是，弃工笔、小写意而转事泼墨大写意，然久而久之，总觉得欠了些理性，少了点平实。于是又掉头折回到了小写意。且不论国强选择大写意的得与失，也不是说大写意就不好，单就画家的个性而言，他虽是性情中人，但更多的则是潜藏在骨子里的纯厚与质朴、内向与理性。就此，便不难理解，正当画家本人挥洒得如痴如醉、翻江倒海之时，突然打住，重新回到小写意上，并以他新闻工作者的阅历与敏感，创作出一系列反映现实生活中普通人形象的作品，从而形成了重写实、重表现的独特的形式语言和风格技巧。

有人欲把马国强的画归入“文人画”一类，原因是他曾画过不少具有“文人画”色彩的高士、仕女图及其笔墨上的放逸之气。他的确对传统“文人画”有过钟情与倾心。然而，以“诗、书、画、印”四位一体的具有深厚文化底蕴和很高审美品格的中国传统“文人画”，虽然是世界艺术百花园中的瑰宝，但随着它的发展，非绘画性的东西在不断强化，绘画本身的因素却在削弱。于是，他才中途而返。如今，国强的写实画里也不乏逸笔，但并非纯粹草草的写意画家那样刻意追求水墨的偶然效果，作品中摄取更多的是理性思考。因此，用旧式“文人画”的价值体系来指点马国强的艺术无疑是一种错位。因为他不属于过去，而应属于当代。国强的艺术根基是劳动人民的赤子情怀，他的艺术超越了地域和民族，负荷着人类真善美的理想。对于人物画家来说，没有比具有一个积极的人生态度更重要的了。

马国强先生坚持画素描，尤其把速写作为日课，坚持不辍，扎实的素描功底和勤奋的速写训练而成就的非凡的造型能力，为其日后的写生、创作打下了深厚的基础。他的画并没有生搬西画明暗块面的观念与手法，而是汲取造型养分的同时，更强调线条生命的意义。他以书法入画，中锋与侧锋的线条自如地游走于宣纸之上，其节奏、力度充分体现着画家的生命律动。从其疏密有致的娴熟的线条中，不仅体现出一种视觉的征服力，也蕴含着画家更深层的意味。

马国强先生的绘画理念是：把自己的艺术取向在物我之间，寻找恰到好处的契合点，既不走“物”的极端，也不走“我”的极端，他试图在两者之间架设沟通的桥梁。 在“ 物我”之间，使他的创作领域更为广阔，也使他在艺术上显示出一种游刃有余的自信与自由。在“物我”之间，是一种艺术上的智慧表现。

著名艺评家徐恩存先生如是评价道：“具体在作品中，我们看到画家的作品是写实与表现的结合，形象与意象的结合，形与神的结合，客观与主观的结合，所以，在画家的作品中才流露出不同于一般的生动气韵与勃勃生机。……而笔墨语言上的中锋转侧锋，行笔中的提按变化，墨色的浓淡配置、笔中有墨、墨中有笔，以及枯笔、飞白的运用，都使画面平添了韵律，跌宕起伏的变化与形式意味，这样处理的结果，自然使画家笔下的人物形象游移于‘物我“之间，并获得了一种若即若离、有意无意的活力与现代气息。

马国强有一句口头禅，即：“好画画、画好画、画画好”。这应是他艺术观的真实写照。正是循着这种艺术精神，他在现实这块土地上，把犁头划得会愈来愈深。我们衷心祝愿马国强先生艺术事业上百尺竿头，取得更大的成就。

 Ma Guoqiang is an influential figure painter in contemporary Chinese painting. He was the art editor and chief editor of Henan Picture Newspaper. Vice-editor of Henan Daily and editor-in-chief of Dahe Daily, Executive Deputy Director of Henan Radio and Television Bureau, Chairman of Henan Wenlian Federation and Chairman of Henan Artists Association. Now he is the vice president of the Chinese Painting Society, the researcher of the Chinese National Academy of Painting, the director of the Chinese Artists Association, the member of the Chinese Painting Arts Committee of the Chinese Artists Association, the researcher of the Chinese National Painting Academy, the honorary chairman of the Henan Literature and Art Association, the honorary chairman of the Henan Artists Association, and the chairman of the Henan Chinese Painting Society.

He has been engaged in the creation and research of Chinese figure painting for more than 20 years. His works are mostly based on modern life, national customs and historical figures. The figures in the pictures are accurate, vivid, exaggerated and moderate, the lines are smooth and elegant, the wind is strong, the ink color is rich and weak, and the reality corresponds to the reality. They have strong oriental charm and strong modern aesthetic taste.

On August 21, 2011, Ma Guoqiang's Individual Works Exhibition "Life, Life - Ma Guoqiang's Ink Figure Painting Exhibition" was held at the Chinese Art Museum. This is the first time that Henan painters have held a high-standard personal exhibition in the highest Hall of art in China.

Mr. Ma Guoqiang has been engaged in the creation of Chinese ink figure painting for a long time, with strong personality characteristics and strong academic taste. It has great influence in Chinese painting circle and is one of the few powerful painters in contemporary Chinese figure painting circle.

Mr. Ma Guoqiang's creative attitude is rigorous, and he never publishes his works with leisurely brushwork and casual entertainment. Every work, whether small or large, must take sketch of life as its prototype, without duplication or fabrication, with distinct personality and similarities. His works have a strong flavor of life and the times, so his works are based on both sketch and sketch. Higher academic quality is highly praised by the academic circles, and at the same time, it is favored by fans and collectors for its healthy image and difficult painting skills. Ma Guoqiang's ink and wash figure paintings integrate traditional ink and wash techniques with modern painting concepts. They are characterized by realistic characters, profound modeling skills and elegant and vivid brush and ink. They are not only rigorous in academic painting, but also empty in Chinese literary painting. Especially, they have great breakthroughs in the mastery, application and development of the line. Ming's personal style.

On Ma Guoqiang's Art

Mr. Ma Guoqiang's painting features can be summarized as six fonts are correct, generous and clear.

The righteous person has a clear vein of inheritance and innovation, simple and spicy lines, elegant ink and wash, steady and full composition, clear and honest expression, which can be called Confucian custom and magnificent; the strong person, with pen and pen, five brushes and seven ink biting together, strong and powerful, and full of inner strength; the clear person has a super-leisure spirit in the overall picture. It's like a thread. It's like the rising of the first moon on the horizon. Lingling is more beautiful than the sounding of the Yuanquan. Mr. Ma Guoqiang is diligent and unremitting, catching up with Bonian in one hand, keeping pace with the pulse of the times, melting tradition and reality in one furnace, taking essence and using grandeur, combining form and spirit, changing his style, and suddenly creating his own style different from that of his teachers. Its image, realm and beauty of brush and ink show a unique artistic personality, which is unique in today's painting world.

First, the chief feature of Ma Guoqiang's art is to draw materials calmly in the hot real life so as to express the grand purpose of "painting for thousands of grass-roots workers".

In Mr. Ma Guoqiang's writings, there is no far-fetched commentary, which is based on the advanced ideas, and there is no inexplicable fear of being in Lushan without distinguishing between the West and the east, but it has real touching and in-depth thinking. There is concern for hard work, sincere admiration for a sunny smile, perseverance in difficulties, calmness in vicissitudes of life, and a grasp of the voice of the times and an interpretation of the true meaning of life.

Mr. Ma Guoqiang's writing style is mainly composed of ethnic minority figures, ancient costume poetry figures and grass-roots workers in Central Plains. All along, these three kinds of objects of expression are intermingled with the painter, and each has its own advantages in art.

Mr. Ma Guoqiang's choice of "grassroots workers in the Great Plains of the 21st Century" as his main direction of attack is also convincing to his keen artistic insight. In this regard, a number of new realist works, represented by "Builders (Migrant Workers)", have emerged and become aggressive. In this magnificent work, which depicts dozens of characters, the painter creates a brand-new image of characters and artistic conception of pen and ink. Despite the fact that there are storms, frosts and snow, depression and anxiety, the group atmosphere they create in the picture has a beautiful and lyrical mood, fresh, happy, natural, bold, optimistic and perseverant. This is a typical plain people's spiritual outlook, simple and courageous, tolerant and open-minded. The painter's exquisite and unrestrained brush strokes fully depict and fully demonstrate this touching group temperament, which not only has a strong realistic appeal, but also has artistic value that can not be ignored.

Secondly, on the basis of solid realism, it is another big end of Mr. Ma Guoqiang's art to exert the spirit of Chinese pen and ink. Mr. Ma Guoqiang's excellence lies in that he is not addicted to "technology" but can't extricate himself from it. He is very conscious that realism is a means rather than an end. The introduction of western realism has undoubtedly broken the distortions and shackles of life caused by the traditional ink and wash formulas of empty concepts, but the core essence of traditional Chinese painting is freehand brushwork, which is the mastery of cosmic spirit on the basis of figurative depiction. If this is not allowed, it will inevitably fall into the quagmire of "anti-jade on the vertebral wheel, easy to carve the palace on the cave". Based on this, his ink figure painting creation, always pay attention to grasp the overall situation of the body, the key position is strictly positioned, the non-key place is properly placed, there are exaggerations and omissions, based on realism to consider freehand brushwork, rich in concise, complex to complete, pleasing to the eye and rewarding to the heart.

Straightforward pen, lively image, concise composition, abundant ink and wash with the center to make the turning pen mark happily soaked away, with dry side, will be dry, fresh and romantic, virtual and real, to build a similar and more strange aesthetic system. These creative imprints with strong individuality are the guideposts of the spirit of Chinese pen and ink to Mr. Ma Guoqiang's artistic heart.

Third, it is the third Concerto of Mr. Ma Guoqiang's art.

Chinese painting or calligraphy, the most basic starting point is the line, the smallest element is also the line, Chinese painting is different from Western painting in the form of lines with calligraphic interest. The world of Chinese painting, which is structured by lines, contains the cultural characteristics of many kinds of arts, and is organized and regularly superimposed by lines, points, horizontal, vertical, skimming, scratching and turning points. When waving, the lines seem to be broken and connected, the invisible place is haunting, the pen is not connected with the pulse, or beautiful and fluent, or skillful shape, or natural spiritual longitude, more self-contained pattern.

In 1986, Chinese paintings tits, light morning mist and spring warmth were selected for the 6th National Art Exhibition. Among them, tits were selected as excellent works in Jinjing and spring warmth was included in the New Series of Chinese Literature and Art, Art Volume. Liangshan Autumn was selected as the eighth National Art Exhibition, and "Helpless City" was selected as the first Chinese Painting Exhibition and the 1993 Chinese Painting Yearbook. He was selected as the "Oriental Rhyme and Achievement Exhibition of Chinese Painting Creation" by the Chinese Academy of Fine Arts, the "Huang Binhong Art Award" awarded by the Chinese Academy of Fine Arts, the "Academic Exchange Exhibition of North-South Persons and Contemporary Chinese Figure Painting" sponsored by the Chinese Academy of Fine Arts, and the "Shenzhou Song" long volume creation sponsored by the China International Calligraphy and This work travels in space aboard the Shenzhou VI spacecraft. He was awarded the honorary title of "Excellent People's Artists" by the National Science and Technology Award Office and the Chinese Artists Association.

"Shanghe Gong" was selected into the comprehensive painting exhibition to commemorate the 50th anniversary of 5.23th anniversary and collected by Taipei National Father Memorial Hall. Hello to the Little Navy"was collected for Chairman Mao Memorial Hall and compiled into"Chairman Mao Memorial Hall Collection of Paintings". In May 1998, the authoritative official magazine of Chinese art circles, Fine Arts, was emphatically commented on on the scale of 9 pages. In January 2001, CCTV's "Art Star" column also focused on the topic of "Contemporary Chinese Ink Figure Painters". He has held individual and joint exhibitions in Kaifeng, Zhengzhou, Hong Kong and Taipei.

In 1995, Ansai waist drum was selected into the Eighth National Art exhibition; in 1997 and 1999, it was awarded the title of "Baijie in Chinese painting circle" twice by the Chinese Federation of China; in 1999, it was selected into the Ninth National Art exhibition; in 2001, it was selected into the "Hundred Years Chinese Painting Exhibition" and in 2003, it was selected into the "Hundred Years Chinese Painting Exhibition". The Academy of Chinese Painting "Oriental Rhyme and Achievement Exhibition of Chinese Painting Creation"; the "Huang Binhong Art Award" awarded by the Academy of Chinese Art in 2004; the "Banna Fair" was selected as the 10th National Works Exhibition in 2004; and the "Academic Exchange Exhibition of North-South Characters and Contemporary Chinese Figure Painting" sponsored by the Academy of Chinese Art Creation in 2005; In 2005, he was awarded the honorary title of "Excellent People's Artists" by the National Science and Technology Award Office and the Chinese Artists Association; in 2007, he Shan was awarded the third prize in the National Art Exhibition on the 80th anniversary of the founding of the army; and he published "Ma Guoqiang's Personal Painting Collection", "Ma Guoqiang's Personal Painting", "Ma Guoqiang's Personal Painting Selection" and "Modern China". Chinese Character Gallery Ma Guoqiang's album and other collections.

Every successful painter has to go through a hesitant and confused exploration process. As an art class, Mr. Ma Guoqiang first studied brushwork and brushwork, and made some achievements. Affected by the fashion of the times, he once thought that Chinese painting should be large, vertical and horizontal brushwork, ink-wash incisive, or graceful brushwork, weird shape. So, abandon the fine brushwork, small freehand brushwork and turn to ink-splashing freehand brushwork, but over time, always feel less rational, less plain. So he turned around and turned back to his freehand brushwork. Regardless of the gains and losses of national power in choosing freehand brushwork, it does not mean that freehand brushwork is not good. As far as the artist's personality is concerned, although he is a man of temperament, he is more pure and simple, introverted and rational hidden in his bones. In this regard, it is not difficult to understand that, just when the painter himself was so intoxicated and overturned the river and the sea, he suddenly stopped and returned to the freehand sketch. With his journalist's experience and sensitivity, he created a series of works reflecting the image of ordinary people in real life, thus forming a unique form of re-realism and re-expression. Language and style skills.

Some people want to classify Ma Guoqiang's paintings as "literati paintings", because he has painted many paintings with the color of "literati paintings" of nobles, ladies and their free spirit in ink and brush. He did have a passion for the traditional "literati painting". However, Chinese traditional "literati painting" with profound cultural connotations and high aesthetic qualities, which integrates "poems, books, paintings and seals", is a treasure in the world's art gardens, but with its development, non-paintable things are constantly strengthened, and the factors of painting itself are weakening. So he came back halfway. Nowadays, there is no lack of leisurely brushwork in Guoqiang's realistic paintings, but it is not just a simple freehand brushwork artist who deliberately pursues the occasional effect of ink and wash. More rational thinking is absorbed in his works. Therefore, using the old value system of "literati painting" to point out Ma Guoqiang's art is undoubtedly a misplacement. Because he does not belong to the past, but to the present. The artistic foundation of a strong country is the childlike feelings of the working people. His art transcends regions and nationalities and carries the ideals of human truth, goodness and beauty. For figure painters, there is nothing more important than having a positive attitude towards life.

Mr. Ma Guoqiang insisted on sketching, especially taking sketching as a daily course. He persisted in sketching. His solid sketch skills and diligent sketch training laid a solid foundation for his future sketching and creation. His paintings do not copy the ideas and techniques of Western paintings, but absorb the nutrients of modelling while emphasizing the significance of line life. He painted with calligraphy, and the lines of the center and the flank were freely swimming on Xuan Paper. His rhythm and strength fully reflected the artist's rhythm of life. From its dense, delicate and skilled lines, it not only embodies a visual conquest, but also implies a deeper meaning of the painter.

Mr. Ma Guoqiang's painting idea is: to put his artistic orientation between things and me, to find the right point of convergence, neither to go to the extreme of "things" nor to go to the extreme of "me". He tries to build a bridge of communication between the two. Between "material self" and "material self", it makes his creative field wider, and also makes him show a kind of self-confidence and freedom with ease in art. Between "thing and me", it is an artistic expression of wisdom.

Mr. Xu Encun, a well-known art critic, said, "In the works, we can see that the painter's works are the combination of realism and expression, image and image, form and spirit, objective and subjective. Therefore, the painter's works are different from the general vivid charm and vitality................................................. ... The center of the brush and ink language turns to the side, the change of the lifting and pressing in the strokes, the arrangement of the ink color, the use of the ink in the strokes, the ink in the strokes, and the use of the dry strokes and the flying white, all add rhythm to the picture, the fluctuating changes and the formal meanings. As a result of this treatment, the characters in the painter's strokes naturally move to the object. Between them, I have acquired a sense of vigor and modernity, which is both intentional and unconscious.

Ma Guoqiang has a mantra: "Good painting, good painting, good painting". This should be a true portrayal of his artistic view. It is in accordance with this artistic spirit that he will draw the plough deeper and deeper in the real land. We sincerely wish Mr. Ma Guoqiang every success in his art career.