Yuan Ma Huan Chun Shan Qing Ji Tu Partial Collection of the National Palace Museum in Taipei
Ma Wan (?) —1378？ Painter of the late Yuan and early Ming dynasties. Zi Wen Bi, the number of Lu Blunt Sheng, irrigation gardener. A native of Qin Huai (present-day Nanjing, Jiangsu), he lived in Songjiang (present-day Lüxiang, Jinshan, Shanghai) for a long time. There are Zhi Festival, Gong Shi Shan Painting, Poetry Gong Ancient Song Line, Painting Long Landscape, Official to Fuzhou County Shou. Good at painting landscape figures, gong poetry can be booked. Poetry and painting are called "three absolutes". At the end of the Yuan Dynasty, he lived in seclusion, and Hongwu left Fuzhou in the third year (1370). In his early years, he learned "Spring and Autumn" from Yang Weizhen, and his poems were also influenced by it. Yang Ji valued his paintings, so his reputation was very high, "the Three Wu people bought them with heavy gold". The 500 articles he composed were summarized as "The Collection of Irrigation Gardens", with a preface by Berjun, but there is no copy of it. His life deeds can be found in the "West Lake Bamboo Branch Collection", Pei Qiong's "Preface to the Irrigation Garden Collection" (Qingjiang Collection, vol. 7), and "After the Hermitage of the Yunlin Forest" ("Qingjiang Collection", vol. 13).
Yuan Ma Chun Shan Qing Ji Tu Ink pen on paper 27x102.5 cm Collection of the National Palace Museum, Taipei
In the eighth year of the Yuan Dynasty (1348), Gu Ying's Yushan Caotang in Kunshan Jiexi became one of the concentrated places for literati in Jiangsu and Zhejiang to feast and sing, and Ma Wan, Yang Weizhen, Zhang Yu, Ni Zhan, Tan Shao and others often visited the appointment. In the two poetry collections "Yushan Caotang Poems" and "West Lake Bamboo Branches" compiled and printed that year, ma Wan's poems were written. The "West Lake Bamboo Branch Words" said that he "has a few aspirations, poetry and ancient songs, and special paintings, but they are all the result of his heavenly posture."
Yuan Ma Huan Qiao Xiu's Secluded Residence On Silk Light Color 119.9x57.8 cm Collection of the National Palace Museum, Taipei
In the ninth year of Zhengzheng (1349), Yang Weizhen went to the Huangxi Yishu (璜溪義塾) run by Lü Liangzuo in Songjiang Province (in present-day Lüxiang, Jinshan, Shanghai) to teach "Spring and Autumn", and Ma Huan went to study. Usually, he travels through the local landscape with Berjun and others, sketches and paints, and inscribes poems. The paintings of Landscape Studies Dong Yuan and Mi Fu also studied Huang Gongwang. The axis of "Qiao Xiu's Secluded Residence Map" (the Palace Museum in Taiwan) composed by Yang Qian has a complex and rigorous structure, using Huang Gongwang's brushwork, but slightly stagnant.
Yuan Ma Huan Twilight Cloud Poetic Intention Vertical Scroll Silk Color 95.6x56.3 cm Collection of Shanghai Museum
In the tenth year of Zhengzheng (1350), he befriended Huang Gongwang and was more deeply affected. In the twenty-fifth year of Zhengzheng (1365), he befriended Wang Meng. Wang Meng composed the "Ancient Map of Changlin Dialect", painting Yang Weizhen and himself, and Ma Huan praised it: "The grass and trees are far away from the falling light, and the words are lost and the two are idle." No one will be able to absorb it, and the ears and springs will be full of mountains. "In the following year (1366), he composed the volume of "Spring Mountain Qingji Map", plump and beautiful, with the pen of Dong Yuan and Huang Gongwang (the Palace Museum in Taiwan). In addition, there are still works such as "Yinghai Map", "Autumn Mountain Smoke Tree Map", "New Willow", "Yunguan Xiaodu Map" and so on. Pei Qiong once inscribed a poem: "Long remembrance of Qingxi Ma Wenbi, can poetry can paint the most popular." The wine is full of fun, and the Bajiang Wanliqiu is cut. He also said that his paintings were "bought by the Three Wu people at a heavy price."
In the third year of Ming Hongwu (1370), Ma Huan became the prefect of Fuzhou, Jiangxi. Eight years later, Pei Qiong saw his recent work "Yunlin Hermitage" in Fuzhou, and inscribed it, saying that it "regarded the Nangong as not good or bad", and said that his poems on the painting "have the ambition to return to old age". He is the author of "The Garden Collection". He died around the time of Ming Hongwu.
Yuan Ma Huan Qiulin Fishing Boat Chart Axis 92x38 cm Collection of the National Palace Museum in Taipei
Yang Weizhen's disciple Ma Wan, who made a special trip to the mansion to create many paintings for Yang Qianzhuxi, has been handed down to the National Palace Museum in Taipei, such as "Qiulin Fishing Boat Chart Axis", "Qiao Xiu's Hidden Residence Map Axis", and may even include the Shanghai Museum's "Twilight Cloud Poetry Intention Axis". "Qiulin Fishing Boat Diagram" This paragraph is written: "Fufeng Ma Wenbi is a painting of Zhuxi's virgins." "The lower plutonium "Ma Shi Wen Bi" white text square seal. Another "Qiao Xiu's Secluded Residence Map" is this paragraph: "In the ninth year of the ninth year (1349), the summer and June were born of the soul. Qinxi Ma Wanwen Bi, written for ZhuXi Junjun in the Unhindered Yunshan Building. "Three parties to the seal: Ma Wan's private seal, Lu Dusheng's, and Ma Wan's Wenbi."
Ming Tao Zongyi 《Lishu Inscription Yuan Ma Wan Qiulin Fishing Boat Diagram》, 28×25.4cm on paper, National Palace Museum, Taipei
Regarding Ma Wan's place of origin, it is explained that he was a native of Jiangning (present-day Nanjing, Jiangsu), the capital of The Ying Dynasty, because he signed himself as "Qinxi", which is often considered to be the abbreviation or synonym of "Qinhuai River", so he is generally considered to be a Jinling native, and even his division commander Yang Weizhen compiled the "Bamboo Branch Words of the West Lake" and said that he was a "Qinhuai person". There are also claims that his county is actually Shaanxi Fufeng, according to one of the reasons is that his other self-signature is titled "Fufeng". Mr. Chen Gaohua's compilation of the "Compilation of Historical Materials of Painters of the Yuan Dynasty" also believes that "Qinxi" is suspected of referring to "Guanzhong", which is particularly insightful; in other words, its ancestral home should be Fufeng, Shaanxi. One piece of evidence provided here is that in the "Little Portrait of Yang Zhuxi", ma wan inscription is not only explicitly written "Fufeng Ren Ma Wenbi Zhen praise", which does not completely refer to Ma ShiJun wang as Shaanxi Fufeng, but also shows that he is indeed Shaanxi Fufeng Ren clan. What is more worth mentioning is that under this self-signature, Ma Wan directly showed his ancestral origin and origin to everyone in the form of a seal; in addition to the White Wen Fang Seal "Fufeng Masheng", another Bai Wen Fang Seal was "Descendants of General Han Fubo", which chiseled that he was the Fubo General who was famous for his son as a "Ma Ge Shroud" in the Eastern Han Dynasty, and the descendant of Ma Yuan, the Shaanxi Fufeng Maoling People, although its authenticity is questionable, perhaps it is only Ma Huan who climbed the ancestors and deliberately did it.
Yuan Ma Huan Xuegang Duguan Tu Silk Ink Pen 125.4x57.2 cm Collection of the Palace Museum, Beijing
In addition, from the seal of "Lu Dusheng" in The "Little Portrait of Yang Zhuxi" zhu Wenfang seal and the "Lu Dusheng" seal in the "Little Portrait of Yang Zhuxi", and the "North Garden Irrigation" on ma Wan's "Spring Mountain Qingji Picture Scroll" in the "Yuanren Collection Scroll". Not only can it be known that Ma Huan also has these three nicknames; but also through the beychon (?) associated with this alias and neighbored by the hermit Songjiang. –1379) for his preface to the Collected Works of Irrigation gardens, Yang Weizhen's Biography of Lu Dusheng for him, and we can also get some brief overview of his residence in the Songjiang area of Shanghai. For example, "In his early years, he taught "Spring and Autumn" from Tieya Yang, and he studied poetry and calligraphy and painting. Every time you encounter a good landscape, you must trust the millimeter, there is the method of Dong Beiyuan and Minang Palace, and you will title yourself on the left, and the time number is 'three absolute'. Yu (Bei Qiong) tasted to lecture yunjian (the ancient name of Songjiang), Wen Bi came from Hangzhou, xiang and fangzhou three female gang (Nanqiao Town, Fengxian County, Shanghai), Dengye Wang reading desk. ...... Moreover, above the irrigation garden, a happy qi qi, lost and prospered. ”
Yuan Ma Huan Qingshan Red Apricot Figure Silk Color 24.2×22.7 cm Collection of Tianjin Museum
It seems that it is precisely because the climax of Ma Wan's calligraphy and painting creation was in the Songjiang area, so Qing Xuqin wrote the "Ming Painting Record" Volume II "Landscape and Ma Wan's Small Biography" that he believes that he is a Huating (that is, Songjiang) person. The "Biography of Lu Dusheng" also says: "Lu Blunt Sheng, I don't know who it is, or it is known: The Donglu people also." ...... Lu Dusheng smiled and said, "Make Yu Shi Xiyu, the fa-discipline talent of the World Corporal, a day of long ears, unfortunately born in Jiangnan as a lonely." 'Fall into the lake and the sea, in order to indulge in self-destruction. ...... In his later years, he wrote books, calling himself The Golden Horse, having the Taiping Ten Thousand Words Book, and yu (Yang Weizhen) going north... "In short, no matter what, ma Huan is a literati who originally came from the Guanzhong region in the northwest and grew up and lived in the Jiangnan region. As for his human nature, there are vivid depictions in the "Biography of Lu Blunt Sheng", which will not be quoted.
Yuan Ma Wan Cangshan Cold Forest Vertical Axis Ink on Paper Christie's Hong Kong 2009 Spring Auction Sold for HK$2.3 million
Ma Wan's artistic creation, including poetry, calligraphy and painting, benefited from the loose and favorable cultural and ecological environment in the Songjiang area at that time; and according to the "Qingjiang Poetry Collection" volume 5 "February 5 YanXia Shi Wen Yi Lan Tang and Lu Daoyuan Ma Wenbi Feng Yuanru Fu Poem a Singer Zhang Baotong Did Not Arrive at the End", it can be seen that Ma Wan and the author of the Yuan Dynasty Calligraphy and Painting History Historical Material "Tuhua Baojian" and Songjiang Xia Wenyan's cousin Xia Shiwen also had a past, so it is reasonable that the "Tuhua Baojian" should record his painting name. However, unexpectedly, Xia Wenyan seemed to have intentionally or unintentionally missed the calligrapher who was close at hand, so Ma Huan was listed in the "Illustrated Treasure Book". In addition, Ren Renfa, another great calligrapher and painter who also lived in the Sanjing area of Jiufeng, Songjiang, as well as the Yuan Dynasty portrait painter Li Xiaoyan and the landscape painter Luo Zhichuan have not been recorded in the "Illustrated Treasure Book", which cannot but be said to be the unsatisfactory shortcomings of this Yuan Dynasty painting history; it is no wonder that some scholars point out that its compilation is quite sloppy, and remind researchers to be cautious when recruiting it.
Yuan Ma Huan Qiu Jiang Farewell Picture Roll Coloring Paper Beijing Nine Songs 2012 Autumn Auction Transaction Price 4.14 Million Yuan
Ma Wan's heirloom paintings are not very many, the earlier works of the year are the "Songyuan Guanquan Tu Scroll" collected by the National Palace Museum in Taipei and the first year (1328), the later painting is also the "Spring Mountain Qingji Picture Scroll" collected by the National Palace Museum in Taipei; the "Spring Water Tower Ship Chart Scroll" collected by the Shakele Museum in Washington, D.C., usa, is the only authentic work of Ma Wan in the Western collection. In view of the fact that Ma Huan's "Map of Qiao Xiu's Seclusion" for Yang Qianzhuxi did not hinder the Yunshan Tower in the summer and June of the ninth year of Zhizheng, the Shanghai Museum has hidden its section: "Zhizheng Himself Ugly Leap July Looking at the Sun Ma Wanwen Bi Works." And the "Twilight Cloud Poetic Intention Axis", which belongs almost at the same time, is quite likely a painting created by the same Ma Huan in the period of Yang QianzhuXi' stay in The Unhindered Yunshan Lou, at least it can be defined relatively broadly as a work of his Songjiang period. In addition, the Palace Museum in Beijing has not signed the annual model, only self-knowledge: "Xuegang Duguan Wenbi for Yan Ming" silk ink pen "Xuegang Duguan Tu Axis", and the brush stroke style of "Qiao Xiu's Secluded Map" is extremely similar, both of which are used as snow landscapes and landscapes, and one of the "Yuan Four Families" who lived in the Songjiang area at the same time and had many related legendary paintings, Huang Gongwang, who was eighty-one years old at the age of eighty-one, depicted the snow scene of The Nine Peaks of Songjiang (collected by the Beijing Palace Museum); even the "Xuegang Duguan Map" and the "Qiao Xiu's Hermitage Map" are very close in size. It is very likely that Ma Huan also composed the Unhindered Yunshan Building by Yang Qian Zhuxi, at least it can be attributed to his works during his stay in Songjiang.
Yuan Ma Huan Qiu Shan Hidden Figure Vertical Axis Ink Paper Xiling Printing Agency 2008 Spring Auction Sold for 1.344 million yuan
Ma Wan's model landscape painting style Huang Gongwang is obvious and unquestionable, and Ming Gufu's "Spectacular Life" Volume IX "Tuhua Yuan Ma Wan" mentions him in many places as "a big idiot in scale, very wonderful", "a great fool in landscape studies", "Xuan Zai (Ming Dong Qichang) titled Zi Jiu, a real text Bizuo", "a great fool in painting, Xuan Zai with Zi Jiu title, and a real text Bi Ye". Ma Wan's teacher Yang Weizhen wrote in volume 28 of the Collected Works of Dong Weizi in the "Map of the Flute Flute on Junshan Mountain": "Shen Shengrui of Huating, tasted yu you, and had to paint the Dharma to the great idiot Daoist. ...... Or is yu feeling that in previous years, he gave the big idiot Daoist flat boat to the east and west, or took the xingxing wading into the sea, arrived at Xiaojinshan, the Daoist made a small iron flute, so that Yu blew the "Dongting Song", and the Daoist sang xiaohai (?) And, I don't know the wind and water, the boat is waving, and the fish and dragon are roaring. It shows that Yang Weizhen and Huang Gongwang were both active in the Songnan area, so that the reason why Ma Wan and Huang Gongwang created a series of snow landscape paintings in the same year of the ninth year of Zhizheng is both intriguing and enough to solve it. Because of following Yang Weizhen and Huang Gongwang, the leader of the dying painting world, Ma Wan's landscape paintings are naturally fascinated. As for the reason why they were all good at painting snowy landscapes this year, Huang Gongwang had a self-awareness in the "Nine Peaks Snow Ji Map" to explain this special climatic background: "In the spring and first month of the ninth year, for Yan Gong to make snowy mountains, the second spring snow masterpiece, where two or three times, until the end of the work, it is also a miracle." The great idiot Daoist, who was eighty years old at the time, wrote this to remember the clouds of time. ”
Yuan Ma Yuan Ming Ai Ju Vertical Axis Paper American Return Vita Verdeen 2012 Spring Auction Sold for 287,000 yuan
The case "Yan Gong" is a literati of the Yuan Dynasty, and later to the Yuan Dynasty Jiangsu often familiar with the Zhou Ban Wei Zhi table characters, Huang Gongwang or because of the friendship with him to give paintings; and Ma Wan," who gave the "Xuegang Du Guantu" in the same year, "Yan Ming", according to the Shanghai Museum's collection of Yuan Ming between the good Ren Ren Ren Fencing Horse and Du Men swinging thousands of papers a day, Ming Hongwu's early death and the world's famous "Cursive Tang Song Scroll" self-knowledge: "In March of the twentieth year of Zhizheng (1360), Yu visited Xu Yanming, a friend of Yunjian, and was very long.50. Yan Ming used the scroll to restore the Tang dynasty song. However, drunk under the lamp, smeared arbitrarily, ugly and dewy, Hu can escape the fingers of the people? Eastern Wu Song Kezhi. It can be seen that Song Ke's volume was written at the request of Xu Yanming; and Xu Yanming, who was in the clouds between the clouds, was suspected to be the object of Ma Huan's gift of the "Yukioka Degree Guantu". After examining the "Index of Biographical Data of Yuanren", there are even 24 people with the character "Yanming", among whom Zhang Dezhao, Zi Yanming, Xingtai ren, and Zhizheng are Yin of Huating County; while Xu Yanming is not listed, and the details of his life, background, and relationship with Ma Wan are yet to be examined. There are three people who are suspected of the same name "Yanming" given by Ma Wan, whether it should be Xu surname Zhang, and whether it is Xingtai Zhang Dezhao or Fuli Zhang Yanming, all of which are left for further investigation.
Yuan Ma Huan Qiulin Gaoshi Figure Vertical Shaft Ink Paper Nine Songs 2012 Autumn Auction Transaction price of 115,000 yuan
Ma Wan's stay in Songjiang, combined with the time period of Yang Weizhen's stay in the Songjiang area, refers to the above-mentioned Bei Qiong's "Yunjian Ji • "Irrigation Garden Collection" Preface" "Don't go for fifteen years, you have been attacked by soldiers, but you are involved in hardships and dangers, and you are depressed and bored, and you will not be able to bear it in your chest." ...... His poems are compiled into a compilation, and where there are more than five hundred poems, they are produced to show the rest." The Qingjiang Anthology, vol. XIII, "After the Hermitage of The Yunlin Forest": "After the mutiny, the east and west were scattered. In the third year of Hongwu (1370), Wen Bi was summoned to the Capital Division and was given the order of Fuzhou. In the last two years, Yu Jiqi was the assistant teacher of the guozi, looking at each other for more than ten (thousand) miles, six reading frost and summer, asking for pleasure in the poor day and night when Xiangzhi was in the clouds, how can he get evil! The Confucian Zhan Ming came from Xijiang at the beginning, and Wen Biyi yu was close to poetry, and he read it like a dream. At the beginning of the Ming Dynasty, he said that his ears were clear and clear, and he did not quit writing, but he had less white ears, which was shown by the "Reclusive Map". "Qingjiang Poetry Collection" Volume II "Bing Wu (to the twenty-sixth year of Zhengzheng, 1366) Winter November to clear the chaos of Tinglin next spring pavilion in Yangxi Shaoyigu clan on April 1, the township soldiers revived the great rise of the people and birds of the realm of the people and birds of the realm of the people and birds who did not know what to do and returned from the established and returned to Huaiyun": "The vast new battlefield, the white grass fans look around. The beacon fire is even a stone gate, and I have no way to return. Poor fish for a long time, frightened magpies empty around the tree. What is the old garden like now? Juss Reading Office. Recently, I have been killed, and I have been killed. Ander came with the morning wind, from which it went southwest. Yang Weizhen's "Biography of Lu Dusheng": "Its right and wrong nature is quite similar to Yu, so Yu swims with him in the Sanwu mountains and rivers." ...... In the spring of this year, Ku Zi Ge Feng came to meet Yu Yunjian and said: "I want to blackmail me into being a Taishi you, and when a great man asks yu who he is, Yu is lazy and self-chen, and asks his son to be a lu blunt biography." So Yu passed on the clouds for it. ...... Late Delu blunt,...... Enjoy leisurely swimming from the yuyu landscape, playing the flute and ancient song chapter after drinking, if crazy. And the late general will dedicate the Book of Heaven, and Chen Tianxia will succeed or fail. The result is crazy! Paintings handed down from the ninth year of the ninth year to the winter of the twenty-sixth year of the Zheng Dynasty, such as the ink and ink pen "Qiu Jiang Fishing Boat Scroll" painted by Ma Wenbi in August of the National Palace Museum in Taipei, such as "Zhi Zheng Gengyin (Decade, 1350) Wangfu Ma Wenbi Painted for Mr. Tieya", seem to be relatively broadly regarded as works of the Songjiang period; and the ninth year of Zhizheng can be called an important time and place in the history of Shanghai art and even the cultural history of Shanghai that is worthy of a big book.
Yang Weizhen came to Songjiang in the spring of the ninth year of Zhizheng at the invitation of Lü Liangzuo to give a lecture at Ren Huangxi Yishu, which can be supported by many documents and paintings, such as his own "Iron Cliff Poetry Collection" (陳 Cliff Poetry Collection) The poem "Ciyun Trek Renyue Mountain 'Green Bamboo Scrolls]" is self-annotated: "The old man of the iron flute looks at Huangxi and uses rhyme scrolls. The National Palace Museum in Taipei has an inscription on his ink pen "Years of Cold Figures" after the inscription: "The Tiedi Daoist is Mr. Nai Tang's painting of songzhi Huangxi." Immediately after him, "Zhusheng Lü Xinren Shu Yu Tieya's poem at the end of the poem" inscription poem at the bottom right is the protégé Xu Dahe inscription poem, of which "Shuanghuang Xitou March Hui, Daoist Hidden Sword Moon Return" Yunyun, is the direct and indirect evidence of the local parties at that time. And the most able to prove that Yang Weizhen is nian in the Songjiang territory of the dynamics of his movements, is his "Records of the Unhindered Yunshan Lou" written by Yang Qian. "In the spring of the ninth year of zheng, Yu arrived at Zhangxi in Songzhi, and there was a large clan in the east of the creek, which was the Yang Zhuxi clan, and the south of the residence was called 'not hindering the Cloud Mountain'. Zhuxi feasts on the top of the building, the windows are four, the clouds of ten thousand acres are two aozhi, and the island (Hangzhou Bay Sea, large and small Jinshan Island) are all dedicated to their eyebrows, and their names are also appropriate. Takeshi and cite the genus of wine to remember. ......” At that time, Ma Wan, who was a student of Yang Weizhen, created the "Qiao Xiu Secluded Residence Map" for Yang Qian in the summer of the same year, which shows that he had accompanied him to Songjiang at least in the spring of that year, and once temporarily lived in Zhangyan Yang Qian's house to engage in painting creation. The relevant historical records also confirm the ecology of Huangxi, which eventually settled in The North of Zhangyan, such as the inscription of the fifth poem in the volume of Bei Qiong's "Qingjiang Poetry Collection" "When visiting Ma Wenbi on may 11, when he crossed huangxi to visit Ma Wenbi, he invited The rainy night with the door Lu De's thick wine to return to Tomorrow Wenbi has a poem to send rhymes", whether this poem was written in May of the ninth year of the solstice, it is not known, but there is no doubt that Ma Huang lived in Huangxi. Also, Shiren Shao Hengzhen's "Ant Poetry Selection" Volume VI "Sending Ma Wenbi Zhengshi Self-Note: Painting Gets the Name" Yun: "There is a guest who sends home Xu Pushang, and puts the poetry wine for four o'clock spring." According to this, it is also shown that Ma Huan was mainly living in seclusion at Huangxi on the bank of Xupu Pond, that is, the town of Lüxiang in the Jinshan District of Shanghai. In the winter of that year, Yang Weizhen, who also lived on the river, also composed the "Bamboo Snow Zhai Record" for the Jiqing monk Zhen Shangren who was studying in the south room of King Gu Ye because of Ma Wan's introduction.
From the art history materials currently available, Ma Huan is the earliest known literati painter to befriend Yang Qian and create paintings for him, and the ninth year of Zhizheng is an important intersection of time and place. It seems that it was after he and the literary leader Yang Weizhen respectively publicized Yang Qian in different art forms of poetry and painting, that his image of the big hidden of the rivers and lakes became more and more known to the literati of the same way in the Songjiang area and slowly became tall and complete, so that the people who came from near Yueyuan to express admiration, education, and elegance were endless. Zhao Yong and Zhang Wo collaborated on the "Zhuxi Caotang Tu", as well as many late Yuan celebrities who lived in Huangxi or visited Huangxi, such as Yang Weizhen's Zhuxi Zhi, Zhang Yu, Ma Wan, Qian Weishan, Tao Zongyi's inscription poems, and Shao Zheng and Zhao Shu's inscriptions, which were mostly written in the ninth year of Zhizheng and later, as evidenced by zhao Xu's inscriptions that visited Zhuxi Caotang in the spring of the fifteenth year of Zhengzheng (1355), and another section of Qian Weishan's inscription poem was also written in the Huangxi Xupu Yishu in the fifteenth year of Zhizheng. It can be seen that the humanistic environment of Huangxi, which was originally desired by the people and the convergence of humanities, had a huge leading effect on publicizing yang Qian in its neighbor Zhangyan; and the series of literati paintings specially painted by Ma Huan for Yang Qian obviously belonged to the visual art of calligraphy and painting before the opening of the atmosphere.
(Part of the content of this article is excerpted from the Oriental Morning Post Tao Yuzhi's "Shanghai Creation of Yang Qian's Ability and Ma Wan's Others")