近年来，马书林把积淀着民族文化情结的京剧人物作为水墨创作的表现对象，不啻是一种睿智的选择。他以独特的视角欣赏，品味着京剧的绚烂与浪漫，既没有像老一辈画家那样因循成法，在创作中囿于“真”和“像”的束缚而不能自拔；也没有像一些前卫青年们那样盲目地改弦更张。他 In recent years, it has been a wise choice that Ma Shulin regarded the Peking Opera characters who have accumulated the national cultural complex as the object of their ink and wash creation. He admired and admired the splendid and romance of Peking opera with his unique perspective. He neither failed to follow the lead of the older painters, nor was he boundless to the shackles of “truth” and “image” in his creation. Nor did he feel like avant-garde Young people are blindly changing their strings. he