Ma Xiaojuan is now a first-class artist of Shanghai China Painting Academy. Influenced by her father, she likes painting since she was a child. After graduating from high school, she entered Nanjing Art Design Company. Ma Xiaojuan studied painting under Yaming, the representative painter of the New Jinling Painting School, and once studied under Song Wenzhi, Wei Zixi and other predecessors. What she learned from them was a sense of art. Yaming likes the scenery in the south of the Yangtze River, especially the customs in Suzhou, which left a lingering impression on Ma Xiaojuan. From 65438 to 0978, she was admitted to the Chinese Painting Department of China Academy of Fine Arts (formerly Zhejiang Academy of Fine Arts) as she wished, and began formal and strict "regular study". 1985, she was admitted to China Academy of Fine Arts again, becoming the only master's degree student of meticulous painting of Gu Shengyue, a famous meticulous painter. After three years of study, her painting style began to change.

One side of the landscape raises the other. Perhaps it is because he has been immersed in the ancient capital of Jinling for many years, strolling around Xizi Lake for countless spring, summer, autumn and winter, or perhaps because he has benefited from the Huangpu River for many years, Ma Xiaojuan seems to be born as the spokesperson of Jiangnan women in Wu Ge Vietnamese, quiet and elegant. In her works, mountains and rivers, flowers and plants are hazy and beautiful, all of which are branded with the charm of Jiangnan. Dream at Noon, Breeze, Lotus Movement under the Moon and Interesting Pictures of the Lotus Pond are all her representative works, which show her unique talent and spirituality. Ding Xiyuan, a famous art critic, once commented on her paintings: "Xiao Juan's style is very unique. All the ladies in her works have short hair and long faces, beautiful eyes, small cherry mouths and pink faces. Coupled with a faint smudge, her skin is more radiant, looking forward to God ... it is a modern exaggeration and magnified beauty. "

In fact, at first, Ma Xiaojuan's "The Picture of a Lady" was not favored by most people. This simple and exaggerated beauty is quite different from the beauty in people's traditional consciousness. Even some people feel incredible after seeing Ma Xiaojuan himself. They said to Ma Xiaojuan, "You are so beautiful, why do you want to draw such an ugly woman?" Ma Xiaojuan firmly believes that her road to innovation is correct. What she needs to show is the naive beauty in life, not the traditional beauty of conformity. She said: "painters have the responsibility to guide the public, improve aesthetic taste and keep pace with the times." Gradually, her intimate friends became more and more, and people found that the ladies in Ma Xiaojuan's works were full of implicit beauty, a hidden and intriguing beauty.

Speaking of the painting of A Dream of Red Mansions just finished 120, Ma Xiaojuan's face is still faintly tired, and she seems to be still immersed in the creation of A Dream of Red Mansions. She recalled: "When I was a child, I saw my mother watching A Dream of Red Mansions, and I had the idea of wanting to see it. As a result, I fell in love with a dream of red mansions. With the increase of life experience in the future, reading a dream of red mansions will make me have more intimacy and understanding. This is a century-old print "Dream of Red Mansions" for Fudan's anniversary. After rereading it, I will gain more. In particular, I have a new understanding of Jia Baoyu. Jia Baoyu is a loyal driver, but he respects women very much. He has a pity and sympathy attitude towards girls and always consciously protects women. He is a real flower protector and rare. " In order to create this 120 Dream of Red Mansions, Ma Xiaojuan almost refused all entertainment and painting, studied Dream of Red Mansions behind closed doors, and sought a creative breakthrough, inadvertently showing the unique dreamlike poetic realm of Dream of Red Mansions.

Ma Xiaojuan is also a very serious and persistent painter. When asked about her regrets, she said, "If I had more time, I could draw better, and some paintings might be more wonderful after careful consideration."