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Feng Zikai (1898-1975), a famous modern Chinese painter, writer, art and music educator, is a literary and artistic master with many achievements. After liberation, he served as executive director of the Chinese Artists Association, chairman of the Shanghai Branch of the Artists Association, president of the Shanghai Chinese Painting Academy, and vice president of the Shanghai Foreign Culture Association. Feng Zikai's unique comic works have a great influence and are deeply loved by people. His works are profound and thought-provoking.

Feng Zikai's prose also has a great influence in the history of new literature in my country. His main works include "Essays of Yuanyuantang", "Re-writing of Yuanyuantang", "Twenty Essays", "Sweet Memories", "Artistic Interests", "Collection of Frankness", etc. Except for some artistic comments, most of these works describe his own personal experience of life and daily contacts with people, showing a strong interest in life.

The issue of the origin of art has always been called the "Riddle of the Sphinx" by academic circles. This is mainly because people know very little about the history and art of early human beings. Despite this, many scholars in history have made unremitting exploration and efforts in this field, and proposed various theories about the origin of art from different perspectives. These theories reveal certain conditions and basis for the occurrence of human art from different angles, and are of great value to learning art and conducting art education. Although these theories on the origin of art necessarily involve all aspects of human art, the discussion on the origin of art is usually an important aspect of these theories. Below we will briefly introduce and comment on several major theories about the origin of human art in history:

1. The theory of imitation:

This is a theory about the origin of art. The oldest theory begins with ancient Greek philosophers. This theory believes that imitation is the inherent nature and instinct of human beings, and art originated from human imitation of nature. According to ancient Greek philosophers, all art is the product of imitation. Aristotle believes: "The object of artistic imitation is the real world. Art not only reflects the appearance of things, but also reflects the internal laws and essence of things. Art creation relies on the ability to imitate, and the ability to imitate is a person's ability to imitate since childhood. "The nature and instinct that exists at all times." Following the ancient Greek philosophers, Leonardo da Vinci in the Renaissance, the French Enlightenment thinker Diderot, and the Russian writer Chernyshevsky all inherited and developed it to varying degrees. this doctrine. This theory remained extremely influential until the end of the 19th century.

2. Game theory:

The game theory believes that art originated from games. It is a more influential theory among the theories of art including fine arts. Its representative figure is The famous German esthetician Schiller and the British scholar Spencer, people also call the game theory "Schiller-Spencer theory". In "Books on Aesthetic Education", through a comparative study of the relationship between games and aesthetic freedom, Schiller first put forward the view that art originated from games, and believed that art is a game of aesthetic freedom with the purpose of creating formal appearance. "Freedom" is the essence of artistic activities. It is not restricted by any utilitarian purpose. Only in a spiritual game can people completely get rid of the shackles of practicality and utilitarianism and gain true freedom. The game theory also believes that human aesthetic activities, like games, are a use of excess energy, and that excess energy is the driving force for people to engage in spiritual games such as art. Man is a higher animal. He does not need to use all his energy to engage in material activities that maintain and extend life. Therefore, he has excess energy. This excess energy is reflected in free imitation activities, such as games and artistic activities. Spencer, like Schiller, also believes that games are an outlet for excess energy. Although it has no direct practical value, it helps the player's organ training. Therefore, it has biological significance and is beneficial to the individual and the entire nation. Survive.

The game theory emphasizes the important connection between game impulse, aesthetic freedom and the perfection of human nature, and is of great value to our understanding of the aesthetic occurrence of art.

It reveals some necessary conditions for the occurrence of art in terms of biology and psychology, such as remaining energy is an important condition for artistic activities, the entertainment and aesthetics of art, etc. It reveals that spiritual freedom is the core of artistic creation and is important for artistic creation. We understand the nature of art to be inspiring.

3. Expression theory:

This theory believes that art originates from human beings’ need to express and communicate emotions. Emotional expression is the most important function of art and the main reason for the occurrence of art. The main people who hold this theory include the British poet Shelley, the Russian writer Leo Tolstoy, etc., as well as some modern and contemporary aestheticians in Europe and the United States. According to this theory, all the art of primitive people has only one main driving force, that is, they express their emotions through various arts, thus promoting the occurrence and development of art. For example, Tolstoy believed: "Art originated when a person, in order to convey the feelings he had experienced to others, rekindled these feelings in his own heart and expressed them with some external signs." These external signs It is an artistic image expressed with movements, lines, colors, sounds and words. Through the communication of these artistic images, others can experience the same emotions. In this way, the emotions experienced by the author infect the audience or listeners, which is an artistic activity.

4. The theory of witchcraft:

The theory of witchcraft is the most influential and powerful view among Western theories about the origin of art. This theory was put forward on the basis of direct research on the relationship between primitive works of art and primitive religious and witchcraft activities. It was first proposed by the famous British anthropologist Taylor in his book "Primitive Culture". This view uses practicality to explain the origin of art, believing that in the minds of primitive people, the original art had great practical and utilitarian value. According to this theory, although there are many animal images in the prehistoric cave paintings painted by primitive people that we think are beautiful today, they were motivated by a motive that had nothing to do with aesthetics, that is, witchcraft. For example, many late Paleolithic cave paintings and carvings are often found in the darkest and inaccessible parts of the cave. They were obviously not made for people to appreciate, but were attempts by prehistoric humans to use witchcraft as a means to ensure hunting. success. Some animals are also painted or engraved with traces of being stabbed or struck by spears or sticks. According to the witchcraft theory, this is because primitive tribes have a kind of sympathetic witchcraft. Primitive people believe that the image of anything has something to do with it. The actual things have a real connection. If you exert an influence on the image of an object, you actually exert an influence on the object. Painting scars on animals means that they can successfully hunt them during actual hunting. prey. The animal images with stabbed or wounded marks on their bodies in the original murals have become strong evidence to support the theory that art originated from witchcraft. The theory of witchcraft is of great significance to our understanding of primitive art, especially the motivation for the occurrence of primitive fine arts, and the non-aesthetic nature of these arts under the conditions at that time.

The above theories about the origin of art can help us understand the origin of primitive art and its causes from different aspects. Although there are essential differences between primitive art and children's art, they have many similarities in their motivations, especially in their forms of expression. Therefore, understanding the occurrence of human art is of great significance for us to correctly understand and understand children's artistic activities. Reference function.

Children often hide charcoal strips, yellow clay blocks, and chalk heads in their bags, which are their painting tools. When the adults are not paying attention, they secretly take out these painting tools and display their works on the white walls or smooth windows and doors. When the adults saw it, they became furious, saying that it was dirty, unfair, and unsightly; it was harmful to cleanliness, morality, and aesthetics, and it must be strictly prohibited. While trying to destroy these works, they murmured curses on their authors and confiscated their painting tools. However, this prohibition is often ineffective. A few days later, the children had that kind of painting tools in their bags again, and that kind of works were published on the walls, windows and doors.

The adults are right. Painting windows, doors and walls at will is indeed harmful to cleanliness, morality and beauty.

But in Western paintings before Post-Impressionism, lines were not obvious.

2. Chinese painting does not pay attention to perspective, while Western painting attaches great importance to perspective. Perspective is the representation of three-dimensional objects on a flat surface. Western paintings strive to resemble the real thing, so they pay great attention to perspective. Take a look at the streets, houses, furniture, utensils, etc. in Western paintings. The shapes are all correct and look like the real thing. If you describe the scenery of the corridor, you can express the distance of several feet in a few inches. If you describe the railway from the front (looking from the center of the railway), you can express the distance of several miles in a few inches. This is not the case with Chinese paintings. They don't like to paint streets, houses, furniture, utensils and other things with obvious three-dimensional features, but they like to paint clouds, mountains, trees, waterfalls and other things that look like natural flat objects from a distance. Occasionally depicting houses and utensils, and not paying attention to perspective, but expressing them arbitrarily. For example, when painting a deep scene in a courtyard, the curved corridors of the bridal chamber are expressed in every line, as if they were seen when flying in mid-air; and it is not seen at once, but it is flying around, flying up and down, several times. what is seen. Therefore, the hand scrolls of Chinese paintings, with mountains and rivers stretching for several feet, look like what you would see on a train. The vertical Chinese painting features overlapping mountains and rivers, as if seen from an airplane. Because Chinese people paint just like they write poetry. They paint wherever they think and they cannot be restricted by perspective. Therefore, perspective is sometimes wrong in Chinese paintings. But it doesn't matter if you get it wrong. We cannot use the rules of Western painting to criticize Chinese painting.

3. Eastern figure paintings do not pay attention to anatomy, while Western figure paintings attach great importance to anatomy. Anatomy is the study of the shapes of human bones and muscles. When Westerners paint figures, they must first study anatomy. The famous name of this anatomy is anatomy for art students, that is, anatomy for art. The reason why it is different from physiological anatomy is that physiological anatomy talks about the structure and function of various parts of the human body, while artistic anatomy specializes in expressing shapes. But it is also necessary to memorize the names of bones and muscles, as well as the various variations in their shapes, which is a difficult knowledge. But Western painters must learn. Because Western paintings focus on realism, they must depict the human body as if it were a real human body. But Chinese figure painters have never needed this kind of knowledge. When Chinese people paint figures, they only aim to express the characteristics of the figure's posture, but do not pay attention to the size and proportion of the various parts of the figure. Therefore, the men in Chinese paintings have a strange appearance and a disproportionate head and body. Women have slender eyebrows and slender lips, with slender shoulders and narrow waists. If you took off the clothes of these figures, they would look terrible. But this is not a problem, it is a benefit of Chinese painting. Chinese painting has a strong desire for impression, so it expands the characteristics of the characters, making men more majestic and women more slender and beautiful, and fully expressing their characters. Therefore, instead of using the realistic method, use the symbolic method. Don’t seek resemblance in appearance, but resemblance in spirit.

4. Chinese painting does not emphasize background, while Western painting attaches great importance to background. Chinese paintings do not focus on the background. For example, when writing plum blossoms, one is suspended in the air and is surrounded by white paper. When writing about characters, a person hangs in the air as if riding on a cloud. Therefore, the paper used for Chinese painting leaves a lot of blank space. A very long piece of paper, with a vegetable or stone traced at the bottom, becomes a standing banner. This is not the case in Western paintings. Everything must have a background. For example, for fruit, the background is a table. Characters, their backgrounds are indoors or outdoors. Therefore, the entire screen is filled in, leaving no blank space. The difference between Chinese painting and Western painting also arises from the difference between realism and expressiveness. Western paintings emphasize realism, so the background must be depicted. Chinese paintings emphasize conveying the spirit, so they must delete trivial matters and focus on the subject in order to make a strong impression.

5. The themes of Eastern paintings are mainly nature, while the themes of Western paintings are mainly human figures. Before the Han Dynasty, Chinese paintings also used figures as the main subject matter. But by the Tang Dynasty, landscape painting became independent. To this day, landscapes have always been the main form of Chinese painting. Since the Greek times, figures have been the main theme in Western art. Most of the religious paintings in the Middle Ages took the masses as their subjects. For example, "The Last Judgment", "The Triumph of Death", etc., there are countless characters in one painting. It was not until the 19th century that there were independent landscape paintings. After the independence of landscape painting, figure painting did not give way. Nude painting is still the main subject of Western painting today.

The above five points are the differences between Chinese painting and Western painting. From this we can see that Chinese painting has a lofty taste, while Western painting has a simple taste. Therefore, for the purpose of artistic research, Western painting is not as sophisticated as Chinese painting. For public appreciation, Chinese paintings are not as common as Western paintings.

(Selected from "Feng Zikai on Art", Fudan University Press 1985 edition)

Answer: shangui2006 - Tanhua Level 11 4-14 00: 47

Life of Feng Zikai

On November 9, 1898, Feng Zikai was born in Shimenwan, Chongde County, Zhejiang Province (now Shimen Town, Tongxiang County).

When Feng Zikai was born, his mother had given birth to six daughters, and he was the first son in the family. Because my father only has one sister, she is the hope of the Feng family's success and is cherished. His father gave him the nickname "Ciyu", and he was indeed a treasure in the eyes of his family. His grandmother doted on him, his parents and aunts loved him, his sisters loved him, and even the guys in the family's dyehouse liked him. Feng Zikai has been surrounded by tenderness since he was a child. This warmth later followed him throughout his life and infiltrated into his character, making him always look at things with a gentle and compassionate heart. Turned into simple words and pure style of painting.

At the age of six, he was studying in his father's private school, and his academic name was Fengrun.

Father Feng Huang was originally a civil servant in the late Qing Dynasty. After the imperial examination was abolished and he became an official, he opened a private school at home to teach children to read. Feng Zikai studied the "Three Character Classic" and "The Poems of a Thousand Families" from his father, and also learned from his father's celebrity demeanor of drinking, eating crabs and admiring the moon on the Mid-Autumn Festival night... When he was 9 years old, his father died and his mother sent him to another private school. Continuing to study until the age of 12, Feng Zikai received traditional education. These six years of edification left in him the gentle, sensitive, calm and kind temperament unique to traditional Chinese literati. Perhaps because his family had a dyeing shop, Feng Zikai had been sensitive to lines and colors since he was a child. The black and white characters in the book "Poems of a Thousand Families" that inspired him were painted with dyes. He traced the characters and drew them for his classmates. , painted for the villagers, and even painted a portrait of Confucius for the school at the request of the private school teacher for people to admire. He was called a "little painter". The charm of line and color was discovered by him and has fascinated him for the rest of his life.

In 1910, he studied in the third county higher primary school and changed his name to Fengren.

The County No. 3 Higher Primary School is a new school built in response to the revolutionary trend. Here, Feng Zikai cut off his braids, and in order to meet the needs of democratic elections, Mr. Feng Zikai changed the difficult-to-recognize part of his name. The word "Run" was changed to the word "Ren" which is easy to write and recognize. The new school offered music classes, and the students sang Li Shutong's "Motherland Song" and "Encourage Learning" songs. The shocking power of the notes greatly affected Feng Zikai, which became the beginning of his later study of music. In the spring of 1914, Feng Zikai graduated from the county's third higher primary school with first place.

In 1914, he was admitted to Zhejiang Provincial First Normal School and changed his name to Zikai.

From the second grade, I started to learn painting and music from Li Shutong, and learned Chinese from Xia Chengzun. In 1914, Feng Zikai lived up to the cakes and rice dumplings (meaning high school) prepared for him by his mother before leaving, and was admitted to the Zhejiang Provincial First Normal School in Hangzhou. In this famous normal school, which was the center of the Jiangnan New Culture Movement at that time, Feng Zikai met two teachers who had a great influence on his life - Li Shutong and Xia Chuzun. The former not only gave him enlightenment in music and art, but also set an example for him in life; while the latter advocated the use of lively vernacular and truthfully expressed his true feelings, which he always regarded as Guigao. , became the most amiable and lovely feature in his subsequent prose creations. In these two teachers with whom he had a deep friendship, Feng Zikai found three things that would accompany him throughout his life - literature, painting and music.

In 1918, Li Shutong became a monk and Feng Zikai became associated with Buddhism.

Li Shutong was Feng Zikai’s first true mentor. He not only taught music and painting, but also taught him how to be a good person.

From Li Shutong, Feng Zikai learned the art of life sketching and was deeply fascinated by it, so he "made up his mind to study painting with all his heart, dedicate his life to art, and never change his mind"; more importantly, he learned from Li Shutong I learned a lot of valuable spirit: Li Shutong is a very serious person, Feng Zikai is meticulous in everything he does; Li Shutong pays attention to personality cultivation and believes that to be a good writer and artist, you must first be a good person. Feng Zikai has been a gentle man throughout his life. A gentleman, and believed that "a great artist must be a person of great personality"; Li Shutong converted to Buddhism and was compassionate. Feng Zikai also had compassion for heaven and earth. In his paintings, he not only treated people, but also cats, birds, willow branches and plum blossoms. All are full of tenderness. After middle age, Feng Zikai also converted to Buddhism and did not formally become a monk. However, he took the Buddhist name Yingxing and became a vegetarian from then on. Although Feng Zikai said after he became famous that he would not have embarked on the path of painting if he had not met Li Shutong, Li's influence on him was not passive. It had a lot to do with Feng Zikai's temperament and talent.

After graduating from school in 1919, he organized and launched the "Chinese Aesthetic Education Association". He organized the establishment of Shanghai Vocational Normal School and served as the academic director and Western painting teacher.

After graduating from the normal school, Feng Zikai, together with his classmates Liu Zhiping and Wu Mengfei, founded the first art school in the history of Chinese education including painting, music, and handicrafts in an old house on Huangjiava Road, Xiaoximen, Shanghai. Normal School--Shanghai Technical College. Before the school was listed, Feng Zikai, Wu Mengfei, Liu Zhiping, Liu Haisu, Jiang Danshu and others organized one of the most influential art education societies during the May Fourth period, the Chinese Aesthetic Education Association, and founded the magazine "Aesthetic Education". Most of the members are music and art teachers in primary and secondary schools across the country. They popularize knowledge of painting and music and train primary and secondary school painting and music teachers. While devoting himself to art education, Feng Zikai consciously explored theoretical research on art education. During the preparatory stage of Shanghai Junior College Teachers College, Feng Zikai was invited to teach at Shanghai East Asia Sports School. In the school magazine, he published "Picture Teaching Method" and "Sketch", the former is educational experience, and the latter is "Sketch" by Japanese scholar Yoneda Keiichiro. "Sketch" is an abridged translation, which is the earliest known translation of Feng Zikai's writings on art teaching. In the magazine "Aesthetic Education", Feng published articles such as "The Life of a Painter" and "Principles of Art Education", regarding the moral cultivation of painters as life.

In early 1921, he went to Japan to study art and returned to China ten months later.

Without his trip to Japan, Feng Zikai’s paintings might have looked completely different, or there would have been no “Zikai comics” at all. At an old bookstall in Japan, Feng Zikai discovered Takehisa Mengji's "Mumeji Painting Collection - Spring". Mengji's fresh and refined simple drawings immediately attracted him. Feng Zikai called his paintings "silent poetry" and most highly praised the "rich poetic interest" in his paintings. It was this style that blended poetry and painting that aroused his great conceptual and emotional resonance. . Feng Zikai has been deeply influenced by traditional Chinese culture since he was a child. In terms of art, the best poems are "happy but not obscene, sad but not sad", and the best paintings are "plain and innocent". In short, they must be upright and peaceful. ; Morally, "Everyone is responsible for the rise and fall of a country." Meng Er's paintings abandon the jokes of comics and focus on daily life scenes to show the deep and serious taste of life. They pay equal attention to reason and interest, which is suitable for Feng Zikai. He has a scholarly temperament and a role in awakening the world and admonishing the world. He has not strayed far away from the life he loves, and they hit it off right away.

In 1922, he was introduced by Xia Chuzun to teach at Baimahu Chunhui Middle School in Shangyu, Zhejiang, and began to use a brush to make simple paintings.

Chunhui Middle School, where Feng Zikai teaches music and art, is located on the bank of the quiet Baima Lake. Feng built a "little willow house" by the lake, brought his wife and children to live with him, and lived a "paradise" " life. The comfortable life triggered his creative inspiration. Feng Zikai, who was deeply touched by the paintings of Zhujiu Mengji and Chen Shizeng, was dissatisfied with blindly imitating the ancients. He hoped to use the techniques of Western painting to express the image of the Chinese people and integrate ancient poetic taste into modern ones. Life. Feng Zikai's earliest painting was made after he attended a school meeting and was inspired by the interesting looks of his colleagues bowing their heads on the seats with different expressions. From then on, these lives that had been ignored in the past were revealed. Interest often appears in his writing.

In 1924, he published "After the People Dispersed, the Crescent Moon and the Sky Are Like Water", and embarked on the path of being a painter.

Feng Zikai's first publicly published work "After the People Dispersed, a Hook of the Crescent Moon and the Sky Like Water" was published in the magazine "Our July" edited by Zhu Ziqing and Yu Pingbo. The picture shows a corner of a teahouse. The guests have dispersed, tea sets are scattered on the table, and a crescent moon hangs outside the rolled curtain... Such a simple painting has high requirements for the artist. Liao Liao's strokes require the artist to have a solid foundation in sketching. and generalization ability; the finishing touch of the inscription must have rich literary qualities; the choice of subject matter requires detailed life experience, and these are all things Feng Zikai possesses and is good at. Therefore, a kind of Chinese cultural atmosphere with "gentleness and honesty" Comics were born.

In 1925, "Literature Weekly" successively published his paintings, and Zheng Zhenduo named them "Zikai Comics".

From the winter solstice of 1924 to 1925, Feng Zikai, Kuang Husheng and Zhu Guangqian came to Shanghai and founded the "Shanghai Private Lida Middle School". In Shanghai, Feng Zikai met Zheng Zhenduo. Zheng had long liked Feng's paintings and invited him to make a series of illustrations for "Literary Weekly". He published them under the name "Zikai Comics" and published them. A collection of paintings "Zi Kai Comics", from which the name "Zi Kai Comics" became famous. Feng Zikai did not think that he was the founder of Chinese comics, and comics did appear in China before Feng, but it was just a flash in the pan. It was not until Feng's comics came out that the word "comics" was widely used. This kind of painting has only become popular in China.

In 1926, Feng Zikai participated in the launch and founding of Kaiming Bookstore.

Kaiming Bookstore was founded by a group of intellectuals at that time. It mainly targeted young readers and was oriented to the society. It published many primary and secondary school textbooks and books such as "Ten Lectures on Women's Issues" and "New Sexual Morality Discussion Collection". ” and other progressive and useful books. Feng Zikai was not only the founder of the bookstore, but most of his works at that time were also published by Kaiming Bookstore. Such as "Zikai Painting Collection" in 1927, "History of Western Art" in 1928, "Nursing Painting Collection" in 1929, "Twelve Lectures on the Western Painting School" in 1930, "Yuan Yuantang Essays" in 1931, "Painting and Literature" and "Artistic Interests" in 1934, "Phases of the World" and "Talk about Western Architecture" in 1935, "The True Story of Comics Ah Q" in 1939, and "The Complete Collection of Zikai Comics" in 1945. His translated works include "Introduction to Art" in 1928, "First Love" in 1931, "Suicide Club" and "Introduction to Music" in 1932. Selected works include "Fifty Famous Chinese Songs" in 1927, "How to Play the Huai'e Bell" in 1931, "Hundred Famous English Songs" and "Selected Famous Organ Songs" in 1932. This tireless list of books not only reflects Feng Zikai's deep friendship with the bookstore, but also shows Feng's extensive knowledge, including painting, music, architecture, and literature. It is worth mentioning that Feng Zikai’s books are all designed by himself.

In November 1927, he converted to Buddhism from Master Hongyi (namely Li Shutong) and was named Yingxing.

There have always been different opinions about Feng Zikai's conversion to Buddhism. Some people say that he was born outside the world, while others think that he was actually a worldly person. In fact, Feng Zikai was a layman throughout his life and never became a monk. This is inseparable from his love for the world. He could not forget the charming scenery, various characters and the future of the country in this world, so he painted, composed, and He runs education and bookstores...and his religious beliefs gave him a compassionate and sensitive heart, which influenced his artistic views. He always believed that art should be "benevolence-based" and "skillful and skillful". Artists love nature and sympathize with nature. All things, use art to cleanse the souls of yourself and others. The most direct product of this idea was the later "Picture Collection of Nursing Students".

In 1933, the new residence "Yuanyuantang" in his hometown was completed. From then on, he devoted himself to translation. In the past five years, he produced more than 20 kinds of works (parts) of various kinds. "Yuanyuantang" was destroyed by the war in 1938.

Everyone who knows Feng Zikai knows Yuanyuan Hall. It is not only a house where Feng Zikai once lived, but also a witness and interpreter of his creations.

In 1933, in his hometown of Shimen, the tall, square, concise and bright Yuanyuan Hall was "written out" by Feng Zikai with his red Parker pen (Feng said, meaning it was built with royalties). The south-facing hall of the building is paved with large square tiles and hung with couplets and couplets by Ma Yifu and Li Shutong; there is an organ and thousands of books in the study; the walls of the dining hall are covered with ink by Shen Meisou; the upstairs is a spacious bedroom; there are peach blossoms outside the door, plantains, cherries and roses in the patio, holly, laurel trees, grapevines and swings in the backyard; and most importantly, there are a group of carefree children! The peaceful and comfortable life here made Feng Zikai's creations fruitful. In the past five years, he published three collections of paintings including "Human Appearances"; five collections of essays including "Yuan Yuan Tang Zai Bi"; and three music works such as "Lecture Notes on Enlightened Music". ; "Painting and Literature" and other eight art treatises. Yuanyuantang is like a three-dimensional annotation of these comics and essays. It is elegant, lively, subtle and introverted, and always cares about the world. Feng Zikai had deep feelings for Yuanyuan Hall. When he learned that it had been destroyed by Japanese artillery fire in 1938, Feng Zikai was filled with grief and anger and wrote two books, "Return My Yuanyuan Hall" and "Reporting the Spirit of Yuanyuan Hall in Heaven". An article to express my condolences.

From 1937 to 1945, he took refuge in his hometown and traveled to Tonglu, Quzhou, Shangrao, Nanchang, Pingxiang, Xiangtan, Changsha, Guilin, Yishan, Zunyi, Chongqing and other places.

With Feng Zikai’s character, he hates war the most, but his fate has caused him to wander in the war for nearly ten years. While fleeing, he was deeply moved by the horrors of the war, which made him pay special attention to the propaganda role of comics. He still drew cartoons, but they were "Anti-Japanese War cartoons" to promote the anti-Japanese war and express what he saw along the way. The paintings contained more people's suffering and hatred of the invaders, and the style became gloomy. Not only did he draw such paintings himself, but he also taught students to draw them when he was teaching in various places. After finishing the drawings, he went to the countryside to post them to promote the anti-Japanese war. While in Zunyi, he also reorganized new and old works and compiled "The Complete Collection of Zikai Comics", which was published by Kaiming Bookstore in 1945. From 1942, Feng Zikai came to Chongqing, a relatively stable city, built a "Shaping hut", and resumed his life of painting and composition. He also took the opportunity to hold art exhibitions in Changshou, Fengdu and other places to enjoy the mountains of Sichuan. Landscape and water. In Chongqing, Feng Zikai still took the popularization of art education as his own mission and published works such as "Art and Life", "Common Knowledge of Traditional Chinese Painting", "Poems in Paintings", and "Elementary Music". During the years of the Anti-Japanese War, what we saw from Feng Zikai was the Chinese literati's calmness in dealing with shocks and their courage to face difficulties calmly. They expressed their patriotic feelings and positivity in facing life in their own unique way.

1946-1949, lived in Hangzhou.

After the Anti-Japanese War, Feng Zikai returned to Jiangnan from Chongqing. He once returned to his hometown, but Yuanyuan Hall was no longer there. People and things were different, and old dreams were hard to find. After a drink, he Settled down in Hangzhou.

After the founding of the People's Republic of China in 1949, he settled in Shanghai and concentrated on translation.