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Mao Shan Xiongzi is his most mature work of art and also represents the artistic height he reached in the end. It is the only masterpiece of his later years. This work is his sketching work in Maoshan, created in June 1965, which was the peak of Fu Baoshi's creative career. The four seal characters "Maoshan's grandeur" were written vigorously and powerfully. In addition to depicting the natural scenery of Maoshan, Fu Baoshi also creatively portrayed scenes of factories, bridges, and even urban life in New China that had not been portrayed in ancient law... These materials were arranged in an orderly and exquisite manner by Fu Baoshi, The unified expression of his pen and ink power, often drunk, vividly showcases the combination of romanticism and realism. This work replaces Dong Yuan's soft and casual draped hemp texture with bold and heavy stone texture, and replaces alum head moss dots with complex brushstrokes and thick ink. It changes the fixed style of the dense and lush Jiangnan landscape, and uses brushstrokes and ink to depict the magnificent, colorful, and graceful new Jiangnan landscape. This new model of landscape expression in the Jiangnan region is a creative aspect of Fu Baoshi's painting history, showcasing the aesthetic characteristics of New China, which are passionate, majestic, and masculine The painting style is highly romantic, which inevitably reminds people of the line from Li Bai's poem "Dreaming of Tianlao Singing a Farewell": "Ni is like clothing, the wind is like a horse, and the kings of clouds are coming down one after another.". The ethereal fairyland felt like being there, as if one could feel the aura of the immortal in the clouds, and vaguely hear the huge sound of "bears roaring and dragons singing in the Yin rock spring, chestnuts deep in the forest, and the top of the startled layer". "Hu Gu Se Xi Luan Hui Che" is the fairy formation imagined by Li Bai, which means that the tiger plays the qin and se, while the Luan bird drives the car. Just as in the scene of "The Lord in the Clouds and the Grand Commandant", both the male and female gods and goddesses are riding dragon carts gracefully from the clouds and mist, allowing viewers to fully appreciate the two characters' immortal aura. Fu Baoshi first extensively rendered the chaotic ink atmosphere, creating a mysterious and illusionary effect. The images of wind and rain highlighted the characteristics of the immortal in the clouds, transforming into a dynamic fairyland of "the clouds are green and the desire for rain, and the water is pure and tranquil, emitting smoke". According to Guo Moruo, Yun Zhongjun and Da Siming are a pair of lovers, so Fu Baoshi concentrated the two on the same picture, praising God as a man and woman with human nature, full of romantic imagination. A scholar of calligraphy and painting said, "In ancient painting, there has never been a situation where the Lord of Clouds and the Grand Preceptor were placed in the same scene, and 'dating' is even more incredible.". Because of this, the theme of "The Lord in the Clouds and the Grand Minister" is particularly precious.