Art Gallery

Painting collection of our designer and artist

YAN Chinese Painting Art Gallery

Chinese traditional painting art gallery – original large free hand style by our jewelry designer – flower and bird scenes as well as canvas oil paintings.

If you are interested in purchasing art please contact us at:

Modern Art of West and East

When we look at art in the modern time, we can see that the environment of art creation has more freedom than any previous generation, art can now not only be of painting itself but be rendered in artistic installation, behavioural art etcetera etcetera……But is it now an old-fashion thing to talk about oil-painting itself?

At the current time, within the field of oil-painting, we can see it is full of different concepts with some of these works sometimes being difficult to understand, for example abstract painting.

I want modern art to be something simple, with warmth and beauty being the main ideas of my own art work. I believe oil painting should show the advantage of this type of painting itself, which is that it allows you to paint the subject realistically in shape and colour.

Oil painting itself can not only show a readable image, but also reveal the character of the artist who painted it, you draw your understanding of the subject within the painting, which means you can do it in a way that is not exactly the same as the thing itself.  

This is kind of similar to free hand traditional Chinese painting, where in modern times everyone can draw the same object in their own way, with different understandings of the world making each work unique.

I believe that modern art should possess your own unique character, but should also able to be recognized as what it is, a famous traditional Chinese painter Qi Baishi said that when you comment upon an art work ”if you draw the painting in a way that is totally different to the real subject, it is cheating. If you draw the object exactly the same as the real thing, it is a kind of fluttering”. This saying also describes my idea toward oil painting.

So what is the difference between traditional Chinese painting and Western oil painting? In terms of oil painting, you can use all range of different colors and hundreds of strokes to paint a subject, while in traditional Chinese painting you use only limited colors and strokes.

I think traditional Chinese painting should draw the meaning of the subject more while oil painting as I mentioned above should show more of it’s own advantages in describing reality in terms of both diverse colour and accurate shape.

Traditional Chinese Painting in Modern Art Times

To make things clearer, I will give you two examples to state what oil painting and traditional Chinese painting look like, they both have the same theme which is floral in nature, and you can compare directly how the two different types of painting work, which is clearly readable, conveying the artist’s character and showing advantages of the two different types of the painting.

The first painting of mine is a traditional Chinese painting of a lotus flower, you can see it is completed in traditional Chinese ink with no use of other colors, which shows how the deepness of Chinese ink reflects colour, and how different strokes influence the building of an image.

In traditional Chinese painting black ink can be adjusted in colour by differing the amounts of water added, compared with oil painting traditional Chinese work is often less colorful, as you will see in the second painting in which I use hundreds of different oil colors to express the same subject of a flower, and the use of many more strokes in the oil painting is clearly seen.

From my perspective another difference between traditional Chinese painting and oil painting is that traditional Chinese painting places greater emphasis upon the painter’s understanding of the subject, as the painting is less colorful and less strokes are used to complete the work.

Comparison to Oil Painting

Oil painting as you can see will more adhere to the real subject as it can be expressed with more colours and more strokes which is truly a great advantage of oil painting.

This can be seen from my own oil painting work, which not only accurately describes the flowers and surrounding environment, but also conveys my understanding of the world, which is a warm and positive style and attitude of life.

In conclusion no matter traditional Chinese painting or oil painting all need to be complete within the context of the artist’s understanding of the world, while at the same time carrying the respective advantage of the different painting methods in the modern art world.

You can see more of my art work in our art gallery on our webpage and see more art and fashion blog articles here.

Plum Blossom

Background

“For the coming of faint perfume I long knew this was not snow” – Wang An Shi, Song dynasty.

Of western the “three friends of winter” and Eastern “four noble characters” the virtuous plum blossom has been revered by Emperors of ancient China for it’s adherence to Confucian ideals and written of in poem and drawn in art throughout recorded Eastern history.

Family Wu clean ink stones by the fount, overhead a tree petals leaving light blots

No want of pay to praise work of fine beauty, only land and sky gently washed in fragrance all.

In unceasing giving of fragrance and beauty besides the now blackened brush cleaning fount of the artists residence, great poet of the Yuan dynasty, Wang Mian, composed verse comparing the plum blossoms selfless giving to the world with the artists need for complement and praise.

Enduring through relentless struggle, the conquered peoples of the Yuan dynasty strove to survive in a difficult time, for some such as Wang Mian aspects of the plum blossom such as opening in bloom despite the relentless cold served as a symbol to endure and as unceasing spring of virtue the artist could draw from.

Known as the “winter plum” for it’s early blooming, the plum blossom was revered by ancient aristocracy and ruling classes for it’s aspired to purity of virtue, elegant blooms of flower radiating virtuous colour transposed by the cold of winter that most flowers would hide away from.

As a deciduous tree the plum blossom loses most of it’s leaves in winter, in Chinese art the dark outlines of branch and twig further reinforcing a sense of a cooler seasonal climate and stand to make beautiful blooms of flowers that much more evident.

The plum blossom tree is a part of the much larger Prunus variety of over forty varieties of fruiting tree, broadly including old world plums with stalked bunches of less than three flowers, new world plums with clumps of over three flowers, and apricots and their very short stalked groups of flowers to which the Chinese plum flower belongs to.

Plum Blossom and Traditional Chinese Painting

One of the earlier known works including plum blossom is the record “Pantheon of Plum Blossom” by SongXueYan among other contemporary authors. Painted in the Song dynasty over seven hundred years ago this was one of the earliest encyclopedic records of plants showcasing detailed illustrations of nature.

An artist of an artistic collective of plum blossom lovers, along with other artists he made records of over a hundred illustrations of plum blossom trees and other flowering plants.

Illustrating the passionate dedication to art which was pursued by the collective included building purpose built pavilions around the trees, allowing the artists to observe and directly record the nature of the plant.

Common with traditional Chinese painting the “knowing of the way” is the first commitment to study of the natural environment that through careful and repeat observation of nature imprints the form of the subject in the heart of the artist.

This is followed by the “life drawing” where the student takes the form of the subject and through direct observation takes and typically shortly thereafter records the subject, from simple outlines of form progressing to further finer details then composition of the greater image.

Though rarely used as the composition for a finished work, the collections of these works collected by the artist from nature will form their materials used in producing larger complex pieces.

In comparison to impressionism and other art forms that paint real landscapes or forms for the finished piece, the ancient Chinese artists rarely painted directly, instead observing the nature of the plant until they could internalise the form then return home to finish painting from memory.

One of the most important reasons for this is the weight and number of tools required that made painting outside unfeasible, the use of flexible paper as a medium also confers some impracticality when compared to more rigid canvas oil painting aisles though some ancient artists did build observation and painting “studios” in the outdoors to match their dedication to the subject.

Through repeat practice and observation the student progresses to “临摹” or reference from form, where the composition of an established artists work, or in the modern age from a well composed and suitable photograph, is followed and repeated.

Though the outcome of such a painting would be deemed a copy in oil painting, due to the way in which Chinese free hand is painted – with no ability to correct deviations – students will adjust the flow of their own work to form a painting that is born from their own hand, forming a picture whose composition of elements is generally similar but also different and unique to the artist.

The final path of drawing is realisation of the plum blossom tree as a composition of strokes of painting, following the image of the form that has been internalized and projected into ones imagination then painting it out through the accumulated experience of brush strokes that produce the constituent parts.

Plum blossom painting techniques

Chinese paintings will often follow a rule of balancing opposite elements when constructed – vertical with horizontal, large with small, few with many and so on.

Though paintings forms are led by a central focus piece, this is balanced by harmonious contrasting aspects that serve to break up and complement what would otherwise be a composition overpowering and unnatural in nature.

Drawing plum blossom trees a typically large element such as a vertical branch will often by followed by an accompanying smaller branch in the same vertical frame, this pair of branches would then be followed by a pair of contrasting horizontal branches smaller in size.

The addition of flowers will have a principal flower group followed by a supporting flower group, detailed flowers fewer in number and focused on a single branch will be followed by more smaller flowers distributed over many branches.

This balance of contrasting and supporting elements continues throughout the composition finally creating a naturally balanced and recognizable look to the painting.

With spacing carefully left for bright blooms of flowers the older coarser branches of plum tree are drawn in heavier black inks and multiple reinforcing brush strokes followed by newer young branches painted with lively actioned single strokes.

Larger branches are painted elegantly curved though with stiff composition like metal, contributing greatly to the final form of the painting, smaller offshoot branches curve more and yet are smaller and segment like in their nature.

Flowers are painted from two ways – one way is a circular filled outline method which is common for larger clusters of flowers while a “follow the bone” technique of painting the petal with a single stroke then filling in detail is used by our artist and talked about in our blog here.

In the “follow bone” method a single stroke forms a petal with a wetted light goat hair brush daubed with either a single or dual colour being directly pressed to form the shape.

The curve of the petal is controlled by the angle the brush is pressed with against the paper, while care is taken to ensure the petals edges are distinct and firmer in tone than the petals centre, which should tend towards a lighter more transparent effect.

In the arts literature of our artist the cherry blossom flower is comprised of five petals, through five strokes the petals are formed around a central round gap which is then filled with the flowers stamen and pistil finally painted in using a fine black ink after the flowers petals have been drawn.

The three friends in cold weather

Together with bamboo and pine in Chinese art plum blossom is recognised as virtue against the cold, the first of all flowers and standing alone to declare to winter that spring has arrived.

Finding in it’s stand against the winter a reflection of the idealism to overcome and hold steadfast against unceasing challenges, the plum blossom has through the work of countless artists evolved into an emblem of virtue and beauty in traditional arts.

Chinese arts paper original work

Inscription reads conversation of two, written by Pan Yan

Sparrows perch upon purple wisteria vine

Spiralling ever higher the winding form of two wisteria mutually twist and wind their vines around each other their forms interlocked almost indistinguishable as two plants growing together now as one.

Perched upon their dark twinned stems a pair of brown sparrows incline heads in familiar greeting engaging in friendly conversation below the purple sprouts of beautiful hanging wisteria flowers themselves seemingly mirroring and echoing the paintings harmonious tone.

A beautiful scene drawn upon a long vertical stretch of arts paper, suiting the long vine of wisteria, this composition as with many traditional works carries meaning carried from the natural composition of the scene and connected relationships of the forms within.

Known for vines that twine in circles around their support as the plant grows, wisteria requires strong connections to it surroundings to sustain the plant as it matures and becomes heavier, the reward of this provision of support is a beautiful flowering spectacle lasting for over a hundred years of bright drooping purple flowers.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

This painting is painted upon a lighter traditional Chinese arts paper, slightly off white in colouring and of very slight textile fibre, it is currently not stamped with the artists stamp though would be stamped as such upon purchase.

Though unmounted this work would be sold attached to a fabric scroll suitable for hanging.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Canvas on card original work

Inscription reads Pan Yan

Small cute brown dog oil painting

A portrait of the artist’s dog “tuan tuan” the first of her oil paintings uploaded to our website.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

This oil painting is painted upon an approximately white canvas stretched and mounted over and fixed to a wood backing.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Chinese arts paper original work

Inscription reads riches and honour in blossom

Bright bloom of pink peony welcoming spring

Glorious cacophony of vibrant pink colour erupts from this patch of radiant pink peony welcoming the new spring in this beautiful painting of dazzling floral bloom.

Royal crowns of petal painted rich with colour and depth circle the light yellow highlights of the peony’s stamen and throw light unto the artists crowning touches of blue pistil in their centre.

This lovely portrait of inspiring beauty captures the natural spectacle of a new spring where following hot on the footsteps of yellow jasmine the waiting peony plants open in near simultaneous bloom, through a short space of time their large flower heads some of the first to open and bask in the warm light of a new year.

A national flower of China and symbol of riches and honour the peony was widely drawn over the several thousand year history of traditional Chinese free hand painting, it’s fragrance enjoyed by Confucius as a fragrant garnish and it’s flowers adorned the imperial gardens of ancient Xian city.

Of notably short blooming season the peony as a flower exists as both herbaceous green plant and woody barked shrub, large green leaves and a near global distribution this famous flower is known for closing the flower head at night and the beautiful spread of petals around the flower core.

Single flowered peony feature a single crown of petals around a bright and coloured stamens while double flowered peony adds a second ring of petals and the “bomb flowered” flower has rich layers upon layers of coloured petals.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

This painting is painted upon a lighter traditional Chinese arts paper, slightly off white in colouring and of very slight textile fibre, it is currently not stamped with the artists stamp though would be stamped as such upon purchase.

Though unmounted this work would be sold attached to a fabric scroll suitable for hanging.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Chinese arts paper original work

Inscription reads quiet reflection written by Pan Yan

Bright red plum blossom flower contrasting winter

The touch of cooler winter does little to conceal the pure beauty of the red plum blossom flower which steadfastly blossoms forth from the strong black of the parent branch radiating dazzling elegant colours and it’s own clear warmth in this beautiful natural scene.

The noble tracery of healthy branch acts as the focus of the piece drawing attention to the innate character of the virtuous plum blossom while the red bloom of flower petal when contrasted against the darker pigment of the branch bring beauty and elegance to the composition.

Flowering despite the cold of winter the plum blossom tree is a much loved flower and in Eastern Asia is known for dazzling spectacle of beautiful blossom drawing great crowds of fervent onlookers.

Extolling the idea of showing virtue when faced against bitterness the flowering of such beautiful elegant natural blossom in the cold of deepest winter has lit the imaginations of artists and gifted inspiration to enlightened leaders across millennia.

“Plum blossom – Lotus flower – Bamboo – Chrysanthemum” the four noble flowers of traditional Chinese painting emanating Confucian qualities of purity and virtue are a cornerstone of floral painting not just for their beauty but for the concepts they carry and reflect to the viewer.

Upon viewing these paintings and perhaps seeing a reflection of the elegant virtues that they strove for within themselves, the emperors of ancient China would bestow their more cherished collections of works with seals of red approval, paintings including that of the four noble flowers family would be gifted with series of stamps over their surfaces showing the approval of their inspired owner.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

Painted upon a rectangular section of lighter off white traditional arts paper this painting is unmounted though would be fitted upon a scroll of fabric suitable for hanging if purchased.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Chinese arts paper original work

Inscription reads fragrance from white jade written by Pan Yan

Blossoming magnolia welcomes new spring

Carrying rays of new light and welcome warmth the arrival of spring brings new energy and potential for life to the natural world, in this original work a tropical frond of the Japanese banana tree sets off against the verdant new growth of white magnolia in a warm portrait of nature.

Every piece of Chinese traditional painting is an original work, even if inspired by and following the works of past and current great masters, the nature of each brush stroke will set the shape of the form from which the composition of the final piece will grow from, though this piece was followed by the work of the same name in our collection it too is an original work.

In this piece the dark shape of the established branch of magnolia tree serves as a sturdy scaffold upon which the verdant floral growth is attached to – elegant petals of flower confidently contrast the forms of coloured stamen while new blossom eagerly buds forth into the bright light of spring.

As in the other work in our gallery this piece is contrasted against the silhouette of a tropical Japanese banana tree Musa Basjoo frond it’s inclusion in the composition placing the composition into a scene of warm distant tropical paradise.

With a spring bloom appearing before the budding of leaves magnolia is an ancient species of flowering plant preceding the evolution of bees and an early example of pollinating plant, it’s extant and genus are both wide and deep gifting the worlds forests with beautiful sweet fragrant scents and stunning displays of flower since long before many flowering plants.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

This painting is painted upon a lighter traditional Chinese arts paper, slightly off white in colouring and of very slight textile fibre, it is currently not stamped with the artists stamp though would be stamped as such upon purchase.

Though unmounted this work would be sold attached to a fabric scroll suitable for hanging.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Chinese arts paper mounted on card original work

Inscription reads fragrance from white jade written by Pan Yan

Flowering white magnolia contrasting musa basjoo

Early in welcome to the warmth of the coming spring the bright full flower of a well established branch of magnolia springs open to bask in the rays of new light followed closely in step by a blossom of verdant white floral buds and chorus of shooting leaves in this beautiful tropical scene.

Of delicate colouring the elegant petals of magnolia trace elegant contour around the bright stamen of the flower cores. The newer buds of blossom are evident against the rich dark colouring of the magnolia branch and accompany to the dark forms of closed leaf bud huddled closely against it’s surface waiting a little longer for the encouragement of new warmth before opening.

The proud and healthy magnolia tree branch is contrasted against the giant leaves of a much cherished South Asian Musa Basjoo or Japanese banana tree frond setting the scene to a place of distant warm tropical paradise.

With a spring bloom appearing before the budding of leaves magnolia is an ancient species of flowering plant preceding the evolution of bees and an early example of pollinating plant, it’s extant and genus are both wide and deep gifting the worlds forests with beautiful sweet fragrant scents and stunning displays of flower since long before many flowering plants.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

Painted upon a square of yellow tinted arts paper which carries a notable fibre evident in photo this painting is mounted upon a square of heavier off white card giving a classic feeling to the work.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.

Chinese arts paper mounted on card original work

Inscription reads hear the fragrance, self inscribed by Pan Yan

Red chrysanthemum in fragrant forest scene

Surrounded by lush and fragrant vegetation the finely detailed petals of red chrysanthemum light up this glade of peaceful forest in a scene which carries an air of serenity and beauty in it’s composition.

Light foreground flower heads are set off with the darker surrounding leaf while the lighter black pigment of numerous floral and plant background details add weight to the feeling of a greater forest.

An airy and light work the glorious red chrysanthemum is the focus of the painting projected in the detail of countless fine petals and in colour with it’s radiant hue.

Red chrysanthemum as painted is one of a thousand varieties of this colourful flower species that is native to China and once cultivated as a herb.

Frequenting many traditional Chinese pieces it’s vibrant colour coupled with it’s detailed form acts alone as the centrepiece in many works and as a balanced counterpart to resplendent and colourful animals in the “bird and flower” genre such as the flamboyant peacock.

Our art blog has a number of articles compiled from assorted texts used by our artists and an assorted collection of works can be seen in our art gallery.

Painted upon a square of yellow tinted arts paper which carries a notable fibre evident in photo this painting is mounted upon a square of heavier off white card giving a classic feeling to the work.

This work and others displayed in our art gallery are available for purchase directly from the artist through negotiated price, contact address is provided in the top most art gallery post.