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Section Title

 II :

ESSENCE LIFE VOLUME 2 : FAN SHAO HUA ARTS

First published 2010 by

Shanghai Art Museum
2nd edition 2010 published & distributed by
Ode To Art Contemporary
Ode To Art Raffles City
252 North Bridge Road,
Raffles City Shopping Centre, #01-36E/F,
Singapore 179109
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The Pavilion, #06-24E/F,
Kuala Lumpur 55100, Malaysia
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2010 Ode To Art Contemporary
All rights reserved. No part of this publication may be
reproduced or distributed in any form or by any means,
or stored in a database or retrieval system, without the
prior written permission of the publisher.
Front Cover:
:
Snow-White, 2008
Oil on canvas, 100 x 120 cm.
Measurements of artworks are given in centimetres
Printed and bound in Singapore

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Essence . Life II

03 CONTENTS

22 BIOGRAPHY

04 MESSAGE, YIP WEI KIT

07 INSCRIPTION, GONG XIN HAN

09 FAN SHAOHUAS FLOWER INVITATION,

TAN SWEE HIAM

12 FOREWORD, ZHU GUORONG

14 A GODLY RELATIONSHIP WITH

FAN SHAO HUA, YANG GENGXIN

29 AWARDS

30 THE LOTUS SERIES

48 THE NUDE SERIES

62 THE LANDSCAPE SERIES

78 THE PORTRAIT SERIES

86 THE ABSTRACT SERIES

18 ELEVATION OF THE SPIRIT

OF CHINESE ART, LI RENYI

Contents

2010 1

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Essence . Life II

MESSAGE

Firstly, I wish to congratulate Mr Fan Shaohua for successfully staging his solo exhibition
at the Shanghai Art Museum.
Mr Fan is a very outstanding modern artist. His works are very distinct as they blend the
painting techniques and subjects from both the East and West.
Many of the paintings in this show have been shown in exhibitions in Singapore as well
as several other Asian countries. Some of them also won him many awards.
5

Mr Fans talents are all displayed in his works, especially in his portraits, street scenes and
the abstract pieces. That the Shanghai Art Gallery is staging this solo exhibition for him
shows its recognition for Mr Fans artistic excellence.
May I take this opportunity to show my heartfelt gratitude to the Shanghai Art Gallery for
its efforts to promote closer relations in the arts and cultural fields between Singapore and
China through this exhibition.

Mr Yip Wei Kit

Consulate-General of the Republic of Singapore in Shanghai, China
January, 2010

Message, Yip Wei Kit

Inscription, Gong Xin Han

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Essence . Life II

Prologue, Tan Swee Hiam

10

2009 12 20

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Essence . Life II

FAN SHAOHUAS
FLOWER INVITATION
PROLOGUE BY TAN SWEE HIAM

Fan Shaohuas multi-media treatment of the lotus has made visible the emergence of a new
flower, whose never-before-seen charm attracts the gaze of all eyes to its bloom and gets
them deeply intoxicated. Just as everyone equates Fan Shaohuas artistic creation with his
lotus, the lotus is turned into an invitation, inviting all viewers back from the spiritual realm
to the secular world of flower damsels and clouds and rain, where the Ying and Yang cajole
each other, poetry and music are intertidal and all eyes are gazing at the fire that is burning
through the flowering shrubs and are therein intoxicated.
This is where the core of Fan Shaohuas art lies. Through art he shows that in the search of
meaning, there needs a rounded reality in life: be it in Heaven or on Earth, one should wallow
in happiness.
Few artists are able to give the viewer such an esthetic experience.
Tan Swie Hian
December 20, 2009.

Prologue, Tan Swee Hiam

11

12

1990

2007

1999

2010 1

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Essence . Life II

FOREWORD
In the life of an artist, there are bound to be changes
in his or her painting styles. When a change takes
place, the artist is really seeking to go deeper or
make further adjustments towards a goal that will
help to raise his or her level of artistic excellence.
This was how I felt when I saw the works of Chinese
Singaporean painter Fan Shaohua.

In the seven years he was at the secondary

school of the Guangzhou Art Academy and later
during his graduate studies at the academy, he
was trained to apply realism to his creative ideas
and representational art in his artistic expression.
Thus, he was equipped with a strong foundation in
painting techniques.

Fan Shaohua was born in the city of Guangzhou

and he is a native of Guangdong province in China.
When he was 10, he studied Chinese ink painting
on the human figure, birds and flowers under the
master Lu Yanguang.

With his skills, he could paint large compositions

with no difficulties and yet able to express the
liveliness and richness of the textures on the
canvas, especially in his works on modern
Singapore where many people and buildings appear
together. He was able to treat relationships among
human characters, and between human characters
and their surroundings very well.

After the Chinese Cultural Revolution, he went to the

secondary school of the Guangzhou Art Academy
first before studying oil painting in the academy.
After graduation, he worked briefly as a designer for
dance at the Guangdong Television Station. Later,
he moved to Guangzhou University where he taught
art and design.
During this period, he started to create and showed
many of his works in oil and watercolor as well as
some of his illustrations and even comics at public
exhibitions. Several of his works were selected for
the Seventh National Art Exhibition that went round
the country.
In 1990, he migrated to Singapore. Since then,
subjects on modern city living in Singapore started
to appear in his works. He has been very active in
the art scene there and won many prizes. He also
represented Singapore in art exchange programs
with several countries. They included Malaysia,
Japan, France, Korea, and the United States.
In 2001, he returned to his hometown where
he staged a solo exhibition at his alma mater,
Guangzhou Art Academy, and received rave
reviews. This new year, he is showing some of his
works in oil at the Shanghai Art Academy, sincerely
wanting to share his art with his counterparts in
Shanghai.

Foreword, Zhu Guorong

Actually, Fan Shaohua could have continued to work

on this artistic path. But from 1999 onwards, he
embarked on a new painting style.
He looked at the human figure with a new and
unique perspective, cut it up and paint it section
by section. Initially, the incomplete human figures
looked like they were painted casually and appeared
to be meaningless. But on carefully examination,
they actually showed the characteristics and trends
in modern living, such as the city folks daily mad
rush or helplessness.
These new style of painting were vastly different
from those of his past, whether in their creative
ideas, compositions or the use of colors. His
individual style was very distinct, and the new
paintings also looked very modern. It was certainly
a bold attempt by the artist to establish a distinctive
painting style of his own.

In Fan Shaohuas Lotus series, he turned the

representational art painting technique of the West
into free-hand brush strokes in Chinese ink and
brush painting which often uses the degree of
concentration of the ink on paper as a means of
expression. To give a Western flavor to his works,
he painted the background with a crumbled-paper
look, making his pictures of the lotus to be so
artistically distinctive.
The lotus in his works also changed from their
usual quiet and aloof nature to be so full of life and
passion.
In Fan Shaohuas recent works, he painted the
female figure together with the lotus. I dont think it
is just a simple act of putting two different subjects
side by side. More than that, he was really making
a contrast between the East and the West, two
subjects from different cultures, and trying to create
a dialogue between them.
13
When you put the sensuous and beautiful body of
a woman together with the lotus, the significance
could be multiple and many sided. Culturally, they
also have great meanings.
Fan Shaohua has put his human figures he painted
for years together with the lotus. This is perhaps
his thoughtful expression of the place oil painting
should be in the development of modern art today.

Zhu Guorong
Vice-President of the Shanghai City Association
of Artists
January, 2010.

A few years later, Fan Shaohua tried another new

painting techniques in his Lotus series. The lotus
has special significance in the traditional Chinese
painting of flowers and birds. It represents a certain
aloofness and purity of character, among other
qualities.

14

1963

19781981

1985

85

1990

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2010 6

A Godly Relationship With Fan Shao Hua, Yang Gengxin

15

A GODLY RELATIONSHIP
WITH FAN SHAOHUA
BY YANG GENGXIN

My relationship with Fan Shaohua is a godly one.

He lives far away in Nanyang or the south seas in
Singapore, and I, in Chinas capital, Beijing. Though
we are miles apart, we are closed to each other in
our hearts because of art.

16

Its freezing cold in the winter back in my home up

north. With the winter sunlight shinning through
the windows at my balcony, I enjoyed flipping
through Essence-Life and New Landscapes, both
albums featuring Fan Shaohuas paintings, and I felt
strangely warmed.
Fan Shaohua is a new immigrant artist in Singapore.
He was born in the city of Guangzhou, China, in
1963. His fathers influence resulted in him liking
to paint when he was young. He enrolled in the
secondary school of the Guangzhou Arts Academy
in 1978. Three years later, in 1981, he started
learning oil painting at the academy.
Chinas open-door policy and reforms towards the
end of the 1970s and in the early 1980s helped
to restore order and put education back on track
on the one hand, and allowed gradual freedom
of thoughts after the countrys opened up to the
outside world on the other. Fan Shaohua was
fortunate that he could benefit from this era as
he received the best education that helped to
lay a strong foundation for his art and painting
techniques.

When he was in school, he concentrated his works

on the importance of daily living and created
several works such as Iron Arm to reflect that and
received good media attention. After he graduated
in 1985, he went into the lives of the minority tribes
in China and created works such as Girl From Yao
Minority and Hometown which were realistic
works of art and full of life.
Greatly influenced by the art movement of 85,
he was bold to experiment and tried to move
away from his old creative styles. He began to use
symbolic language in his art to show the value of life
with such work as Genesis of Life and Myself.
Thus, he started his artistic journey to focus on man
and life and the meaning of human existence.
He moved to Singapore in 1990. As the language
and customs in his new home are familiar to him,
he integrated quickly in its society. He liked to
paint people. In a short span of about 10 years, he
painted many portraits and among the outstanding
ones include The Dancer, Samsui Woman,
Grandfather, Descendants of the Dragon,
Foreign Worker.
Sometimes he also went far into the streets, the
markets, the port and harbor to observe lives of
the ordinary folks. He came out with works such as
Time Passed, Old Stall, First Day of Chinese
New Year, and Celebrating Chinese New Year In
Chinatown, all nostalgia works about life.
Increasingly, Fan Shaohua is using more realism

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Essence . Life II

in his art. As a foreign artist, he often used his

keen and sharp eyes to pick up details of life
often neglected by others. He also worked hard
at showing the living conditions, emotions and
psychology of life in the city with such works as 7
AM, 12 Noon, 9 PM, One Way, Journey,
On The Road and The Future.
Fan Shaohua also painted on subjects concerning
the environment and ecology. They had inspired
others to give more thoughts on such social issues.
In terms of his artistic language, Fan Shaohua had
switched from the tradition of representational
techniques to to become more abstract,
exaggerated and even out of form so that his works
could appear more modern.
As a modern painter, Fan Shaohua paid a lot of
attention on people. While he was focused on
society, he did not ignore Mother Nature which
Man has been living in harmony with. We could see
in his art, Man and Heaven coming into one in the
universe.
He painted still life and also landscapes. We
observed that the still life works he painted in the
1990s were more proper and rich in details and
that followed the strict discipline of representational
painting from the art academies. His works after
the 1990s, such as Blossoming & Withering 1
and Blossoming & Withering II, which compared
the blossoming and withering of the sunflower to
sing praises for life as well as to sigh as life began
to degenerate and die away. It was a breakthrough
in traditional still life painting techniques and
added symbolic meaning to the works. From the
artistic language point of view, he had moved from
concentrating on the details to focus on what the
subjects would represent.
In the new century, Fan Shaohua entered into yet
another new phase in his artistic creation. His
Lotus and New Landscape series of paintings
are representative works from this is new period.
The lotus is a traditional subject for paintings and
literature in ancient Chinese literature and art, dating
to the poetry and verses written as long ago as
during the period of the Six Northern and Southern

Dynasties. In ancient paintings, artworks on tiles

unearthed in Sichuan dated to the Han Dynasty
showed the Lotus. The southern Tang Dynasty
painter Ku Delian also painted a picture of the lotus
in a pond. So did the southern Song Dynasty painter
Wu Bing whose work, Lotus From the Water or Chu
Shui Fu Rong is even remembered today.
From the Ming and Qing dynasties up to the present
day, there are even more examples of artists using
the lotus as their painting subject. Modern painters
well-known for painting the lotus include Ling
Wenyan, Zhang Daqian, Lin Fengmin and Xie Yaliu.
The lotus remains beautiful even though it came out
of the mud. It is respectful, elegant and beautiful.
Ancient scholars and painters used it to illustrate
good human characteristics such as pride, purity,
independence and greatness.
Fan Shaohua loves the lotus and like to paint the
flower. He uses it as a symbol to represent some
good human characteristics as well. The lotus under
his brush represents ancient traditions as well the
future. His lotus can be as thin as smoke, real and
unreal, as bright as the morning clouds, as hot as
fire and as clear as the best jade. They never fail to
give the viewer space to appreciate their beauty and
imagine. His works all came from his true feelings
and emotions.
He practiced traditional Chinese painting techniques
and used imagery to create. He was also particular
with the atmosphere and employed poetic elements
in his works to make them appealing to the viewer.
He used oils as ink, or mo, which is a break from
the tradition of Chinese brush and ink paintings
since the Ming and Qing periods. In terms of his
brush strokes, he showed that he had mastered
the traditional Chinese brush and ink painting
techniques and even introduced elements of
Chinese calligraphy in his works. After a few years,
he had moved from the disciplined hands of a
traditional Chinese brush artist to one with a free
hand to paint and splash, adding new life to his
works.
Fan Shaohuas New Landscape series is a
complete and revolutionary change from his past
traditional Chinese landscape paintings. Using his

A Godly Relationship With Fan Shao Hua, Yang Gengxin

mastery of traditional Chinese landscape painting

techniques and combining them with new and
modern artistic idioms and compositions which
are either abstract or semi-abstract in colorful oils,
he revolutionized traditional Chinese landscape
paintings to a brand new level.
Whether it is Fan Shaohuas Lotus or New
Landscape series, I believe they both showed the
artists attempt to blend the West with the East while
maintaining the Chineseness of his paintings. His
philosophy in art and creativity are very valuable.
The great master of the Lingnan School of art in
the 1980s, Gao Jianfu in his book on his painting
beliefs on modern art once said: Some elements
of Chinese paintings can be added into Western
art, to give them some oriental character.Western
painters too can absorb some Chinese painting
techniques to create new Chinese-Western artworks
to be a new form of modern painting.
Following the Lingnan School, we can perhaps now
see in Fan Shaohuas paintings, this new form of
modern Chinese-Western works of art.

January 6, 2010
17
Yang Gengxin is an art critic and executive editor of
Art or Yi Shu magazine.

18

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Essence . Life II

Elevation of the Spirit of Chinese Art, Li Renyi

19

ELEVATION OF THE
SPIRIT OF CHINESE ART
THOUGHTS ON FAN SHAOHUAS OIL PAINTING
SERIES BY LI RENYI

20

Bravo! was the word that I shouted when I came

face to face with the Lotus Series and Rhythm of
Body in Lotus Form Series by artist Fan Shaohua.
When a painting moves the viewer, it is often the
result of not just the techniques behind it but a
combination of technique, brilliant method of
expression and rich cultural depth contained in it.
The two series of oil painting by Shaohua are
rendered with the expressive style of Chinese
painting using oils as a medium. The works that
have been produced are refreshing and amazingly
rare. They feature such a distinctive artistic
characteristic that they are truly a legend-like art
treasure the artist has offered to the contemporary
art scene.
The classic image of lotuses that bloom by the
hills and rivers in Lotus Series is a love song of the
times in which the artist has lodged his emotions,
which is offered in reverence to the artistic essence
of traditions. The charming atmosphere of the
works created by rich ink tones with a clear contrast
between moist and dry inks and the visual impact
created by the interplay of cold and warm colours
can be likened to the lofty spirit of a people and to
the traces of a mans emotional journey. The Rhythm
of Body in Lotus Form Series unveils another artistic
haven resplendent with the melodic charms of oil
painting.
In addition to the aesthetic appeal of works in the
series, the subject, which has rich symbolic and
philosophical implications, is thought-provoking as

well for its cultural dimension.

When we appreciate a painting, we often ask: Does
the painting reflect a concern for humanity? Does
it have the quality of being a landmark work in the
inheritance and development of the culture of which
it is a part? The two series by Shaohua offer us an
opportunity to examine these considerations.
Firstly, Shaohua has, in his Lotus series, boldly
employed oils, the western painting material and the
visual language of western art. Such an engagement
represents an unprecedented exploration. The
series evidently embodies the spirit of a matriarchal
culture which uses ink-and-brush Chinese
art elementsas artistic totem, through which
the enchantment of traditional Chinese culture
is rendered full play. His is a successful case of
using western art as a vehicle to convey Chinese
sentiment.
Secondly, Shaohuas lotus paintings has added a
new dimension to the art of depicting lotus both in
western oil and in Chinese painting. By venturing
beyond the confines of both modes, his works
showcase a new dimension; they not only broaden
the scope of development in Chinese painting but
also enrich the realm of oil painting. The confluence
of the two modes finds absolute harmony in his
paintings and deepens their depth. His engagement
is proof of the successful fusion of the two arts.
Thirdly, Shaohuas explorations are firmly rooted
in life and painting experiences. His foundation in
sketch is strong, his mastery of form is precise,

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Essence . Life II

his sense of colour excellent and he is well-versed

in the visual language of oil painting. All these
elements combine to make his expressions of the
subjects absolutely eloquent. More importantly, he is
adept at the skills of the expressive mode (xie yi) in
Chinese painting and the method of ink-and-brush
and principle of the contrast between dry and moist
inks. He is familiar with the aesthetic features, the
form and the visual language of Chinese painting.
The works that he has created shows that he is
heading towards the right direction with promising
development.
Much like the amazing Lotus series, the Rhythm of
Body in Lotus Form series takes the viewer into a
dream-like haven, a world where two art styles are
perfectly harmonised.
When we enter the artistic space of Shaohuas
paintings, we are greeted by elements of Chinese
culture. His paintings are the abstract expressions
of the Chinese humanity, the embodiment of the
philosophy of the heaven-and-man marriage (tianren
heyi) and the interplay of sturdiness and gentleness.
Because of the rich cultural nuances in his
paintings, Shaohua may be regarded as an excellent
missionary of Chinese culture.
In Shaohuas works, the traces of Chinese culture
are discernible and his pursuit may be likened to a
journey of artistic patriotism.

The art of Shaohua is marked by three

characteristics:
A distinctive cultural identity: Amid the waves of the
influx of western culture into China and the erosion
of Chinese culture, Shaohua presents works that
are uniquely Chinese; guarding the treasures of the
Chinese civilization steadfastly.
A sturdy cultural foothold: Shaohuas art is firmly
rooted in Chinese soil and digging deep into the
well of traditions enables streams to converge and
form rivers. His achievement makes Chinese art an
evergreen art form, allowing its original splendour to
shine through in the course of fusion.
Elevation of the spirit of Chinese art: Shaohuas
work revitalizes an ancient art form and takes inkand-brush to greater heights, illustrating the charms
of contemporary art at the same time. The artist not
only enriches his life but also presents works that
are in tune with the times.
The creation of an artist may appear to be an
individual endeavour but deep down, we can always
trace the sources of inspiration to his cultural
traditions and find his spiritual solace there as well.
On this point, may I offer my heartfelt reverence to
the artist when we feast on his sumptuous artistic
fruition.

Li Renyi
November 15, 2009

Elevation of the Spirit of Chinese Art, Li Renyi

21

22

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Essence . Life II

BIOGRAPHY

1963
1970

and entered The High School affiliated to

Guangzhou Academy of Fine Arts, becoming the
first cohort of the students the college accepted
since Cultural Revolution.

Born in Guangzhou City

Studied in Lu Di Xi Primary School situated in
Guangzhou City, Li Wan District. During his free
time, Fan developed a liking for painting portraits.
The landscape due to influence from a father who
adored cultural arts.

8
9,
,

1981

1973

Fan was selected in school to attend the Chinese

Painting class conducted by Teacher Lu YanGuang
at the Home of Li Wan Youths, generating Fans
a deep interest and understanding of traditional
drawings.

1975

Graduated from Primary School. Joined Guangzhou

No.11 Secondary School. Learnt Western
sketching from Teacher Zhao Ji Zhao, building Fans
strong foundation in arts.

1983

,,
,

1976

Successfully admitted into Guangzhou City youth

arts class, followed teacher Zhang Wen Bo and
learned the standard way of drawing techniques.
Used Chinese Ink to create a special performance
to welcome the foreign guests and received great
appreciation.
,
,

1978

Biography, Fan Shao Hua

Water color painting Dawn was nominated in Tian

Jin City, Guangzhou City youth Arts Exhibition
Graduated from Secondary School in September

Graduated from The High School affiliated to

Guangzhou Academy of Fine Arts.Majored in
Oil Painting when Fan furthered his studies
in Guangzhou Academy of Fine Arts. Positive
influence from senior Wang Wei Jia gave rise to
the publications like Golden Age, Family and
Political Newsletter. This was made possible only
with the strong recommendation of Teacher Situ
Mian.

Went to the factory to gather some life experiences

and generated works like Iron Fist which was
presented in GuangDong Pictorial, GuangZhou
Daily, Yang Chen Evening News, Shen Zhen
Special Zone Daily and Golden Age. His works
are also published in Ling Nan Arts editorials
Hua Lang Art Gallery and Hua Jia Tan Yi Lu.
At the same time, these works were published in
Guangzhou Daily.

1984

Fans oil painting Yearn was deemed a collectors

item by the Guangzhou Library.
12
Obtained arts degree in Guangzhou Art institution,

23

1985

Went to Shen Zhen to experience the way of

life there and created Xin Xi, an oil painting
which could be found in the major newspapers
likeGuangzhou Daily and Southern Daily.
Appointed Guangdong Televisions Stage Designer,
and under the invitation of Supervisor Lee Xing Tao,
Fan took up the position of teaching in Hua Nan Arts
University.

1987

7
1989 9

10
1989

1990

Drew the Chinese comics on the theme of Chinese

martial arts and about Lee Xiao Long, published
by Ling Nan Arts Publishing House.

1 7
10
,

1988

His oil painting of Floral Shop was selected to

be displayed in the Chinese Greenery Exhibition,
held at Chinas Art Museum. His drawing by
pen Memorable Journey was selected in the
Guangzhou Arts Exhibition.

1991

6
10

24

1989

Transferred to Guangzhou University to teach in

the Faculty of Design. Fans Oil Painting Budding
Life was nominated in the Third National Hygienic
Arts &Photographic Exhibition. The Oil Painting
Establishing was selected into the Chinese Youth
Artists Self-Selected Series and was published by
Li Jiang Publishing House. The water color painting
Light was nominated in the 1989 Guangdong
Province Arts Exhibition, water color painting
division.
The water color painting New Life was awarded
Guangzhou Wo De Hua Cheng Tian Guang Cai
Floral City First Prize. Selected by Guangdong
Arts Hall to participate in the National Youth
ArtsExhibition. Drawings like Me, Fruits were
nominated in the 1989 Guangdong Excellent
ArtsExhibition and the Painting Fruits was even
selected into Seventh Annual National Arts Fair
3

Recommended by Lin Yong and Tang Xiao Ming to

be part of the Guangdong Artistists Association in
Jan. Jointed Guangzhou Artists Association in July.
Created water color painting Teenage girl and
was selected to be displayed in the Xiang Tu Feng
Qing Arts Exhibition which exhibited in Guangzhou,
published in Hong Kongs Xin Wan Bao in Oct.

Fans oil painting Luo Xia De Hong Mian, awarded

Guangzhou City Second Arts Exhibition Excellent
Prize in June. Oil Painting Luo Xia De Hong Mian
was honored Guang Dong Province Celebrating
Chinese Communist Group Seventieth Anniversary
Arts Exhibition Bronze Prize in July.
6
7

1992

Employed by Singapore Jin Feng Arts Pavilion

to be the resident painter. In the meantime, Fan
designed two sets of twelve postcards each for the
prestigious International Arts Company Dcor Art
International, themed Portraits of Singapore Faces
and Singapore Places of Interests, to be distributed
to various local and overseas corporations. Drew
the insert Hundred Tang Poems for Singapores
Catholic School Chinese curriculum, held his
solo Arts Exhibition, showcasing all his works. Oil
Painting Awaken was presented in the magazine
Collectors. Interviewed by the radio station on his
achievements and drawn the portraits of several
Famous Singaporean entrepreneurs.

Dcor
Arts
International

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Essence . Life II


,


,

1993

1994

1998

Held own arts exhibition, Fan Shao Hua Arts

Fair Oil Painting Me was selected by Singapore
UOB bank for the Arts Exhibition that commended
winning paintings.

Oil Painting Hua Kai Hua Xie 2 was selected

by Cairnhill Community Club to participate in the
Civilized Society exhibition. Chinese painting
Mid-Autumn Night was awarded Chen Zhi
Chu Art Contest Excellence Prize. Oil Painting
Starting Point was honored by the Singapore
Sports Council. Third prize in the 25th Sports Arts
Competition.

Held a water color painting arts exhibition at the

cultural centre by the Singapore River, became
the Life time member of the Singapore Zhong Hua
Arts Council. Was appointed to draw portraits of
Singapore and Malaysias political leaders.

1999

1995

Joined Singapore Arts Association Oil painting

Singapore Streets was nominated in Singapore
Arts Festival. Chinese Painting Autumn
participated in the Local Arts Exhibition & Charity
Sales Contemporary Art Exhibition, organized by the
Singapore Chinese Teachers Society. Oil Painting
Rui Xue participated in the Inter-Region Famous
Ceramics Masters Arts Exhibition.

,
,
,

2000

95

95

1996

Oil painting Nan Guo Jia Guo was selected

for the Singapore Arts Exhibition Fans works on
Fruits Waiting was awarded Outram Park Arts
Association commendable award. Oil Painting Hua
Kai Hua Xie was awarded with the best entry prize
at the Arts competition organized by SingTel.

Biography, Fan Shao Hua

Oil Painting Them won the best painting prize in

the Nineteenth National Arts Competition, Singapore
organized by UOB bank. Oil Painting Train
competed in the fifty-first national youth artist
forum. Oil Painting News in March, Last Meal
on Earth was incorporated in the Singapore Youth
Artists pictorial. Singapores Cape of Good Hope
Art Gallery held the Fan Shao Huas oil painting
exhibition. Employed as Nanyang Academy of Fine
Artss visiting lecturer.

Joined Singapore Modern Arts Society.

19
51

1997

Water color Painting Homeland was nominated in

the Nokia Singapore Art Exhibition. Chinese painting
Journey was one of the top five entries in the
art drawing competition organized by Winsor and
Newton, and was exhibited in Europe and America.
Oil Painting Looking On was nominated in the
Singapore Nokia Arts Exhibition, displayed in the
Singapore Arts Museum.

2001

Chinese ink painting Daytime was selected in

the Philip Morris Arts Prize. UOB bank organized
the City Images - Fan Shao Huas Oil Painting
Exhibition Third Issue in 2001 of Nanyang Arts in
2001 featured some of his paintings. Appeared in an
interview on the Morning Show Zao An Ni Hao

25

of Channel 8 & Radio Station 95.8 interview.

exposure, interacted with the like-minded there

for three months and held the Fan Shao Hua,
Zhuang Xin Zhen, Cai Ai Hua Joint Exhibition in
May.

-
20013
8 95.8

2002

Chinese Painting Raining participated in

Singapores Chinese Cultural Festival Calligraphy
Exhibition. Chinese Painting Waiting participated
in Malaysias Kuala Lumpur Second Chinese
Painting Interaction Meet. Chinese Painting
Getting Hot was nominated in the Philip Morris
Singapores Arts Exhibition. Tanjong Pagar Arts
Club organized Fan Shao Hua and his students oil
paintings exhibition.
Oil Painting Untitled was selected for the Japan
and Singapore joint exhibition, and at the same
time, joined as Japans modern arts club as
an overseas member. Oil Painting Beginning
was selected for the twenty-first Japan modern
exhibition. Oil Painting Beginning participated in
the Singapores artists joint exhibition.

2



,
21

26

2003

Alliance Francaise De Singapour and Cape of

Good Hope art gallery jointly organized Moments
of EternityFan Shao Hua Oil Painting Exhibition
. Tanjong Pagar Arts Club organized Fan Shao
Hua and students Exhibition in Aug. Oil Painting
Abstract participated in the Eighteenth Asian Arts
Meet and was on display in Hong Kong Heritage
Museum.

8
18

2004

19
5,

2005

Chinese Painting Lotus Participated in the Fourth

Malaysian, Singapore Arts Cultural Exchange
Exhibition.
Four oil paintings participated in the Modern Arts
Exhibition, Singapore.
,

2006

Oil Painting Fen Ba entered the Asian Arts

Exihibition held at Singapore Arts Museum.
Chinese Painting Fragrant Lotus entered the Asian
Cultural Interaction Exhibition which was exhibited
in Singapore, Beijing, Hong Kong, Macau and Kuala
Lumpur. Chinese Painting Landscape and Rivers
entered Seoul Fortieth International Arts Grand
Meet nd was honored the Best effort prize, painting
was even kept by the Korean International Cultural
Committee as collection.
Chinese Painting Portrait was nominated in the
Eighteenth Asean water color Exhibition exhibited
in various cities of Taiwan such as Gao Xiong, Xin
Su, Tai Tong. Oil Painting Qui Qu was honored
with the Excellent Award in the Painting competition
on Flowers, organized by American magazine
International Artists.

40,

18
,,

Oil painting Moment of Eternity participated in the

Nineteenth Asian Arts Meet and was displayed in
Fukuoka Asian Arts Museum.
Entered Paris International Arts City to gain more

II

Essence . Life II

2007

Oil Painting Chinatown grand-father was

awarded Excellent award by American magazine,
International Artists themed Portrait
Singapores Ode To Art Art Gallery organized Fan
Shao Huas Oil Painting Exhibition, themed Time.
Was interviewed by Channel News Asia and
Channel Eight s Morning Show Zao An Ni Hao.
Featured in Singapore Arts Gallery Directory
highlight on Artists. Watercolor Painting series
onLotuswas invited to attend Korean Cultural
Arts Meet in June. Fan Shao Huas Solo Arts
Exhibition was accorded 2007 International Art
Fair prize. Pastel painting Portrait was invited to
enter the Local Color painting exhibition organized
by Singapore
National Library Board. Oil Painting Love in the
Fast Lane was chosen to be displayed during the
Singapore Art Show. Essence Life, Fan Shao Hua
Arts is held in Guangdong Museum of Art, China.
1
, 3Ode To
Art ,
, !,
45
6
2007Art Fair,
,2007Art Fair 6

8
8

01.06.07

23.11.07

22nd Asian International Art Exhibition, Bandung,

Indonesia
22

03.2008

Liquid Passion MASS Annual Show 2008, Mica

Building, Singapore
2008

21.04.08

Exhibition of Famous Singapore Painter Fan Shao

Hua, Hong Kong
-

05.2008

Contemporary Asian Art, Ode to Art, Singapore

42th International Culture Art Exhibition, Seoul,
Korea
Ode to Art,
42

01.06.08

The Solo Exhibition by Fan Shao Hua, Seoul,

Korea

02.12.08

The Solo Exhibition by Fan Shao Hua, Seoul,

Korea

Asia Passion by Singapore Artists, Mei He Art

Gallery, Tai Pei, Taiwan
-

19.06.07

Pastel Art Exhibition, National Library, Singapore

12.2008

23rd Asian International Art Exhibition 2008,

the University City Art Museum of Guang Zhou
Academy of fine Arts, Guang Zhou, China

10.2007

23

Fan Shao Hua New Landscapes, Mica Building,

Singapore
,

05.2009

43th International Culture Art Exhibition, Seoul,

Korea
43

Biography, Fan Shao Hua

27

08.08.09

Landmarks, Taipei, 19th Singapore Artists

Exhibition, Black Earth Art Museum, Singapore

12.2009

-19

28.08.09

Nanyang in Paris Art Exhibition, Nanyang

Academy of fine Arts, Singapore

14

31.12.09

Remade, Relived : Modern Art in Singapore

2009, Nanyang Academy of Fine Arts,
Singapore
2009

11.09.09

The call of the Tradition, Singapore Art Show

09, Black Earth Art Museum, Singapore
-

12.09.09

21st Asia Watercolor Exhibition, Tianjin, China

21

27.09.09

Talk on Oil Painting History, Black Earth

Museum, Singapore

28

10.2009

Japan Modern Fine Arts Exhibition, Osaka,

Japan

11.2009

Singapore International Art Fair 2009,

Singapore
1

12.2009

14th Guang Zhou International Art Fair 2009,

Guang Zhou, China
23

Singapore renowned artist Fan Shao Hua

Preview Exhibition, Lyceum Mansion

08.09.09

<Essence.Life> Oil Painting Exhibition Preview,

Lyceum Mansion , China

01.2010

<Essence.Life> Fan Shao Hua Arts Solo

Exhibition, Shanghai Museum, China
.

AWARDS

1999

Chinese painting Journey was one of the

top five entries in the art drawing competition
organized by Winsor and Newton.

16.06.2007

2000

Oil Painting Them won the best painting prize

in the Nineteenth National Arts Competition,
Singapore organized by UOB bank.

International Culture Art Fair Award, Seoul. Korea

By International Culture Association of Korea,
Korea Culture Art research Institution
2007 .

21.04.08

International Premium Oil Painting Artist Award

By Hong Kong World Class Artist Committee.

19

29

2001

Chinese ink painting Daytime was selected in

the Philip Morris Arts Prize.

2006

Oil Painting Qui Qu was honored with the

Excellent Award in the Painting competition
on Flowers, organized by American magazine
International Artists.
,
,

2007

Oil Painting Chinatown grand-father was

awarded Excellent award by American magazine,
International Artists
1
,

Awards

right

Complete, 2009
Oil on canvas, 120 x 120 cm.
30

THE
LOTUS
SERIES

II

Essence . Life II

31

Section Title

32

Shadow of the Sun, 2007

Oil on canvas, 120 x 120 cm.

II

Essence . Life II

 Snow-White, 2008
Oil on canvas, 100 x 120 cm.

33

The Lotus Series

34

35

left

Splash, 2008

Rich in Fragrance, 2009

Oil on canvas, 120 x 120 cm.

Oil on canvas, 120 x 120 cm.

The Lotus Series

36

Glorious Lotus, 2009

Oil on canvas, 120 x 120 cm.

II

Essence . Life II

37

Dew, 2008
Oil on canvas, 120 x 120 cm.

The Lotus Series

38

Apprearance, 2007
Oil on canvas, 120 x 120 cm.

II

Essence . Life II

39

Timeless, 2007
Oil on canvas, 120 x 120 cm.

The Lotus Series

40

Title of artwork, 2005

Mixed Medium, 100 x 100 cm.

Poem, 2007
Oil on canvas, 90 x 120 cm.

II

Essence . Life II

41

Section Title

42

Rosy Clouds, 2009

Oil on canvas, 100 x 200 cm.

II

Essence . Life II

43

Green Stream, 2007

Oil on canvas, 120 x 120 cm.

The Lotus Series

44

II

Essence . Life II

 Petal, 2007
Oil on canvas, 120 x 120 cm.

45

46

Icy Day, 2007

Oil on canvas, 90 x 120 cm.

II

Essence . Life II

47

right

Fire Phonenix, 2009

Oil on canvas, 120 x 100 cm.

THE
NUDE
SERIES

49

Section Title

 Fun Play, 2009

Oil on canvas, 120 x 100 cm.

50

II

Essence . Life II

 Melody, 2009
Oil on canvas, 120 x 120 cm.

51

52

Lotus in Swamp, 2009

Oil on canvas, 120 x 120 cm.

II

Essence . Life II

53

Take Off, 2009

Oil on canvas, 100 x 100 cm.

The Nude Series

54

Spring, 2009
Oil on canvas, 180 x 80 cm.

55

Dance, 2009
Oil on canvas, 120 x 120 cm.

The Nude Series

56

Yellow Wind, 2009

Oil on canvas, 100 x 100 cm.

II

Essence . Life II

57

Flora Beauty, 2009

Oil on canvas, 100 x 100 cm.

The Nude Series

58

Autumn Leaves, 2009

Oil on canvas, 180 x 80 cm.

II

Essence . Life II

59

Swan Lake, 2009

Oil on canvas, 120 x 120 cm.

The Nude Series

60

Fruitfull, 2009
Oil on canvas, 100 x 100 cm.

II

Essence . Life II

61

Intented, 2009

Long Shadow, 2009

Oil on canvas, 180 x 80 cm.

Oil on canvas, 180 x 80 cm.

The Nude Series

left

Ballad, 2008
Oil on canvas, 120 x 120 cm.

THE
LANDSCAPE
SERIES

64

Reddish, 2008
Oil on canvas, 120 x 120 cm.

II

Essence . Life II

65

Frangrance, 2008
Oil on canvas, 120 x 120 cm.

The Landscape Series

66

Curtaincall, 2007
Oil on canvas, 120 x 160 cm.

II

Essence . Life II

67

Spring Rain, 2008

Oil on canvas, 120 x 120 cm.

The Landscape Series

68

right

Longevity, 2007

Bewitching Eyes, 2008

Oil on canvas, 90 x 120 cm.

Oil on canvas, 120 x 120 cm.

II

Essence . Life II

69

The Landscape Series

70

Play, 2008
Oil on canvas, 100 x 120 cm.

II

Essence . Life II

71

Autumn Leave, 2008

Oil on canvas, 120 x 160 cm.

The Landscape Series

72

Enagagement, 2009
Oil on canvas, 120 x 250 cm.

II

Essence . Life II

73

The Landscape Series

 Snowy Valley, 2007

Oil on canvas, 65 x 91 cm.

74

II

Essence . Life II

75

Starry Night, 2007

Oil on canvas, 120 x 120 cm.

The Landscape Series

76

right

, 2007
Oil on canvas, 185 x 160 cm.

II

Essence . Life II

77

Section Title

right

Awaiting, 2001
Oil on canvas, 102 x 76 cm.

THE
PORTRAIT
SERIES

79

80

On The Way, 1999

Oil on canvas, 76 x 102 cm.

II

Essence . Life II

81

12 12 Noon, 1999
Oil on canvas, 76 x 102 cm.

The Portrait Series

82

right

7am, 1999

Future, 2000

Oil on canvas, 76 x 102 cm.

Oil on canvas, 102 x 76 cm.

II

Essence . Life II

83

Title of artwork, 2005

Mixed Medium, 100 x 100 cm.

Section Title

 Starting Work, 2009

Oil on canvas, 76 x 102 cm.

85

right

Truth, 2009
Oil on canvas, 150 x 180 cm.

The
Abstract
Series

88

Best timing, 2009

Oil on canvas, 150 x 180 cm.

II

Essence . Life II

89

The Yin & Yang, 2009

Oil on canvas, 150 x 180 cm.

The Abstract Series

90

Matching, 2009
Oil on canvas, 150 x 180 cm.

II

Essence . Life II

 Slient, 2009
Oil on canvas, 150 x 180 cm.

91

The Abstract Series

92

right

The Moving Sun, 2009

Endure, 2009

Oil on canvas, 150 x 180 cm.

Oil on canvas, 180 x 150 cm.

II

Essence . Life II

93

Title of artwork, 2005

Mixed Medium, 100 x 100 cm.

 Heaven & Earth, 2009

Oil on canvas, 180 x 150 cm.

94

95

Skylight, 2009
Oil on canvas, 180 x 150 cm.

The Abstract Series

96

 Exchange, 2009
Oil on canvas, 180 x 150 cm.

97

Interactive Armada

Chief Editor: Li Lei

Vice Chief Editor: Zhang Wen Qing
Executive Editor: Yang Xia Min, Wu Xiao Li
Curator: Wang Ying
Consultant: Lin Wei Ping
Translator: Leong Weng Kam, Wu Ming Zhu, Deebe Lee
Producer: Zheng Hui
Proof Reading: Zheng Hui
Design: Interactive Armada
Photography: Li Jian Rong
Art work Photography: Ho Yue Weng
Ode To Art Contemporary represents
an extensive collection of Fan Shao Hua.
For more information, please contact sales@odetoart.com
Ode To Art Raffles City
252 North Bridge Road,
Raffles City Shopping Centre, #01-36E/F,
Singapore 179109
Tel: +65 6250 1901
Ode To Art Kuala Lumpur
168 Jalan Bukit Bintang,
The Pavilion, #06-24E/F,
Kuala Lumpur 55100, Malaysia
Tel: +603 2148 9816

www.odetoart.com

www.odetoart.com