“Simple Spicy Poetry—A Research Exhibition on Yan Ming’s Donated Works”

 

 

 

Organizer: Eight Great Mountains Man Memorial Hall

Exhibition period: 2023 12 Moon 30 day — 202 4 Year 03 Moon 31 day

Exhibition Venue: The Eight Great Mountains Man Memorial Hall

Implementation time: 2023 12 Moon 30 10 a.m.

 

 

Yan Ming was born in Nanchang. He was a renowned painter and art educator, and one of the pioneers and founders of art education in Jiangxi Province. Throughout his life, he remained deeply devoted to art and stayed true to his innermost artistic vision in his paintings. Influenced by Western art, he sought to find harmony between the forms and colors of traditional Chinese art and those of Western art. The aesthetic idea that “brush and ink should follow the times.” He studied successively under Pan Tianshou, Zhang Hongwei, Xie Gongzhan, Wang Shengyuan, Wu Fuzhi, and Wang Yachen. In his paintings, he adopted Pan Tianshou’s unrestrained brushwork and ink techniques; learned from Zhang Hongwei’s bright and vivid coloring; and drew inspiration from the “Shanghai School” for its fluid forms and rich, vibrant colors—always grounded in literature, emphasizing spirit over mere form. Moreover, he embraced the immortal artistic spirit of Bada Shanren, mastering the essence of Bada’s art: minimalistic brushstrokes yet brimming with natural charm and spontaneous creativity. His work also bears clear traces of the influence of Western watercolor painting—its transparency and ethereal quality—as well as Western compositional principles. After completing his studies, Yan Ming remained unattached to worldly pursuits and remained true to his aspirations, dedicating himself wholeheartedly to education. He became one of the founding senior professors at the School of Fine Arts of Jiangxi Normal University. Describing himself, he said, “I’m just a painter who knows how to teach.” Since the age of 23, Yan Ming has spent 64 years teaching, nurturing two thousand students, imparting his skills and knowledge, and promoting fine arts education in his hometown.

This time, Yan Ming’s family has donated Mr. Yan Ming to the Eight Great Masters Memorial Hall. The exhibition features a total of 108 items, including 53 paintings and 36 manuscripts, as well as 19 sketches. The works cover subjects such as flowers and birds, landscapes, and more. This exhibition integrates manuscripts, photographs, and historical documents to present Yan Ming’s artistic achievements in as complete a manner as possible. His flower-and-bird paintings were influenced by Qi Baishi’s style—characterized by bold, thick brushstrokes in dark ink and striking color contrasts, resulting in vivid and dynamic compositions. His still-life paintings of fruits and vegetables exhibit the stylistic qualities of Western watercolor painting: the brush follows the contours of the objects with fluidity, producing colors that are both rich and refined. As for his landscape paintings, they often depict the magnificent rivers and mountains of his homeland, capturing the soul and spirit of the land and its natural wonders. The colors are bright and lively, and the brushwork is vigorous yet elegant—a departure from traditional landscape painting styles. Yan Ming frequently traveled to various locales to sketch from life, seamlessly blending his direct observations of nature with freehand brushwork, thus developing his own distinctive style. His paintings brim with diverse artistic expressions, remaining true to nature while transcending strict adherence to natural forms—making him a prime example of innovative transformation in landscape painting.

 

 

Yan Ming ( (Born February 5, 1917 – died January 5, 2005) He was born in Nanchang, Jiangxi Province. In 1936, he enrolled at the National Hangzhou Academy of Art and later transferred to the Shanghai Academy of Fine Arts, where he studied under masters such as Pan Tianshou and Zhang Hongwei. After 1953, Mr. Yan Ming taught continuously in the Department of Art at Jiangxi Normal University. He has served as Vice Chairman of the Jiangxi Provincial Artists Association, Honorary President of the Jiangxi Provincial Watercolor Painting Association, Advisor to the Jiangxi Provincial Artists Association, Advisor to the Jiangxi Provincial Chinese Painting Research Society, and Vice President of the Bada Shanren Research Society, among other positions. His works demonstrate profound skill yet remain true to tradition while embracing innovation; they are imbued with a strong sense of the times and possess a distinctive personal style, setting him apart in the Chinese painting world.

 

 

 

Selected Exhibited Works

 

This exhibition is divided into three sections based on artistic achievements. Part , one is “Not content until my words strike the heart”: Beginning with the two works, “A Hundred Flowers in Full Bloom, All Colors Radiant” and “Intoxicated by Ten Thousand Valleys and Thousand Cliffs,” this section provides an overview of Yan Ming’s artistic career and aesthetic style. The second part, “The Pinnacle of Technique and the Absence of Rules,” showcases Yan Ming’s inheritance and breakthroughs in flower-and-bird painting through numerous manuscripts and artworks. The third part, “Mountains and Rivers Infused with Divine Power Yet Transformed into Artistic Traces,” contrasts photographs of real landscapes with his landscape paintings, highlighting Yan Ming’s innovative approach to freehand landscape painting inspired by direct observation. Through his works, one can sense the grand and majestic spirit that permeates Yan Ming’s brushstrokes and his deep love for the mountains and rivers of his motherland.

First Chapter I’ll never rest until my words are truly astonishing.

Yan Ming’s painting style draws from tradition, walking between the styles of the Eight Greats, Shitao, Wu Changshuo, and Pan Tianshou. Blending Western colors with bold, rich ink techniques, he places great emphasis on sketching from life and applies bird-and-flower painting methods to landscape painting. He succeeds in synthesizing the achievements of his predecessors while infusing his own unique artistic flair—possessing both the refined elegance of literati painting and the three-dimensional expressiveness of Western art. His work is characterized by a balance between roughness and refinement, where brushwork and ink convey profound meaning, colors remain fresh and vibrant, and compositions stand out for their originality. His approach embodies a spirit of uncompromising dedication: "I will not rest until my words are truly astonishing."

This chapter opens with Yan Ming’s representative works and a wealth of manuscripts, enabling visitors to realize that many of Yan Ming’s pieces were not completed in one go but rather emerged from years of careful deliberation and refinement—leaving no trace of their arduous journey yet bearing the fruits of painstaking effort. At the same time, the exhibition presents for the first time a large number of Yan Ming’s teaching materials, letters, and other artifacts, offering a comprehensive and vivid portrayal of his artistic life journey.

 

Some works

A hundred flowers bloom in vibrant hues. Swallow's Cry  95.7 × 177.5 cm 19 84 Year Collection of the Eight Great Mountains Man Memorial Hall

 

Brocade Valley   Swallow's Cry  68 × 69 cm 1987, Collection of the Eight Great Mountains Man Memorial Hall

One Sketch of Jinxiu Valley

Jinxiu Valley Draft No. 2

Intoxicated by myriad valleys and thousand cliffs. Swallow's Cry 68 × 136 cm 19 92 Year Collection of the Eight Great Mountains Man Memorial Hall

 

Taroko   Swallow's Cry  69 × 136.5 cm 1996, Collection of the Eight Great Mountains Man Memorial Hall

 

One Draft of Taroko

Taroko Draft No. 2

 

Chapter Two   The Ultimate of Law and the Absence of Law

Chinese painting has always valued tradition and regarded the imitation of masterpieces by ancient masters as a mark of skill. When studying traditional Chinese painting, most learners take the masters of the Tang, Yuan, Ming, and Qing dynasties as their models, drawing on the essence of these ancient masters, infusing them with fresh vitality, breaking away from tradition, and forging their own distinctive style. At the founding of the People's Republic of China, cultural exchanges between East and West became increasingly frequent; for instance, the Impressionists' emphasis on color sparked a trend in Chinese painting characterized by vibrant flowers and lush ink leaves.

Yan Ming’s flower-and-bird paintings are characterized by free and unrestrained brushwork—bold yet meticulous. They not only preserve the distinctive ink-and-brush qualities of traditional Chinese literati painting, rooted firmly in tradition, but also capture the charm of modern art. In his works, flowers, birds, insects, and fish are rendered with minimal ink and unconventional techniques, enabling him to master complexity through simplicity and express himself freely without overstepping boundaries. Often, just a few quick brushstrokes bring these subjects vividly to life, flowing smoothly like clouds and water, effortlessly and naturally, as if they were casually sketched on the spot. “The ultimate in law and the absence of law”—creating an artistic realm rich with the beauty of life.

 

Some works

 

Every day, the east wind brings flowers everywhere. Swallow's Cry  141 × 137 cm 19 63 Year   Collection of the Eight Great Mountains Man Memorial Hall

 

      Former Baldy Ridge Today, Huaguoshan. Swallow's Cry  65.7 × 52 cm 19 76 Year   Collection of the Eight Great Mountains Man Memorial Hall

 

Former Baldy Ridge Today’s Flower and Fruit Mountain (Draft)

 

The moon shines brightly, fish are joyful. Swallow's Cry  68 × 67 cm 19 91 Year   Collection of the Eight Great Mountains Man Memorial Hall

 

Goldfish (Small Draft)

 

Red Plum Swallow's Cry  68 × 66.8 cm 19 86 Year   Collection of the Eight Great Mountains Man Memorial Hall

 

Red Plum No. 4 (Draft)

 

Chapter Three: Mountains and rivers are divine in their power yet transform through traces.

Yan Ming’s freehand landscape paintings retain the charm of traditional Chinese painting while also incorporating the compositional sensibility of Western painting. He employs a technique that combines red flowers with ink leaves to create his landscapes. His subjects often include scenic views from places such as Lushan and Jinggangshan in Jiangxi, Huangshan in Anhui, and Guilin in Guangxi—landscapes that are deeply rooted in nature and inspired by direct observation from life. These works reflect a strong emphasis on contemporary ecological tourism and cultural development. The artistic creations of this veteran artist carry new contemporary significance: they embody not only the harmony between humanity and nature but also the fusion of social concern and the spirit of mountains and waters.

 

Some works

 

Jinggangshan Road Swallow's Cry  36 × 33 cm 1930s, Collection of the Eight Great Mountainsmen Memorial Hall

 

Guling Spring Clouds Swallow's Cry  36.5 × 33.4 cm The 1960s Collection of the Eight Great Mountains Man Memorial Hall

 

Guling Spring Clouds (Draft)

 

Peak tips emerge from the misty dawn (Huangshan’s Dawn Clouds) Swallow's Cry  37 × 34 cm 1981, Collection of the Eight Great Mountainsmen Memorial Hall

 

Huangshan Xiaoyun (Draft)

 

Autumn Splendor at Guling (Wangjiang Pavilion) Swallow's Cry 68×69 cm, 1988, Collection of the Eight Great Mountainsmen Memorial Hall

 

Autumn Splendor at Guling (Wangjiang Pavilion) (First Draft)

 

Autumn Splendor at Guling (Wangjiang Pavilion) (Second Draft)

 

 

 

Yan Ming is a Chinese painter from Jiangxi. an outstanding representative, By blending Eastern and Western artistic traditions, he devoted himself wholeheartedly to meticulous study and teaching, leaving an indelible mark on the history of fine arts. We would like to express our heartfelt gratitude to the Yan Ming family for donating Yan Ming’s works to the Eight Great Masters Memorial Hall, enabling us to gain a deeper insight into this veteran artist’s artistic journey—and perfectly reflecting Mr. Yan Ming’s lifelong dedication to teaching and mentoring others. The Eight Great Masters Memorial Hall is committed to... To put Mr. Yan Ming’s Art Spirit Re-sublimation ， Put This exhibition has been crafted into a heavyweight showcase of exceptional artistic, academic, and cultural value.

 

Eight Great Mountains Man Memorial Hall This exhibition is held with the aim of... Promote the organic integration of urban development and cultural heritage, establish a highland for research on the culture of Bada Shanren, and contribute to the overall construction and quality enhancement of the Bada Shanren Memorial Hall.