Hansu Chen was born in 1987 in Fujian Province, which is in the southeast of China. Now, She lives in Shanghai, China.
In the Chinese National College Entrance Examination, she got the top score of liberal arts and was admitted to Fudan University in Shanghai when she was eighteen. She majored in cultural relics and museology in college where she established her deep understanding of Chinese traditional culture and classical art. Because of her love for painting, she has spent lots of time in studying Chinese traditional ancient painting by copying classical works during her college years.
After graduating from college, she determined to devote her whole life to painting, and has been lucky to get the support from many senior artists and scholars. After several years of painting career and participating in many exhibitions, she decided to go for a master’s degree to improve her technique at the first-rate art university in China, and she did enter the China Academy of Fine Art by her top score again in 2015 when she was twenty-seven.
During the study for master’s degree, the artist has not only got much more techniques of Chinese paintings but also made a profound study of Wu Hufan and compiled the chronology of Wu Hufan and planned Wu Hufan Literature Exhibition.
Chen’s works are deeply influenced by traditional Chinese paintings, especially the masterpieces of the Imperial Palace Painting Academy of Song Dynasty. Therefore, the artist focusses on the realistic descriptions and the expression of vivid charm which originated from the theory of Xie He’s “Six Approaches”. Most of the themes of her works come from the sketch of the flowers, plants and animals in our natural world, especially the varieties of Chinese traditional painting themes, like lotus, plum blossom, narcissus and birds, which represent important quality in ancient China. The fascination by the masterpieces of Song Dynasty drives the artist to borrow the methods and principles of the masters of Song Dynasty. Therefore, Chen’s works present a kind of Chinese classical beauty. Meanwhile, the artist is trying to think the relationship between classical beauty and the current social environment, just as their predecessors have done, to develop new possibilities.