Hansu Chen was born in 1987 in Fujian Province, China. Currently, she resides in Shanghai.

During the Chinese National College Entrance Examination, she achieved the highest score in the liberal arts section and was admitted to Fudan University in Shanghai at the age of eighteen. Her major in college was cultural relics and museology, where she developed a profound understanding of Chinese traditional culture and classical art. Due to her passion for painting, she dedicated a significant amount of time during her college years to studying Chinese traditional painting by replicating classical works.

After graduating from college, she made the decision to devote her entire life to painting and was fortunate to receive support from numerous senior artists and scholars. After several years pursuing a career in painting and participating in various exhibitions, she decided to pursue a master’s degree to further enhance her skills at a top-tier art university in China. In 2015, at the age of twenty-seven, she gained admission to the China Academy of Fine Art with another exceptional score. During her master’s studies, she not only acquired advanced techniques in Chinese painting but also conducted an in-depth study of Wu Hufan. She compiled a chronology of Wu Hufan and curated the Wu Hufan Literature Exhibition.

Chen’s works are deeply influenced by traditional Chinese paintings, particularly the masterpieces of the Imperial Palace Painting Academy during the Song Dynasty. As a result, she focuses on realistic depictions and the expression of vivid charm, drawing inspiration from Xie He’s “Six Approaches” theory. Most of her works feature themes derived from sketches of flowers, plants, and animals from the natural world, particularly those found in Chinese traditional painting, such as lotus, plum blossoms, narcissus, and birds, which hold significant cultural value in ancient China. Fascinated by the masterpieces of the Song Dynasty, Chen incorporates the methods and principles of the Song Dynasty masters, presenting a classical Chinese beauty in her works. Additionally, she explores the relationship between classical beauty and the current social environment, following in the footsteps of her predecessors, in order to discover new possibilities.