Yang Jianhou (1910–1993), formerly known as Zan Nan and Bai Lang, with the courtesy name He Ye Cun Ren, was a prominent Chinese painter and art educator of the 20th century. Born in Wuxi, Jiangsu Province, Yang graduated in 1935 from the Department of Fine Arts at Central University, where he studied under the renowned master Xu Beihong.

He served as an associate professor at Guangxi Provincial Art School and Jinling University. After the founding of the People’s Republic of China, he held academic posts as associate professor at Nanjing University, and later as associate professor and professor at Nanjing Normal College (now Nanjing Normal University). He was also actively involved in cultural and professional organizations, serving as a member of the China Democratic League, executive member of the Jiangsu Branch of the China Artists Association, committee member of the Jiangsu Federation of Literary and Art Circles, director of the Xu Beihong Scholarship Committee, and advisor to both the Jiangsu Chinese Painting Academy and the Jiangsu Bird-and-Flower Painting Research Association.

Yang’s artistic achievements were equally distinguished. His representative works include the oil paintings Ironworker and Taiping Heavenly Kingdom Siege Tower, the Chinese paintings Yangtze River Submerged Pile Project and Spring Fills the Earth, and sketches such as Qinchuan Panorama and Scenery of Guilin. Notably, his oil painting Liberation of Nanjing was commissioned by the Central Military Commission and later featured on the “August 1st Anniversary” commemorative stamp issued by the Ministry of Posts and Telecommunications. His work Home Visit received the Jiangsu Provincial First Prize for Oil Painting, while his masterpiece Return of the Wild Geese was praised by critics as a gem of gongbi bird-and-flower painting, comparable to the finest works of past dynasties.

He authored influential books such as Basic Techniques of Figure Painting and Methods of Freehand Bird-and-Flower Painting, held numerous solo exhibitions, and frequently participated in major national and international art shows, where his works won awards and were widely published. Many of his paintings are housed in national museums, and his career was highlighted multiple times by China Central Television and other domestic and international media.

Like his teacher Xu Beihong, Yang Jianhou possessed extraordinary artistic talent and was a versatile painter. He excelled in traditional Chinese painting, mastering landscapes, flowers and birds, and figure painting, with particular skill in plum blossoms, bamboo, cypress, and pine. He was also proficient in oil painting, with exceptional talent in sketching. Yang’s works combined the strengths of Chinese and Western painting, characterized by lively spirit, passionate expression, and profound meaning. His notable works, such as Flock of Geese Returning, Teacher’s Home Visit, Liberation of Nanjing, and Celebration Across the Land, reflect social realities or celebrate the beauty of the homeland, earning him widespread acclaim.

Yang’s paintings received national recognition and popular appreciation. In 1954, his oil painting Teacher’s Home Visit was exhibited at the National Art Exhibition; in 1956, it won the First Prize for Oil Painting in Jiangsu Province. His historical painting Liberation of Nanjing (1957) was collected and displayed by the Military Museum of the Chinese People and issued nationwide as a postage stamp by the Ministry of Posts and Telecommunications. In 1989, the Jiangsu Provincial Department of Culture, Jiangsu Artists Association, Nanjing Normal University, and Jiangsu Art Museum jointly held a commemorative exhibition for his 80th birthday and 60 years of artistic creation, accompanied by a memorial publication. In 1992, Yang received a lifetime special contribution stipend from the State Council and the inaugural Literary and Art Honor Award from the Nanjing Municipal Government.

Yang’s artistic development followed a realist path. He believed that art creation is the unity of thought, life, and technique. He was deeply concerned about the suffering of people in the old society and empathized with their hardships, while embracing the transformation of the new China with joy and hope. In his painting, he emphasized the relationship between form and spirit. Yang held that realistic art must convey vitality and essence through form; thus, the ideal artistic state is “expressing spirit through form” and achieving harmony of form and spirit. He did not aim merely to replicate external appearances. Drawing on traditional Chinese aesthetics, he valued simplicity and stability, advocating works that are “ancient yet fresh, subtle yet profound” and that “express richness through simplicity, convey meaning through restraint.” His practice demonstrates a steady, thoughtful pursuit of realism.

Yang was also deeply devoted to art education, often stating, “I am first an art educator, then a painter.” Combining creation and teaching, he published practical guides such as Fundamentals of Figure Painting, Methods of Freehand Flower-and-Bird Painting, Concepts and Composition for Illustrated Stories, and The Outstanding Artistic Achievements of Zheng Banqiao. He also wrote influential articles, including Folds in Figure Painting, On Dunhuang Art, and Talks on Linework, as well as numerous lesson plans and teaching drafts. He nurtured students with dedication, carefully attending to their growth, and tailored instruction to individual needs. Yang emphasized learning from life, balancing tradition with innovation, and encouraged systematic and scientific study, requiring students to understand principles deeply and apply them broadly. He stressed the importance of fundamental training, advocating sketching as the foundation of visual art, and considered copying, sketching from life, and creative work as the essential methods for mastering traditional Chinese painting. For decades, he regarded both education and art as sacred undertakings and the cultivation of artistic talent as an artist’s noble responsibility.

Yang Jianhou’s lifelong diligence, rigorous scholarship, and profound mastery were reflected in his art. He drew inspiration from nature and everyday life, infusing his works with the spirit of the times and a strong sense of social responsibility. His paintings, embodying truth, goodness, and beauty, continue to enrich and inspire the human spirit. As theorist Zuo Zhuangwei remarked, “As a painter, Yang Jianhou is a model in the art world; as a professor, he is an exemplar in education.”

Liberation of Nanjing – Oil Painting, 1957

Xu Beihong

"To my dear brother Jianhou: Chen Jiachi has brought the long scroll Building the Embankment and photographs of your oil paintings. Your daily efforts in creation show constant progress. One day, these works will be ready for the National Art Exhibition. For figure outlines, you should use dense ink with a dry brush… Such works must be discussed collectively with peers before painting, gathering multiple opinions, and then executed; this naturally leads to satisfactory results. Previously, this was not the case. Today, we seek the perspective of the broader public: present a draft to gather feedback, make corrections, and good results will follow. Our research department follows this method, and I also hope to complete a large oil painting titled Chairman Mao Among the People this year; the preliminary draft is finished. Best wishes."
—From a letter by Xu Beihong to Yang Jianhou

Ya Ming

"Yang’s greatest quality is his pursuit of excellence in art, never satisfied with the status quo… When our sketching team went to Xuzhou, after a long day in the mines everyone was exhausted—even the young among us—but Yang, undeterred, continued organizing his sketches in the dormitory at night. After lights out, he worked under the street lamps, persisting in creation. Such dedication is rare. Every detail and figure in his works is carefully studied and refined. The greatest virtue is that he does not seek personal fame or gain; he only knows how to create, and creates earnestly."
—Excerpt from Ya Ming’s speech at the Yang Jianhou Exhibition opening

Zuo Zhuangwei

"This year marks the 100th anniversary of Professor Yang Jianhou’s birth. The best way to honor him is to learn from his character. Yang became one of the rare all-around masters of the art world through diligence and dedication. He learned from nature, often sketching alone in remote mountains or staying overnight in temples and living among beggars. Sometimes he would continue sketching even when waist-deep in flowing water. His numerous on-site sketches are masterpieces in themselves. Yang drew inspiration from life and was attentive to the times. His works radiate the uplifting spirit of the era… As a painter, he embodies noble social responsibility, expressing truth, goodness, and beauty, educating and inspiring others. In today’s art world, this is rare. As a painter, Yang is a model; as a professor, he is exemplary in education."
—From the preface of Centennial Commemoration of Professor Yang Jianhou by Zuo Zhuangwei

Yu Jigao

"Yang set an example for students in every aspect. His artistry, character, teaching, and creative work are exemplary. He loved the Party, society, and his country. Shortly after liberation, he created Flock of Geese Returning, Liberation of Nanjing, and Teacher’s Home Visit, expressing his love for the nation. As noted, he cared for his students with meticulous attention. Although he lived modestly, he frequently provided money, paper, brushes, ink, and paint to students in need so they could study well… He never pursued fame or profit, believing his works should remain for the nation and the people. Today, we see so many of his works because of this selfless dedication."
—Excerpt from Yu Jigao’s speech at the Yang Jianhou Exhibition opening

CCTV

"Professor Yang Jianhou’s works are highly distinctive. Whether large-scale figure paintings, landscapes, flora and fauna, or small daily-life sketches, they are imbued with vivid life and a strong sense of the era. His art inherits fine national traditions, integrates Western scientific approaches, and, using his skillful technique, fully expresses his thoughts and emotions."
—From the CCTV documentary Spring Rain Nourishes Silently

Yang Zuo­tang

"My father not only inherited his teacher’s realist art approach but also his exemplary love and care for students. He devoted most of his life selflessly to art education, ‘burning himself to illuminate others.’ He often said, ‘Teachers must pass on their experience; even the most intelligent person has only one mind, but teaching a hundred students gives the society a hundred minds and hands, multiplying its contribution.’ He taught students to be people of high moral character, saying, ‘Without personal cultivation, one cannot become a true artist.’ He frequently conducted home visits and wrote letters to guide his students. To this day, his student Jiang Zhou still keeps more than forty letters from my father."
—From Yang Zuo­tang, My Father: In Commemoration of the 95th Anniversary of Yang Jianhou

Letter to Yang Jianhou – People’s Liberation Army Military Museum

1910 – Birth
Born on June 19 in Heyecun, northern suburb of Wuxi, Jiangsu Province, into a family of boat-building craftsmen; childhood name: Fugen.

1927 – Age 17
Enrolled in the private Wuxi Art School, studying traditional Chinese painting under Hu Tinglu. After one year, shifted focus to Western painting.

1931 – Age 21
Admitted to the Department of Fine Arts, Central University. Studied under Xu Beihong and became his formal disciple.

1933 – Age 23
Oil paintings Ironworker and Contemplation exhibited at the Shanghai “Artistic Style Society” Exhibition; Ironworker featured in a special issue of Art Life.

1935 – Age 25
Graduated from Central University, employed as a drawing and anatomy instructor at the Shanghai Forensic Research Institute.

1936 – Age 26
Appointed at Wuxi Furen High School, devoted to art education; compiled textbooks for Drawing and Labor classes, recognized by the Provincial Department of Education.

1943 – Age 33
Held a solo exhibition in Chongqing organized by the New Life Movement Association, presenting nearly 100 Chinese and Western paintings, achieving great success.

1946 – Age 36
Publicly exhibited hundreds of collected Western painting images at Wuxi Park, raising discussion on “the social function of artistic creation.”

1947 – Age 37
Taught at Guangxi Provincial Art School and Jinling University, Nanjing.

1949 – Age 39
Created the illustrated story King Wu’s Campaign Against Zhou, Chinese painting Building the Embankment on the Yangtze, and oil painting Casting Iron. Also began concept for the large-scale flower-and-bird painting Flock of Geese Returning to celebrate the First National Political Consultative Conference.

1950 – Age 40
Elected as a committee member of the first Nanjing Municipal Cultural Congress and appointed to the Art Committee, contributing to improvements in art education at Nanjing Art School.

1951 – Age 41
Transferred to the Department of Fine Arts at Nanjing University; taught graduation class projects and Chinese painting courses. Completed oil painting Third Shanghai Workers’ Uprising commissioned by Nanjing Museum.

1952 – Age 42
Following departmental restructuring, served in the Fine Arts Department of Nanjing University.

1954 – Age 44
Created oil painting Teacher’s Home Visit, exhibited at the National Art Exhibition.

1955 – Age 45
Became a member of the Academic Committee of Nanjing Normal College; drafted lectures on Overview of Chinese Landscape Painting, Composition in Chinese Landscape Painting, and Chinese Figure Painting.

1956 – Age 46
Compiled complete Chinese painting textbooks. Authored Folds in Figure Painting, On Dunhuang Art, and Talks on Linework. Developed the “Three Rings, Five Sections” teaching method. Teacher’s Home Visit won First Prize in Oil Painting in Jiangsu.

1957 – Age 47
Oil painting Liberation of Nanjing acquired by the Military Museum of the Chinese People; its sketch used by the Ministry of Posts and Telecommunications to issue the “August 1 Commemorative Stamp” nationwide.

1960 – Age 50
Elected as a council member of the Jiangsu Artists Association upon its establishment.

1962 – Age 52
Completed historical painting Millions of People Support the Frontline, now in the Huaihai Campaign Memorial Hall; authored a long report on Zheng Banqiao’s Outstanding Artistic Achievements.

1977 – Age 67
Re-invited to Nanjing Normal University’s Fine Arts Department to mentor young teachers.

1979 – Age 69
Appointed as a special artist at Nanjing Calligraphy and Painting Academy; created Cypress and Deer and Pine and Crane for central government gifts abroad.

1981 – Age 71
Included in Dictionary of Chinese Artists, Modern Volume V.

1984 – Age 74
Became a graduate advisor at Nanjing Normal University; Nanjing Television produced the program On the Fertile Land: Remembering the Renowned Artist Professor Yang Jianhou.

1989 – Age 79
Jiangsu Provincial Department of Culture, Jiangsu Artists Association, Nanjing Normal University, and Jiangsu Art Museum held a commemorative exhibition for Yang’s 80th birthday and 60 years of artistic practice; a memorial publication was issued.

1991 – Age 81
Appointed as an advisor by Jiangnan Painting Academy and Lü Fengzi Academic Research Society. CCTV broadcast the documentary Spring Rain Nourishes Silently.

1992 – Age 82
Awarded the lifetime special contribution stipend by the State Council and the inaugural Literary and Art Honor Award by the Nanjing Municipal Government.

1993 – Age 83
Featured in Chinese Calligraphy & Painting Newspaper: Contemporary Masters – Yang Jianhou; painting Spring Thunder published, Ink Bamboo acquired by a Canadian museum.
Passed away on July 17 due to heart failure at the age of 83.