Chen Shi Jin Art Gallery

Chen Shi Jin Art Gallery Chen Shi Jin, celebrated Chinese painting artist with 40+ years of experience, has won many awards including the 1996 UOB Painting of the Year.

Educator and alumnus of NAFA and China Academy of Fine Arts, his work spans landscapes across Asia and beyond. 陈士仅 1959年生于新加坡。40多年一直坚持写生创作，是新加坡唯一现场写生的当代水墨画画家。他早年毕业于南洋美专油画系，后前往杭州中国美术学院深造。1988年回国以后，在南艺执教中国画长达21年。他先后获得多个绘画奖项。1985年以水墨作品《棕榈八哥》获亚细安美术考察奖；1996年以《根》夺得大华银行全国绘画比赛最佳画作奖，2000年凭《坐临流水看春潮》获陈之初博士美术奖全国书法与彩墨画比赛优秀奖。刚在9月的新加坡华族文化中心办了一场师生国画展。

以传统水墨技巧作画，从写生手法描绘本土题材，使中国话有全新的生命和面貌，成功塑造自己的风格。花鸟画栩栩如生，风景写生更是引

人入胜，深厚的功力显而易见。

Chen shi jin is a renowned artist in the Chinese Painting art space having practised for more than 40 years. He was a formal Chinese painting lecturer at NAFA for 21 years. Mr Chen’s work has been featured in many solos and joint art exhibitions in Singapore, China, Malaysia, France and Germany. His achievement includes winning the 1996 UOB Painting of the Year Award for his Chinese ink painting “Root”, multiple certificates of commendation at the UOB Painting of the Year competition (1984-1995) and other awards. He renders local subjects from the Nanyang region with the traditional Chinese Ink Brush technique. Chen Shi Jin draws inspiration from life, and in return, he has succeeded in creating a unique style of his own. Awards
1982 - "Blossom” won the Best Work Award at the Outram Park Arts Club National Day Art Competition.
1984 - “Road ” won the Best Oil Painting Award at the N.A.F.A. Speech Day Exhibition.
1985 - "Palm Tree and Minah" won the Ministry of Culture's Overseas Educational Tours Award.
1985 - "Morning Melody" won the Distinction Award in the UOB Painting of the Year Competition.
1988&1990 - Certificate of Commendation at the IBM Art Exhibition.
1984,1989,1991-1995 - Certificate of Commendation at the UOB Painting of the Year Competition, Oriental Art section.
1996 - "Root” won the Painting of the Year Award at the 15th United Overseas Bank (UOB) Painting of the Year Competition. Publication
1994 - "Chen Shi Jin and His Art".
1997 - "Scent of the Land", a collection of sketches.
1999 - "Songs of the Village", a collection of flowers, birds, and landscape sketches.
2005 - “Colour of the Earth".
2005 - "Chinese Ink in the Tropics". Solo & Joint Exhibition
1997 - The 15th Painting of the Year Award Solo Exhibition, "Scent of the Land — Chen Shi Jin and his Art", at UOB Plaza, Singapore.
1999 - Solo Charity Exhibition for the Ren Ci Hospital, ‘‘Songs of the Village — Chen Shi Jin and his Art", Singapore.
2000 - Joint exhibition with wife, Kong Yin Ling, at the Cite des Arts, Paris, France.
2005 - Solo exhibition, “Chinese Ink in the Tropics - Chen Shi Jin and his Art", at the MICA building, Singapore.

红树沼泽林旁，散落着几间木板屋，看似冷清，却充满了生机——门前的活计、晾晒的衣裳、攀爬的花木，皆随潮去潮来，日升月落，静静轮转。时光荏苒，淘尽了每个人的岁月。Scattered alongside the mangrove swamp ar...
15/08/2026

红树沼泽林旁，散落着几间木板屋，看似冷清，却充满了生机——门前的活计、晾晒的衣裳、攀爬的花木，皆随潮去潮来，日升月落，静静轮转。时光荏苒，淘尽了每个人的岁月。

Scattered alongside the mangrove swamp are a few wooden cottages. Though they appear quiet, they are brimming with life—the chores at the doorsteps, the clothes hanging out to dry, and the climbing plants all follow the ebb and flow of the tides and the rise and fall of the sun and moon, quietly cycling through their rhythms. Time passes swiftly, washing away the years of everyone’s lives.

Passing Time《村居》
38×130cm

人力车，是属于上世纪旧时代的产物了。不曾想，2005年在印度加尔各答街头写生时，画家撞见了这一幕——那些在新加坡早已遍寻不见的人力车夫与人力车的身影。他自然不会放过这难得的机会，当即提笔描绘。画作中，一旁的市集与街边的老屋相映成趣，共同构成...
14/08/2026

人力车，是属于上世纪旧时代的产物了。不曾想，2005年在印度加尔各答街头写生时，画家撞见了这一幕——那些在新加坡早已遍寻不见的人力车夫与人力车的身影。他自然不会放过这难得的机会，当即提笔描绘。画作中，一旁的市集与街边的老屋相映成趣，共同构成了一幅生动的画面。

Rickshaws are a relic of a bygone era from the last century. Unexpectedly, while sketching on the streets of Kolkata, India, in 2005, the artist came across this scene—the sight of rickshaw pullers and rickshaws that had long since disappeared from Singapore. Naturally, he wouldn’t let this rare opportunity pass him by and immediately picked up his brush to capture the moment. In the painting, the nearby market and the old houses lining the street complement each other beautifully, coming together to form a vivid scene.

12/08/2026

Singaporean artist Chen Shi Jin’s solo exhibition, Where Time Dwells, is now officially open at Bras Basah Complex.

Join us to journey through ancient monuments across Asia, and take a pause in between to appreciate the slower rhythms of the beautiful, local lives that surround them.

📍 Chen Shi Jin Gallery
🏢 Bras Basah Complex, #02-25
📅 8 August – 8 September 2026
⏰ 12.00pm – 6.30pm (Tues - Sun)

Happy National Day everyone! 🇸🇬国庆日快乐！ Today, we celebrate all our brothers and sisters who are a part of our vibrant cul...
09/08/2026

Happy National Day everyone! 🇸🇬
国庆日快乐！

Today, we celebrate all our brothers and sisters who are a part of our vibrant cultural canvas and hope that through art, you’ll always feel the warmth and harmony of home.

❤️🤍❤️🤍❤️🤍❤️🤍❤️🤍❤️🤍❤️🤍❤️🤍

************

Jubilant Celebrations (National Day), 《欢度国庆》,
Ink on Rice Paper
Chen Shi Jin
116 x 124 cm

《古迹·村居》 Where Time Dwells本次展览以“古迹·村居”为主题。古迹固然是画面的核心，但画家的目光却更常流连于古迹之外的村居日常——集市上的喧嚷、小手工的质朴，乃至牛羊家禽在乡间的随意走动，连同田园、池水、花草等自然景物，...
06/08/2026

《古迹·村居》 Where Time Dwells

本次展览以“古迹·村居”为主题。古迹固然是画面的核心，但画家的目光却更常流连于古迹之外的村居日常——集市上的喧嚷、小手工的质朴，乃至牛羊家禽在乡间的随意走动，连同田园、池水、花草等自然景物，皆成为笔下生动的素材。

There are places where time does not so much pass as settle. It is from these places — their weathered stones, markets, and open fields — that Chen Shi Jin brings us 《古迹·村居》Where Time Dwells.

在画家看来，一幅画若能有这些生活细节的点染，便添了几分烟火气与人情味，也更容易触动观者。若只着眼于纯粹的商业景观，而忽略了当地人生活的痕迹，画面便会显得生硬疏离，风景虽在，却难以令人心动，更无从激起创作的欲望。

Historic sites anchor this series, but Chen's gaze lingers just as often on the life beside them: mountain villages, rustic handicrafts, sheep and poultry roaming freely in open fields. Painted in Chinese ink, these scenes carry an earthiness and warmth that can only come from a deep affection for the ordinary.

而此类看似寻常的趣味，实则与色彩、构图、虚实、宾主等画理密切相连。处理得宜，整幅作品便愈加活泼耐看，富有层次与观赏性。

此次展出的作品，是画家十多年前深入乡野、潜心创作的一批成果。

📅 8 August - 8 September 2026
🕛 12pm–6.30pm (Closed Mondays & Public Holidays)
📍 #02-25, Bras Basah Complex

04/08/2026

距离《高山流水瀑布》展览闭幕仅剩 3 天！

若您想欣赏本次展出的山水作品，欢迎于本周五前莅临参观，期待与您相见。

3 days left until the close of our current exhibition “Whispers of Mountains and Water”.

If you’ve been meaning to view this collection of shanshui paintings, be sure to visit us before Friday. We look forward to welcoming you.

《黄山》是山石与松树多次写生稿的合集。画家曾在山上住过四十余日，自1982年至2022年，先后登临黄山八次。直至近六年来，方觉略有心得。此作以黑山、白山为对比，颇具艺术张力。黄山古名“黟山”，“黟”即黑多之意，本无“白山”之说。然为凸显山体...
27/07/2026

《黄山》是山石与松树多次写生稿的合集。画家曾在山上住过四十余日，自1982年至2022年，先后登临黄山八次。直至近六年来，方觉略有心得。

此作以黑山、白山为对比，颇具艺术张力。黄山古名“黟山”，“黟”即黑多之意，本无“白山”之说。然为凸显山体与松树，画家大胆以白色绘山，复以墨色衬其后，使白山、白云相映成趣。云山之前，再添一行松树作为前景。此法乃经过多张失败之作后，反复摸索而出，今视之，当属较为成功的变法。

Huangshan is a collection of sketches of the mountain’s rocks and pine trees created during numerous on-site sessions. The artist lived on the mountain for more than forty days and climbed Huangshan eight times between 1982 and 2022. It was not until the past six years that he felt he had gained some insight.

This work creates a striking artistic tension by contrasting the “Black Mountain” with the “White Mountain.” Huangshan was historically known as “Yishan,” where “Yi” implies “darkness”; there was originally no concept of a “White Mountain.”

However, to highlight the mountain forms and pine trees, the artist boldly painted the mountain white and used ink to create a backdrop, allowing the white mountain and white clouds to complement each other beautifully. In front of the cloud-shrouded mountains, a row of pine trees has been added as the foreground. This technique was developed through repeated experimentation following numerous failed attempts; looking back now, it stands as a relatively successful innovation.

Among the monochrome shanshui on display this month, you’ll also find the same subject rendered in the classic blue-gree...
23/07/2026

Among the monochrome shanshui on display this month, you’ll also find the same subject rendered in the classic blue-green style.

Tracing these works chronologically is like following the artist on his journey of discovery and expression. The palette expands and deepens, while the brushwork takes on a confident virtuosity. Each stroke grows bolder than the last, imbuing flowing rivers and cascading waterfalls with a sense of vitality.

🎋 此次展出多幅竹林写生。竹枝修长，漪漪临水；和烟滴露，翠寒不凋。行于其间，恍若置身高人雅士之侧。This exhibition features several sketches of bamboo groves. The slender...
16/07/2026

🎋 此次展出多幅竹林写生。竹枝修长，漪漪临水；和烟滴露，翠寒不凋。行于其间，恍若置身高人雅士之侧。

This exhibition features several sketches of bamboo groves. The slender bamboo branches cast ripples on the water; bathed in mist and dripping with dew, their emerald green remains ever-vibrant. Walking among them, one feels as if they are standing alongside distinguished scholars and refined gentlemen.

写生于翠绿之下，逢春则笋满林头，生机盎然，其乐融融。落笔写竹之绿态，随其天然气势，慢勾细写，画家渐觉与前人殊途。此般对景作画，正是其动人之处。

Sketched against this lush green backdrop, the groves are filled with bamboo shoots in spring, brimming with vitality and a sense of joy. When capturing the green and sway of the bamboo with his brush, it dawned upon the artist that his approach differs from that of his predecessors.

This very process of painting from life is precisely what makes it so captivating.

🌊 画家先后创作了两幅《德天大瀑布》，两作相隔整整十二年。 The artist created two paintings titled *Detian Grand Waterfall*, with exactly twelve year...
14/07/2026

🌊 画家先后创作了两幅《德天大瀑布》，两作相隔整整十二年。

The artist created two paintings titled *Detian Grand Waterfall*, with exactly twelve years separating the two works.

第一幅（270×75cm）绘于十五年前，第二幅（360×90cm）则完成于三年前。色彩从谨慎趋于大胆，用笔愈见厚重沉着。两画并列而观，不难窥见一位画家在漫长创作途中缓慢而执着的蜕变轨迹。

The first (270×75 cm) was painted fifteen years ago, while the second (360×90 cm) was completed three years ago. The color palette has evolved from restrained to bold, and the brushwork has become increasingly rich and measured. Viewed side by side, the two paintings clearly reveal the slow yet steadfast trajectory of an artist’s transformation over the course of a long creative journey.

近六年来，画家专注于重彩青绿一途，渐渐有了些让自己满意的成果。然而此路殊为不易——一幅画往往耗时月余，甚或更久。正因这般费力，每一回心血凝结之作，才愈显珍贵，愈具分量。

Over the past six years, the artist has devoted himself to the style of heavy-color blue-and-green painting, gradually achieving results that satisfy him. Yet this path is by no means easy—a single painting often takes over a month, or even longer, to complete. Precisely because of this labor-intensive process, each work—a crystallization of his heart and soul—becomes all the more precious and significant.

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231 BAIN Street #02/25
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