Shanghai Today
Multifaceted works show writer-painter's novel ideas - March 06, 2025
作品的多面性体现了作家画家的新奇思想
Artist Jin Yucheng is also a celebrated writer, best known for the novel Fan Hua that won him the Mao Dun Literature Prize in 2015.
With no formal training, artist captures Shanghai lives in his stories and illustrations, blending realism with a bit of absurdity, Li Yingxue reports.
A tray lifts Jing'an Monastery, a single hand holds the Oriental Pearl TV Tower, and chopsticks delicately turn the pages of the novel Fan Hua (Blossoms) — these whimsical images come from the imagination of artist Jin Yucheng, who brings his hometown of Shanghai to life through a distinctive artistic vision.
Jin is better known as a celebrated writer, particularly for the novel that won him the Mao Dun Literature Prize in 2015.
While Fan Hua gained widespread recognition over the past decade, fueled by literary accolades and a TV adaptation by famed director Wong Kar-wai, Jin has devoted much of his time to painting.
Much like his literary works, Jin's paintings are marked by his unique style — each piece tells a story that blends realism with a touch of absurdity — a fantastical narrative brought to life with every brushstroke.
Rosewood Hotel's gift box with Jin's paintings on it.
Jin's works were on display at the Rosewood Beijing, Rosewood Guangzhou, and Rosewood Sanya hotels as part of the exhibition Infinite Blossoms, celebrating Chinese New Year. The exhibitions ran through the end of February, with a show expected to be held at the Rosewood Hong Kong scheduled to launch in April.
"We are honored to present a kaleidoscope-like view through Jin's widely praised Fan Hua and vibrant paintings, combining realism and fiction to offer a panoramic view," says Joanna Gunn, chief brand officer of Rosewood Hotel Group.
"This exhibition invites visitors to delve into a world of blossoms, where they can explore the city's historical memories, contemporary realities, and future possibilities."
Jin's works on display at Rosewood Sanya Hotel.
Starting point
Born in 1952 in Shanghai, Jin spent his childhood in his grandfather's villa on South Shaanxi Road. At 17, he moved to Heilongjiang province to work on a farm. Upon returning to Shanghai, he was employed as a machinist in a watch factory and began writing in his spare time. In 1988, he became an editor at Shanghai Literature, a position he held until his recent retirement.
Fan Hua was published in 2012.
Reflecting on why he wrote the novel, Jin recalls his frustration upon reading online gossip that targeted individuals by name. Determined to focus on the lives of ordinary, nameless people, he set out to capture their stories.
In the novel, Jin paints a rich portrait of Shanghai, drawing on his observations and experiences to depict the city's daily life — details also featured in his artwork. For Jin, painting and writing serve a similar purpose: to preserve the lives of ordinary people.
Jin's foray into painting began with Fan Hua. When the novel was serialized in Harvest magazine, he created four maps as illustrations. Later, as it was being prepared for stand-alone publication, the editor suggested he add more illustrations to clarify key elements like buildings, scenes and clothing.
"That casual suggestion struck me," Jin recalls. "I realized that the novel could be enhanced with visuals."
He adds: "Only through visuals can we capture aspects that words cannot reach. The structure of old lane houses — their upstairs and downstairs — only a drawing can make it instantly clear."
Jin Yucheng's artwork: Blossom Shanghai.
The illustrations in the novel received positive feedback from readers, boosting Jin's confidence and motivating him to continue painting. "As artist Chen Danqing said, 'When kids in the alley do somersaults and are cheered on, they keep going'. The power of encouragement is crucial," Jin explains.
Jin's foundation in painting comes from mechanical drafting. In the 1970s, while staying at a farm dormitory in Heilongjiang, he found a worn architectural pen-drawing tutorial, which became his key reference.
At the watch factory in Shanghai, he spent six months learning mechanical drafting, laying the groundwork for his art.
With no formal art training, Jin's works break from convention, developing a unique style that mirrors the intricate, meaningful structure of his novels.
Jin Yucheng's artwork: An European Building.
"I don't know how to paint. That gives me an advantage because I don't have the typical artistic mindset," he says.
Regarding the narrative and metaphorical elements that permeate his work, Jin acknowledges that his lack of formal training in lines, light and color often leads him to create stories or add complexity to the details. He aims to incorporate elements that capture attention and shift focus away from questions of technical training or color accuracy.
"I don't try to make my paintings look realistic. I want to express my ideas or blend them. It's like playing," he adds.
Jin does not adhere to a strictly realistic approach to painting. For instance, in his maps, he frequently mixes up the directions of north and south. Unlike standard maps, which require precision and scale, his maps allow for roads that are wider or longer than reality, embracing a more fluid interpretation of space.
Drafting dreams
Jin's approach to painting is rooted in storytelling. Without a clear narrative behind the work, he loses interest in creating it.
"If I haven't figured it out, I won't paint it. There needs to be something that excites me or a fictional story to inspire the work," he says.
His painting An European Building tells the story of a building he passed daily during middle school. It always intrigued him, but he struggled to find a way to depict it. The breakthrough came when he imagined a hand lifting the building, sparking his creative process.
He envisioned the building as a box, with a woman's lips and chin peeking out from underneath. With this concept, the painting was complete.
"People often wonder whether the hand is lifting the building or setting it down. This ambiguity is one of the hallmarks of my style," Jin says.
The image of the horse appears frequently in Jin's artwork, a reflection of his earlier experiences in rural Heilongjiang. "Back then, I spent every day caring for these animals and observing their emotions: joy, anger and sorrow," he recalls.
Jin Yucheng's artwork: Red, featuring the horse motif he loves.
"The horse has played a pivotal role in advancing history, as there's a saying that humanity entered the civilized world with the help of horses. It's an especially endearing symbol. In Chinese culture, we also have many positive expressions related to horses."
Artist Zhang Enli considers Jin a visual artist at heart. "Looking at his paintings takes me back to my school days, evoking memories of reading a good novel as a child. His work brings forth a unique visual language, something that has faded from contemporary culture but carries a distinct flavor," Zhang says.
Jin reflects on his childhood education, comparing it to the "little cat catching fish" concept, where the focus is solely on fishing, with no room for distractions like picking flowers or chasing butterflies.
He now realizes this mindset can limit his potential. "I can write and paint," he says. "I can pick flowers, chase butterflies, and try new things. Life has no fixed path. Everyone can switch careers as long as they're interested.
"When I write novels, I feel I am full of holes, but when I paint, I feel like I'm still growing, like a child just starting to learn. It's an incredibly enjoyable process for me," he adds.
"Painting presents so many unknowns. For example, the colors I encounter every day, I re-create them through trial and error. It's like meeting a new version of myself and I'm eager to embrace this challenge."
Source: China Daily
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