Wenren Pan (潘文仁) (Mansang - 满桑)

I am productive artist, specializing in oil paintings, Chinese paintings, and applied my skill in many design projects in the past, as given in the above links. I have also presented an online exhibition for you in the following link.

My given name was Weiren Pan (潘文仁), nickname Mansang (满桑). I was born in a wealthy family of Khorqin Tribe (科尔沁部落) at Darkhen League in Nei Mongolia, 1944. My family was a well-known emir descendent. My mother's specialty as a native artisan, who painted various artistic patterns, greatly influenced me.

I graduated in Nei Mongolia Art Institute in 1964, and relocated at Performing Art Institute, responsible for designs and paintings of theater stages. From 1966 till 1968 I became engaged in comic strips and promotional posts, which were finally destroyed during the cultural revolutions (1966-1976). I returned to theater stage design from 1969 to 1970, when I created many works for musical operas and dancing performances.

The oil painting, "TV Comes To Nomadic Lives", was created in 1971. Ironically there was not any TV seen by that time, yet. It was mimicked from concurrent national pictorial. The painting was exhibited both natively and abroad, and published on several Chinese major magazines. Unfortunately, it suffered the same doom like many other art works of the same period.

I felt lucky to have received graduate educations in Jilin Art Institute of Northeastern China during 1975 to 1976, which led to the completions of several prominent pieces of work, including stage designs for vocal opera "Talintuya", "Danabala" and dancing opera "Andai Romantics", and received good appreciations widely. And one of them, "Andai Romantics", participated nation-wide artistic competition.

The mural "Khorqin Romantics" painted at the front lobby of Khorqin Hotel was an invited work. Inspired by the coincidental excitement to brush my beloved motherland and Mongolian living scenery, mixed with a feeling of pride and confidence, I put in blue skies, green land, translucent lake, cloddish herds, soaring swans and beautiful girls, brewed in my heart for years.

The grand mural "Song For A Toast" was created for the international "Nadam" convention of 1985 at the dining hall of Jiermu Hotel. "Nadam" means "play" and "enjoy", which has been an important part of Mongolian tradition. The mural depicted a corner of the convention to reflect the spectacular annual event of every Mongolian life. Mongolian natives usually move their "Gere" (mobile home) to the convention, and all of a sudden bring up a new town around. Besides horse racing, wrestling and archery, people gather to drink, sing, dance and game, which turns out virtually a Mongolian carnival, where young men find their lovers.

It was 1986 that I started to carve sculptures. A virgin statue pouring milk tea was established for Jiermu Hotel's fountain in 1986. Iconic statue "Weaving Girl" was located at Tongliao Textile Factory, finished in the same year, along with other minor sculptures in the factory's kindergarten, such as "Baby Gardener". Two sculptures "Flying Horse" were completed and placed at Zhalut League of Jiermu Region and Hailar City of Hulenber Region.

For the two hundredth anniversary of our most famous Mongolian medical doctor, "Eashbaljewr", my design was selected out of several competing drafts for building his statue in 1988. Eashbaljewr was a royal doctor for the Tsing dynasty. He composed medical books of about three million words, one of the hugest historical documentary. The statue was an imaginary projection derived from folklore and legends, collected from Beijing and Nei Mongolia. The figure was made of marble, ten feet tall on an eight-foot cement base, shaped like triangular pyramid, implying stable and eternal setting. Appraisals by the National Hygiene Bureau and Nei Mongolia poured in after the settlement of the monumental statue.

In 1990, my sculptural design for Jiermu Agricultural Bank was chosen from dozens of candidates to enact the enterprise image. The plot symbolized the rapid development of Agricultural Bank by a Mongolian girl lifting the bank's emblem on a soaring horse. Mosaic mural surrounding the base glorified the harvest of Mongolian people.

In addition, I cooperated with Construction Design Institute on designing and drawing some major local buildings, including the stereo-scopic diagram for the office building of Chinese Industrial and Commercial Bank in 1986 and the 1/200 miniature model of regional Chinese People Bank in 1990, which was inspected and approved by the central Chinese People Bank.

Some other decorative designs and installments successively turned out to be big-time achievements during the early 90's, including Jiermu Hotel dining hall in 1992, Agricultural Bank dining hall in 1993, conference rooms of the Agricultural Bank office building, governmental city hall in 1995 and the Agricultural Bank business hall.

Because the wide deployments of harmful chemical ingredients in decorative raw materials in China, I began to have allergic reactions from work. That converted me to traditional eastern arts, the Chinese paintings (watercolor) in 2000.