Founded in 1967, the Molan Art Association is a landmark in the local arts scene. It was established by seven founding members: Shangguan Shaomao, Yee Sze Fook (1944–2024), Hong Poh Gaik, Chen Zhong, Nai Swee Leng, Oh Khang Lark and Zhuang Shengtao. Most of them were students at the Nanyang Academy of Fine Arts (NAFA) who also studied under the pioneer calligrapher and painter See Hiang To (1906–1990).1

Bestowed by See, the name “Molan” is derived from two Chinese characters: “mo” (墨) refers to the ink used in traditional calligraphy and painting, and “lan” (澜) symbolises the expressive power of brush and ink like surging waves, hence embodies the ideals of its members of the association. Collectively, the name reflects the idea of “naming the association after its medium and defining it by its aspirations”.2

Molan faced challenges in its early years, when several key figures graduated from NAFA and had to return to Malaysia due to family and work commitments. Fortunately, Wong Teng Hee, Li Songquan, Tay Kiam Hong, Zhang Baodi, Yun Dahan, and Shi Yuming stepped in to fill the gaps. Subsequent members such as Hon Peow, Loo Foh Sang, Wong Nai Chin (1943–2000) and Xu Yinsheng went on to become Molan’s pillars.3 At its inception, See wrote the characters “mo lan” in seal script, and Oh Khang Lark engraved them onto the lid of a luowen (rib pattern) inkstone. An imprint of this engraving became the association’s official emblem.4

Calligraphy plaque reading “Mo lan she” (Molan Art Association) by See Hiang To, undated. Courtesy of Molan Art Association.
Calligraphy reading “Mo lan she” (Molan Art Association) by Pan Shou, 1988. Courtesy of Molan Art Association.
The Molan Art Association emblem, engraved by Oh Khang Lark on the lid of a luowen (rib pattern) inkstone. Courtesy of Molan Art Association.

Active player in the local arts scene

Molan held its inaugural art exhibition on 8 June 1967 at the Victoria Memorial Hall. Since its debut, the association has maintained a consistent presence in the local arts scene through biennial members’ exhibitions and collaborative showcases with both local and international arts groups. In 1968, Molan was invited to participate in a fundraising exhibition for the National Museum Art Gallery and partnered with The Singapore Arts Federation (now Federation of Art Societies Singapore) for a joint fundraising campaign. Molan took a leading role in national events in the following years, co-organising the “Art 150” exhibition in 1969 and the National Day Art Exhibition in 1970 alongside the then Ministry of Culture.

To honour See, its adviser, the association published Shi Xiangtuo zhuanke tuhui heji (Collected Works of See Hiang To: Chinese Paintings and Seal Engravings) in 1982. The following year, it organised exhibitions of his seal carvings, calligraphy works and paintings first at the National Museum Art Gallery in April, then in Nagoya and Yokohama, Japan, in June. During the mid-1980s, Molan secured funding from the Lee Foundation for its members to pursue advanced studies in China. In 1985, Chen Shyh Jin became the first member to study at the China Academy of Art in Zhejiang under this sponsorship. The following year, three other members, Ang Cheng Chye, Kong Yin Ling and Pang Boey Moi, followed suit.

Initiatives with overseas artists expanded Molan’s reach and impact. In July 1988, it held an art exhibition and lecture for Chen Zhengming, vice president of Shantou Academy of the Traditional Chinese Painting, at the culture and education centre of Teochew Poit Ip Huay Kuan. The following month, it held a lecture and demonstration of Chinese painting by Chinese painter Zhu Renmin at its activity centre. Molan also sought to develop its members in other ways. In early December 1992, it made history as the first Singaporean art group to hold an exhibition abroad with a showcase of members’ works in Shantou, China. In 1998, the association held an exhibition with calligraphy and painting on fans as its theme. In 1999 and 2002, Molan conducted calligraphy and painting lectures and demonstrations at the Singapore Art Museum as part of the Weekend Series of Nokia Singapore Art.5

Molan members have remained active here and abroad. In 2003, Hong Kim Geok was invited to participate in the Shanghai Arts Festival. She was also invited to Paris and London for artistic study tours and exchanges the following year. In 2006, she travelled to Angkor Wat in Cambodia to participate in an arts tour and exhibition. The association also held numerous solo and group exhibitions for its advisers and members yearly from 2003 to 2017. In December 2024, besides organising its 57th anniversary exhibition, Molan invited well-known Singaporean ink painters and calligraphers such as Ho Kah Leong, Nai Swee Leng, Oh Khang Lark and Phang Weng Kiong to speak on the development of ink painting, calligraphy and seal carving in Singapore.6

Over the decades, Molan Art Association has made remarkable progress and become one of the most influential arts associations in Singapore.

 

Editor’s note: This article was written with the assistance of Phang Weng Kiong, former President of Molan Art Association, who contributed valuable insights and helped ensure its accuracy.