1997 Born in Ulanqab City, Inner Mongolia Autonomous Region

2021 Graduated from the Printmaking Department of Southwest University for Nationalities with a Bachelor's degree

Currently pursuing a master's degree in oil painting at Yunnan University

SOLO EXHIBITION

2022

Han Xiaomeng's Personal Works Exhibition, White Night Flower God Poetry Space, Chengdu

2021

Literary Emotions and Artistic Style - iCollect Online Han Xiaomeng Charity Session, A Better Life Auction House, Beijing

GROUP EXHIBITION

2023

New Youth · Art Invitation Exhibition, Guizhou Art Museum, Guiyang

New Youth · Art Invitation Exhibition, Zunyi Art Museum, Zunyi

2021

2021 He Duoling Teachers and Students Exhibition, Time Art Museum, Chengdu

2019

He Duoling nominated artist exhibition, Song Chengcha Shi, Chengdu

2019 He Duoling Teachers and Students Exhibition, Time Art Museum, Chengdu

AboveChengDu He Duoling Teacher and Student Exhibition, Taikoo Li Chengdu Upper Art Space, Chengdu

2018

National College Student Art Exhibition Tour, Yixing Art Museum, Jiangsu

Beijing Youth Art Biennale, China Century Monument, Beijing

China Railway Construction Cup Equestrian Grand Prix and Equestrian Life Art Exhibition, Western China International Expo City, Chengdu

2017

National College Student Art Exhibition, China Art Museum, Beijing

In the summer of my teens, I followed my family to watch the mural art in the Honggeersumu area of Inner Mongolia for the first time. The painting was deeply influenced by the Nepalese painting style, covering religion, history, culture, and the grand scene with extremely rich content. The colors of the temple murals were mostly red, blue, green, and black. In my understanding at that time, only Tibetan Buddhism, the Four Heavenly Kings, or monk paintings could be used for wall painting, Little did they know that looking back in the future would create a strong sense of shock. 

Until I stumbled upon the frescoes of Piero de la Francesca and Masolino, they did not have the grandeur of Michelangelo's creation on the Sistine zenith, nor the ethereal ease and agility of Dunhuang frescoes. Their frescoes were more like dusty books quietly telling ancient stories, innocent and romantic, flat and bone like, which led me to copy these mural works. Once again, by chance, I came across an altar painting by Holbein. The artist chose to depict the human body in an extreme realism style, and the frame was paired with the image to present the viewer in an immersive way, witnessing the process of death. From that moment on, I began to think about the meaning of the frame in the picture, so I collected many Jiangxi bedsheet frames for creation, depicting lovers, moonlight, and everyday objects. Until now, I still have a dream of the Renaissance era, where there is purity and imagination.