Yiyi Art Museum

Yiyi Art Museum

Yiyi Art Museum is a national AAAA-level tourist attraction.

Yiyi Art Museum is located at No. 129 Caixia Road, Hengli Town, Dongguan City, Guangdong Province, China. It enjoys an elegant environment and distinctive design. The museum adheres to the cultural philosophy of “preservation and protection, respect and appreciation,” and is mainly involved in art collection, exhibition display, art exchanges and collaborations. It offers personalized professional art advisory services to individuals, institutions, and enterprises, enabling clients to enhance their personal taste through art appreciation and collection, and establish the public image of their organizations or businesses. The museum strives to become a cultural landmark and to develop into a regional cultural symbol. Through such guidance, it aims to promote local economic development while also supporting the museum’s own growth, thereby better serving society.

The museum began preparation in 2011, with a total construction area of approximately 10,000 square meters. The exhibition hall facilities, lighting, fire alarm, and security monitoring systems meet international standards. The main structures of the museum include the Exhibition Courtyard, VIP Art House, and Collection Storage Building. The courtyard houses thematic exhibition halls that centrally display a wide range of exquisite collections amassed by the Chen family, founders of the museum, since the 1970s. These collections span ancient and modern calligraphy and paintings, ceramics (from the Tang, Song, Yuan, Ming, Qing, and Republic of China periods), bronzeware (from the Shang, Zhou, Spring and Autumn, Warring States, Qin, and Han dynasties), Ming and Qing furniture, rhinoceros horn carvings, ivory carvings, and Tianhuang stones. The museum's collections have been recognized by renowned experts from the Palace Museum and widely praised by collectors.

The character “逸” (Yi) conveys ease, leisure, and a sense of seclusion. “颐” (Yi) refers to self-cultivation. Nestled within a city full of high-rises, this museum brings a breath of nature’s freshness and a serene atmosphere, making it a rare place for rest and rejuvenation.

Upon entering the museum, the first thing that catches your eye are several large iron cages. Walking closer, you’ll see that the cage directly opposite the museum entrance houses a variety of birds, including common ones like mynas and thrushes, as well as endangered protected species like golden pheasants, Lady Amherst’s pheasants, and silver pheasants. These birds either perch on branches or fly low, creating a lively scene. Beside the cages stands a pavilion with four corners, featuring a couplet that reads “Listen quietly to what the birds say, and ask who the flowers smile at,” and a plaque inscribed with “Birdsong and Floral Fragrance.” The couplet originates from the Buddhist Zen saying, “Listen to what the birds say, and ask who the flowers smile at.” Nature is inherently full of Zen, and the language of birds, flowers, and all things depends on the perception of a wise heart. Looking from the pavilion, a small lotus pond appears at the back, where a group of “ugly ducklings” dart among the lotus leaves, sometimes perching on rockeries to preen their feathers, and other times diving into the water, leaving ripples spreading outward. Looking straight ahead, two Taishan stones by the pond are inscribed with “Spring Harmony in a Peaceful World” and “Elegant Charm of the Lotus Pond,” complementing the scenery beautifully. On either side of the pavilion are two macaws and several peacocks. The macaws, fond of cracking sunflower seeds themselves, occasionally blurt out “Hello!” Among the peacocks, the most eye-catching is undoubtedly a white peacock—a rare mutation of the wild blue peacock, artificially bred and highly prized as an ornamental bird.

Opposite these charming little creatures lies a winding corridor. The corridor follows a zigzag pattern, and along one side of the wall, porcelain paintings are hung at regular intervals, resembling beautiful scrolls and presenting a uniquely refined aesthetic. The first porcelain painting at the first turn of the zigzag depicts a young woman dressed in pink velvet, wearing an elegant bun, holding a sprig of plum blossom. Behind her are blooming plum blossoms, giving the whole scene a grand and simple feel with strong three-dimensionality. In the upper left corner of the porcelain is inscribed a couplet of seven-character quatrains: “Delicate jade-like fingers as tender as spring onions, forever nestled in fragrant sleeves.” This line comes from the Complete Tang Poems, written by Zhao Luanlan of the Tang Dynasty, symbolizing the gracefulness of a woman’s hands. Walking further along the corridor, you’ll see several grouped paintings depicting people from various trades in the bustling city of Guangzhou in its prime, collectively known as the “Seventy-Two Traditional Trades of Guangzhou.” These include “Selling Chickens and Ducks,” “Selling Clothes and Bamboo Products,” “Repairing Chimney Pots,” “Pouring Candles,” “Selling Arrowhead Tubers,” “Nailing Clogs,” “Selling Yarn,” “Modeling Statues,” and more, recreating the glory of old Guangzhou. Beyond these historically rich porcelain paintings, there are also pieces like the “Eight Steeds,” “Nine Elders and Four Youths,” and “Divine Ox,” each with its own distinctive charm.

Leaving the lotus pond pavilion and moving to the side symmetrically opposite the courtyard gate, the first thing you see is a large Taishan stone wall. The front bears bold inscriptions by Mr. Chen Zhirong, such as “Prosperous China, Virtue Shines Bright,” “While You Feel Good, Go Experience the World,” “Iron-Willed Spirit,” and “Soaring Dragon.” The strokes are fluid and powerful. The back of the stone features a couplet quoted by Mr. Chen Zhirong, taken from the inscription by Song Xiang, the “Number One Talent of Guangdong” during the Qing Dynasty, at a rest stop in Zhanjiang:

“Today’s east is tomorrow’s west; dusty and weary, the post road sways. What’s the rush? There’s no end to green mountains and rivers, nor to filling the heart and soul. Wisdom like Zhou Yu’s, strength like Xiang Yu’s—Red Cliffs and Wu River bring only vain worries. I advise you to sit a while and ponder the past and present. When you find peace, take a moment to rest and reclaim some spirit for yourself. This road leads here, that road leads there; time flows on, years drift by. What’s there to cling to? You can’t take gold or jade, nor preserve black hair and rosy cheeks. Rich as Shi Chong, noble as Han Xin—their glory in Huaiyin and Golden Valley all turned to nothing. Toss me a few coins, buy half a pot, call three or five friends, and when joy comes, enjoy it. Share some hardship with others.”

This couplet is thought-provoking and rewarding upon repeated readings. It is both grand and composed, steeped in antiquity yet unshaken by fame or disgrace, spanning vast distances yet standing firm as Mount Tai. It expresses a life attitude that is both heroic and serene—where the greatest joy in life is to drink, converse freely, and revel in emotion with kindred spirits.

To the left of the stone wall is a hexagonal pavilion. Facing it, you can see an inscription on the pillars painted in green: “Why seek purple aura to always reside here, only wish green mountains and waters flow forever,” and a plaque inscribed with “Purple Aura Comes from the East.” Stepping into the pavilion, the sound of flowing water greets your ears. Surrounding the pavilion is a pool of clear spring water. To the left of the pavilion is a small artificial waterfall made of rockery—the source of the splashing sound. Directly behind the pavilion is an arched bridge spanning a small pond. Standing on the bridge, with willows and red flowers on both sides, one is reminded of the idyllic scene of “a small bridge, flowing water, and a cottage.” Beneath the bridge, colorful koi gather in groups, swaying their vibrant tails. The reflection of light on the water makes them shimmer like gems. These koi are robust, with varied patterns and majestic swimming postures, truly a world-famous ornamental fish. The dozens of koi in our museum come from Japan, the largest producer of koi, and are raised with high-standard equipment, premium feed, and scientific management, making these “living gems of the water” our museum’s unique “swimming artworks.”

Leaving the koi-viewing “Purple Aura Comes from the East” Pavilion, you enter the museum’s main structure—the Courtyard. The entire building follows the classic Huizhou architectural style of “white walls and black tiles,” boldly using large, uncut stone materials for decoration. The timber used is also mostly solid, whole pieces, giving the courtyard a grand and bold presence. The Courtyard has a two-story structure, housing eight major thematic exhibition halls and a themed restaurant. Both the first and second floors have reception rooms and lounges. The exhibition hall facilities, lighting, fire alarm, and security monitoring systems meet international standards.

At the front gate of the Courtyard, the bold gold-embossed characters “Yiyi Art House” hang in the center, flanked by a couplet by Mr. Chen Zhirong: “Leisure inspires clarity, cultivating a vast art forest to treasure gems; emotional cultivation explores museums, flourishing the hometown and gathering esteemed guests.” Upon closer reading, the couplet’s first characters form “Yiyi,” and the name “Zhirong” is also hidden within. One cannot help but marvel at Mr. Chen Zhirong’s erudition and the brilliance of his couplet. Opening the Courtyard gate does not reveal an open view immediately; instead, a black granite screen blocks the sight, with golden characters in flowing script—Mr. Chen Zhirong’s writing of “Qinyuan Chun · Changsha.” This grand and stirring poem uplifts the spirit and inspires vigor. Passing the screen, the Courtyard is symmetrically arranged around the gate, creating a balanced beauty while hiding deeper wonders within.

The largest exhibition hall in the Courtyard is the “Ceramics Research” Hall, directly facing the gate. Covering 400 square meters, it consists of a central hall, Area A, and Area B. The central hall displays over ten large ceramic masterpieces, also in keeping with the Courtyard’s symmetrical style. The most eye-catching is the “Four Deities of Fortune, Prosperity, Longevity, and Happiness” mural hanging on the central wall, exquisitely detailed and vividly portrayed, truly a rare masterpiece. On either side of the central hall are circular archways. Looking up, you see a “book”—a replica of the book “Research on Yuan and Ming Ceramics” co-authored by our museum director, Mr. Chen Huanlun, and renowned researcher Mr. Li Huibing from the Palace Museum in Beijing. To the left of the central hall, Area A showcases over a hundred various collections featured in the book, offering great visual appeal. To the right, Area B displays carefully selected fine ceramics from the tens of thousands in our collection, ranging from tomb guardians of the Han and Tang dynasties to light-colored porcelain of the Republic of China period. Spanning various dynasties, the dazzling array of ceramics is overwhelming and captivating.

Exiting the Ceramics Hall, to the right is the “Stone Appreciation” Gallery, covering 160 square meters. Upon entering, you’re greeted by a sense of profound weight and depth. The gallery displays stones of all sizes and types, various stone carvings, and exquisite jade ornaments, all showcasing the endless fascination and deep knowledge that stones offer. The most exquisite among them is the “Eighteen Arhats Stone Carving,” featuring eighteen individual standing statues depicting the legendary eighteen arhats who remain in the world to uphold the Dharma. Each arhat is exquisitely carved, with distinct facial expressions and hand gestures that make it easy to identify each one.

Directly above the Stone Gallery is the “Calligraphy and Painting Emotion” Gallery, covering 128 square meters, capable of exhibiting fifty paintings and calligraphic works at a time. At the center of the gallery is a large display cabinet equipped with professional sliding hooks and equipped with dehumidifying fans on the side, ensuring that the display does not damage the artworks, allowing each hanging piece to be presented in its best form.

Across from the Stone Gallery is the “Timber Elegance Through the Years” Exhibition Hall, covering 150 square meters. It houses the Chen family’s nearly half-century collection of wooden furniture. From Republic of China-era armchairs to Qing Dynasty monk’s beds, even various finely crafted wooden mechanical items that were considered “foreign gadgets” at the time—such as mechanical watches, gramophones, transistor radios, and telescopes—reflect the richness of our collection. The most eye-catching items in the hall are an acid branch five-panel bamboo-patterned monk’s bed and a four-panel old rosewood screen. The acid branch monk’s bed is made of aged mahogany and dates back to the late Qing Dynasty. The monk’s bed evolved from early sleeping platforms: initially without any side barriers, later, for comfort and aesthetics, side panels were added to three sides, hence the name “monk’s bed.” This particular bed uses a five-panel barrier structure, with the panels and aprons inlaid with marble, showcasing ever-changing landscapes and scenes through the natural veins of the marble. Another notable feature is the bed’s full-body bamboo-joint carving: bamboo symbolizes humility, integrity, aspiration, and resilience, aligning naturally with traditional Chinese culture and ethics, and is endowed with virtues such as “firm foundation,” “uprightness,” “open-heartedness,” and “integrity.” The old rosewood screen features human figures and dragon motifs, with smooth and full carvings, lifelike figures, and vivid dragons, embodying the typical grand court style of the Qianlong era. Moreover, this old rosewood screen is made from a single piece of rosewood measuring 3.2 meters—a rare find, as rosewood rarely grows in large pieces. A large screen made from such a rare, straight piece of rosewood is incredibly precious.

Exiting the “Timber Elegance Through the Years” Exhibition Hall, on the second floor are two special exhibition halls, located at either end of the floor facing the Courtyard gate. They are the “Majestic Bronzes” and “Ox Power” Halls. The “Majestic Bronzes” Hall covers 110 square meters and displays copper artifacts from different periods, ranging from the Qin and Han dynasties to the late Qing and Republic of China-era enamel bronze ware, as well as various dynasties’ sycee copper coins and copper Buddha statues. The “Ox Power” Hall, also 110 square meters, is a bull-themed exhibition hall. Since the late Ming and early Qing dynasties, Hengli Town in Dongguan City, Guangdong Province, has hosted a cattle market, alongside Sanshui Xinan and Heshan Shaping, known as the “Three Great Cattle Markets of Guangdong,” with a history of nearly 400 years and serving as a “living fossil” witnessing Hengli’s commercial prosperity. In 2007, the Hengli Cattle Market was designated as one of Dongguan’s first intangible cultural heritages. Mr. Chen Zhirong, with his fondness for oxen, specially created the “Ox Power” Hall, which includes not only ox-related copperware, calligraphy, porcelain paintings, porcelain bottles, and wood carvings, but also old plows used in the fields, expressing admiration for the ox’s gentle temperament and hardworking nature.

Descending to the first floor, beneath the “Timber Elegance Through the Years” Exhibition Hall, is a 128-square-meter restaurant called “Yiyi Dining.” The restaurant’s decor features distinctive Guangzhou-style Manchurian windows. These windows first appeared in Guangzhou in the late Qing Dynasty, when the city’s open free trade allowed colored glass to flow in. Yellow, red, white, blue, and green glass were favored by officials and wealthy merchants, who used them to decorate their windows for both beauty and light. After the Xinhai Revolution, colored glass became widely available in Guangzhou, and ordinary households began decorating their windows as well. Guangzhou Manchurian windows are a fusion of Eastern and Western cultures, combining traditional window grids with Western colored glass to create a uniquely Guangzhou style. Our museum uses classic Guangzhou Manchurian windows embedded in the walls on both sides. When the lights shine through, the entire Yiyi Dining feels like a dream. The restaurant has one large and two small round tables, accommodating up to thirty people. It also features two 70-inch ultra-large LCD TVs, a food preparation room, and offers hotel-grade dining services.

Hengli Town: Located in the eastern part of Dongguan City, Hengli Town covers a total area of 50 square kilometers, governs 17 villages (communities), has a registered population of 35,000, a migrant population of about 170,000, and a total population of over 200,000. Situated in the hinterland of the Guangzhou-Shenzhen-Hong Kong Economic Corridor, Hengli enjoys a superior geographical location, just a five-minute drive from Dongguan Railway Station. It is the intersection of the Beijing-Kowloon Railway, Guangzhou-Shenzhen Railway, and Guangzhou-Meizhou-Shantou Railway, and is an emerging modern industrial town.

Hengli Town boasts a uniquely advantageous geographical location and convenient transportation. Adjacent to the Beijing-Kowloon Railway, Guangzhou-Meizhou-Shantou Railway, and Guangzhou-Shenzhen Railway... More information about Hengli Town++