The exhibition also reviews how Han sourced inspiration from Anhui's cultural heritage, through which he gradually accumulated an art vocabulary of his own. His years in Anhui allowed him an extensive exposure to the rich folk art and crafts of the province.

During a yearlong stay in Jieshou, he was immersed in the area's three-color pottery art, a tradition that can be traced to the Tang Dynasty (618-907), which features simple and primitive patterns. He also researched other handicrafts, including paper-cutting in Fuyang and tiaohua cross-stitch work in Hefei.

In the following decades, Han was able to blend these elements, endorsing ordinary people's takes on life and beauty, in his creation of various forms.

It was also at his humble home in Anhui during those years that Han began to explore one of his signature works, Tianshu (Heavenly Script). He created a calligraphy style by infusing the forms of the characters and patterns on archaic bronze and folk items.

Zhao Li, a professor at the Central Academy of Fine Arts and curator of several of Han's previous exhibitions, says Han's works show that "he is always at the forefront of life, deeply rooted in tradition, bridging the past and the present", and, as such, he is able to reinvent the forms of his creation.

"While he is working, he is as vigorous and creative as a young person," Zhao says.

Han says that in Anhui he met many people with whom he cemented friendships during difficult times, which is why he still feels gratitude for his years there.

He says the current exhibition is not only an opportunity for a "reunion with these friends", but also a promise to them that he will keep working.

"I am, and will be, marching on," Han says.