What a Singapore prawn noodle hawker and Hong Kong tycoon Li Ka Shing have in common

Hong Kong's richest man Li Ka Shing is one of many benefactors who have donated artworks to an art museum in China, just like Mr Tan Kin Chwee, who runs a prawn noodle stall in a quiet corner of Sembawang Hills Food Centre in Upper Thomson Road.

For a decade, Mr Tan's daily routine has been opening his stall at 8am every day and closing it at 6pm. Wednesdays and Thursdays are his rest days.

Mr Tan, 66, was an art dealer at one time and is a benefactor of the Guangzhou Museum of Art in Guangzhou, China.

His name is carved on a marble plaque at the museum, alongside the likes of Mr Li, a Hong Kong business mogul and philanthropist.

Mr Tan donated 44 pieces of classic Chinese calligraphy and painting by the famous Lingnan School master from Hong Kong, Chao Shao An, in 2000.

The paintings were worth almost $500,000 then, the hawker told The Straits Times.

Chao, who died in 1998 at the age of 93, was known for paintings which featured vivid details of flowers, fish, grass and insects on clear backgrounds.

Mr Tan's love for Chinese art first developed when he was 16. He saw some art pieces one day, and signed up for classes to learn more about it.

In 1972, at age 21 and after finishing his full-time national service, he went to Taiwan with several art pieces, which included calligraphy, to sell.

He got the art pieces through friends, who were older, and relatives, many of whom were part of the diaspora from China, Hong Kong and Taiwan.

"The art pieces were from as far back as the Qing and Ming era," said Mr Tan.

Three years later, in 1975, Mr Tan went to Hong Kong to find Chao, whom he described as "one of the most famous artists" of that era.

Mr Tan stayed for two years in Hong Kong. He learnt to cook and found a job as a chef in a restaurant. He also became Chao's apprentice, learning basic painting techniques from him, and they became friends over time.

He said he first approached the Chinese artist with a gift of a set of Buddha statue seals which he had carved himself. Chao liked them very much and their relationship grew from there.

Over the course of their friendship, he received a number of paintings from the artist, some of which Mr Tan said he paid for.

"Artists also have to make a living," Mr Tan said.

Two years after Chao died in 1998, the Guangzhou Museum of Art decided to showcase his works in a dedicated memorial hall.

Mr Zhou Yue, a former curator of the museum, told The Straits Times that it publicly issued a call for help to fund the building of the hall. Mr Tan heard about it and contacted the museum, asking if he could tour the construction site of the hall. After the tour, he decided to donate 44 pieces of Chao's artworks to the museum.

"Seeing a stranger personally transport his prized collection and donating it to a memorial hall that might not be successfully established moved my team's hearts," said Mr Zhou.

To verify the authenticity of the works, the museum had a team of scholars and curators examine them.

The seal marks on the artworks, along with letters penned by Chao that addressed the various pieces, validated them.

"When asked if he had any requests, Mr Tan simply said to organise more exhibitions and keep the museum lively, so that more people can appreciate these artworks," Mr Zhou added.

Mr Tan said that he made the donation as he wanted to preserve the memory of Chao, whom he considered a friend, and also to share the beauty and meaning of such Chinese art and culture with more people.

He stopped dealing with art in 2013. "I felt it was time to settle down, and I wanted to spend more time with my wife," he said.

"But I still miss the art world."

His wife is a year younger than him and works as a secretary in an electronics firm. They do not have any children.

Mr Tan still has two pieces of Chao's work, which he intends to keep for old times' sake.

He recalled that the turning point for Chinese art was when China opened up. In 1978, China underwent economic reform under former leader Deng Xiaoping, and opened up for trade with the rest of the world.

"It allowed artists from within and outside China to begin communicating and exchanging ideas."

For example, Chinese collectors began appreciating South-east Asian art, while Chinese artists gained a reputation in South-east Asian countries such as Malaysia and Thailand.

"An open China allowed the artistic talent from inside and outside it to grow together, achieving greater standards together."