Chia Yu Chian had done several works of sacred Buddhist temples in Bangkok, fascinated by the architecture as well as quaint intricate details, like this unusual stupa with a belfry and the opposite building with the green roofs with ‘wai’ (prayer) finials. By now, he had developed a matured style in portraits, street scenes, still-life or architecture. He was the first in the Straits Settlement to receive a French Government grant to study at the Ecole Nationale Superieure des Beaux Arts in Paris in 1959. His only art background then was informal tutelage under Chen Wen-Hsi. In Paris, he was accepted for exhibitions 15 times, a few with honorary mentions (Salon des Independents and the Societe des Artistes Francaise). Apart from solos in Paris, at the Galerie de Villiers and the Salon de Paris, he also exhibited in London (Britain) and Hanover (West Germany) in 1960. He returned to Malaya in 1962. As early as 1971, he was already mentioned, in Dolores D. Wharton’s Contemporary Artists of Malaysia book. He was honoured with Memorial exhibitions by The Art Gallery Penang (1997) and the Malaysian National Art Gallery (2002), and a 2009 exhibition hosted by NAFA called Chia Yu-Chian In Nanyang.