Jehan Chan expressed his fondness of the natural landscape celebrating a majestic view situated along the banks. A fresh colour palette of blue and green was used to depict the ocean and mountain peaks, in contrast with the man-made buildings. Jehan Chan captures the immersive atmosphere with his signature technique using the material of rice paper that gives a natural effect of rippling waves. Jehan Chan found his trademark style when he first fused rice-paper into his watercolours of landscapes and the Malacca River, and then bigger slabs to simulate lotus leaves in his hugely popular acrylic paintings of Japanese koi (carps). A brilliant watercolourist, he reflected the best of his tutelage in the Nanyang Academy of Fine Arts (NAFA, Singapore), under the personal supervision of the great Cheong Soo Pieng. His other early mentors were his father, Chan Wee Sim, and Chung Chen Sun, the founder of the Malaysian Institute of Art – both excelling in Chinese brush paintings. Jehan Chan was given his first two solos at the Samat Art Gallery, in 1968 and 1970, by the most fastidious Frank Sullivan. In 1991, he had another solo at The Art Gallery Penang before he held his solos every day at his host of galleries in Malacca. His early promise can be seen in his 1st Prize (D Category) award in the prestigious Salon Malaysia in 1969. He was also given Certificate of Merit in the Joy of Living competition in Kuala Lumpur in 1964, and the 1961 Contemporary Art Exhibition in India.