Yang Xin, born in 1982 in Hunan Province, is an artist, independent scholar, and connoisseur specializing in antiquities. Coming from a family lineage of carpenters and lacquer artisans, he majored in Visual Communication during his university years before dedicating himself to the study of ancient Buddhist sculpture. He remains active across academic, artistic, and cultural heritage circles.

With his profound scholarly foundation and distinctive artistic vision, Yang Xin integrates the spiritual essence of traditional Chinese sculpture into contemporary practice, cultivating an aesthetic characterized by archaic simplicity, serene stillness, and the weight of temporal depth. At the core of his sculptural work lies the principle of "Drawing from the Past to Serve the Present"—preserving the quintessence of ancient Chinese sculptural art while infusing it with contemporary aesthetic expression. Employing stone materials and traditional carving techniques once used by ancient craftsmen, he transforms cold stone into vibrant artworks through the warmth of his hands. Yang Xin seeks to re-examine the philosophical dialogue between humanity and nature—the concept of "Unity of Heaven and Humanity"—from a cosmic perspective, rediscovering the pure beauty of life's tranquility, kindness, and inclusiveness.

Yang Xin's works and research have garnered high acclaim in both academic and artistic circles. His monograph Fan Wu Zhi (Chronicles of Buddhist Objects) is regarded as a significant contribution to the study of ancient Buddhist sculpture. He has been invited to participate in numerous academic events on ancient Chinese Buddhist art at institutions including the China Academy of Art, the Central Academy of Fine Arts, and the Longmen Grottoes Research Institute. His works have been exhibited at prestigious venues such as Guardian Art Week in Beijing (2025), the Yungang Art Museum in Datong, Shanxi (2024), the Powerlong Art Center in Shanghai (2023), and the Jiemo Art Museum in Nanjing (2022).