A Heroic Ode To China — A Retrospective Exhibition of Xu Xingzhi's Artistic Achievements CAFA Art Museum

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百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间：2025年9月18日—10月19日展览地点：中央美术学院美术馆3层B展厅开幕时间：2025年9月18日14:30开幕地点：中央美术学院美术馆报告厅主办单位：中国美术家协会中央美术学院承办单位：中央美术学院党委宣传部中央美术学院校史研究中心中央美术学院美术馆中央美术学院人文学院中央美术学院油画系支持单位：中国人民抗日战争纪念馆中国电影家协会中国电影博物馆2025年9月3日，是中国人民抗日战争暨世界反法西斯战争胜利80周年纪念日，“九一八事变”94周年纪念日也即将到来。在这个对历史深沉回望的9月里，由中国美术家协会和中央美术学院联合主办的“雄歌一曲献中华——许幸之艺术成就回顾展”即将于9月18日在中央美术学院美术馆启幕。艺术家许幸之1935年导演的影片《风云儿女》正是以“九一八事变”为创作背景和叙事起点，以电影为载体，抒发了对日本侵略者的痛恨和对国家命运的担忧，同时也展现了中国人民不屈不挠的抗日精神。它的主题曲——由田汉作词、聂耳作曲的《义勇军进行曲》更是激励着无数中华儿女投身到抗日救亡的伟大事业中，并最终成为中华人民共和国国歌。1935年许幸之导演的抗日救亡故事片《风云儿女》初次上映之后，直到1980年代初期，才又在全国重新上映。图为1980年代复映时的海报1935年2月，许幸之导演电影《风云儿女》现场照片，金石声摄影1935年上海百代唱片公司出品的《义勇军进行曲》原版唱片，只有聂耳作曲的署名，由袁牧之、顾梦鹤等七名男演员演唱许幸之（1904—1991）是我国著名的艺术家、美术史论家、艺术教育家、影剧编导、左翼美术运动先驱、文艺战士、中国美术家协会理事、中央美术学院教授。在20世纪中国艺术变革的激流中，许幸之如同一枚多棱镜，将时代的光谱折射出斑斓的维度。他左手执调色盘解剖时代肌理，右手持摄影机记录民族心跳，以戏剧舞台为思想战场，用文学笔锋刺破精神迷雾。这位左翼文化运动的旗手，在美术、电影、戏剧、文学四重维度上裂变出惊人的创造力，更以文艺理论家和艺术教育家的身份将革命火种播撒进新中国的土壤。本项目是中央美术学院“百年辉煌·艺术名家”系列展览之一，作为迄今为止规模最大、内容最全面的许幸之艺术成就回顾展，本次展览将展出许幸之代表作品及珍贵文献400余件（组），许多为首次展现，将全方位、多维度、深层次地呈现他在绘画、美术史、文学、电影、戏剧等多个领域的卓越成就。邀您一同走进这位20世纪跨界大师的精神世界。通过这些珍贵的展品，感受许幸之永不停息的艺术探索，体悟中国现代艺术发展的精神脉络。1935年１月，许幸之在上海电通影片公司，导演了中国最早的抗日题材故事片《风云儿女》，其电影主题曲《义勇军进行曲》，现已成为中华人民共和国国歌1939年7月底，导演许幸之与饰演阿Q的演员王竹友合影1957年4月，许幸之带领美术理论研究室青年教师们，赴山西大同云岗石窟考察 1978年9月，许幸之在家中创作油画《水晶世界进行曲》与此同时，本次展览的系列活动将于9月18日、19日陆续举办，欢迎您的关注与参与。01许幸之先生铜像揭幕仪式时间：2025年9月18日下午地点：中央美术学院石膏馆西侧02许幸之艺术成就学术研讨会时间：2025年9月19日9:00—18:00地点：中央美术学院5号楼电教报告厅03电影《风云儿女》展映时间：2025年9月19日18:30—20:00地点：中央美术学院美术馆报告厅《晚步——东京街景》 1926年布面油彩 33.5×45.5cm 私人收藏《银色协奏曲》 1962年布面油彩 62.0×76.0cm 私人收藏《油站朝晖》 1962年板面油彩 44.2×61.8cm 中央美术学院美术馆藏《红灯柿》 1978年板面油彩 30.2×40.0cm 中国美术馆藏《水晶世界进行曲》 1977年板面油彩直径127.3cm 中央美术学院美术馆藏许幸之先生是一位从青年时代起就献身人民大众解放事业的革命者，也是一位多才多艺的艺术家。他是一位杰出的画家、诗人、戏剧电影编导、艺术史论家，是一位关注民族命运和国家前途、爱护青年的社会活动家和艺术教育家。他在我国现代美术史上，占有独特的地位。他最早在绘画领域崭露头角而跻身二三十年代文坛，稍后在戏剧、电影等方面作出重要贡献，最后又回到画坛，在美术领域结束自己的艺术生涯。他和绘画创作、美术教育有着不解的缘分。虽然，他在影剧事业上的成就，如作为影片《风云儿女》（由田汉编剧）的导演和作为《铁蹄下的歌女》（由聂耳作曲）的词作者，已使他的名字无愧地载入我国现代文艺史册，但是他在美术领域里的功绩和成就，同样不可忽视、不可埋没。这不仅是因为他在 30 年代曾担任过中国左翼美术家联盟主席，是一位忠诚的左翼文艺战士，在当时的革命美术运动中起过先锋作用，而且还因为他是一位颇有天赋和创造才能的绘画家。他的绘画创造成果是我国现代美术史上一笔宝贵的财富。——邵大箴 1995年10月30日
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: The "Academic Symposium on Xu Xingzhi's Artistic Scholarly Achievements" is about to be held

2025-09-19

Academic Symposium on Xu Xingzhi's Artistic Scholarly AchievementsConference TimeFriday, September 19, 2025, 9:00-16:30VenueElectronic Teaching and Academic Lecture Hall, Building 5, CAFAAcademic ChairsCao Qinghui Zhang PengConvenerXu Guoqing◣▏Morning Session: 9:00–11:30▏Moderator: Cao Qinghui (Professor, School of Humanities, Central Academy of Fine Arts) Morning speaking order: 1 ▏Xu Guoqing Introduction of guests2 ▏Jin Jun (Director, CAFA Art Museum) Welcome remarks3 ▏Yu Runsheng (Party Secretary, School of Humanities, CAFA) Welcome remarks4 ▏Zhong Dafeng (Professor of Film History, Beijing Film Academy) Impromptu speech5 ▏Wang Xirong (Former Director, Shanghai Lu Xun Museum) Impromptu speech6 ▏Li Chao (Professor, School of Fine Arts, Shanghai University) "The Ten Shanghai Students: Re-studying the Japanese art resources related to Xu Xingzhi"7 ▏Liu Fuchun (Researcher, Institute of Literature, Chinese Academy of Social Sciences)"Mr. Xu Xingzhi's Poetry Collection"8 ▏Yin Wen (Yangzhou painter, retired professor of Southeast University)"Three Trips to Yangzhou: Thoughts on His Hometown and Affection for the Grand Canal — Mr. Xu Xingzhi and His Canal-themed Paintings"9 ▏Huang Wangli (Professor, School of Film, Shanghai Theatre Academy)"The Theory of Artistic Integration, the Concept of Practical Teaching, and the Method of Comparative Study: Research on Xu Xingzhi's Art Education Philosophy"10 ▏Hu Rong (Associate Editor-in-Chief of Comparative Literature in China, Shanghai International Studies University; Master's Supervisor)"Xu Xingzhi and His Stage Adaptation of 'The True Story of Ah Q'"11 ▏Jiang Tao (Former Director of the Directing Department, Central Academy of Drama; renowned stage director) Impromptu speech◣▏Afternoon Session: 14:00–16:30▏Moderator: Zhang Peng (Director, Editorial Department of Art Research, CAFA) Afternoon speaking order: 1 ▏Gu Yiwen (Librarian, Publicity and Education Department, Memorial Hall of the 4th National Congress of the Communist Party of China; Director, Former Residence of Martyr Li Bai)"Xu Xingzhi and the China Art University: Their Contribution to the Left-wing Literary and Art Movement" 2 ▏Sun Guodong (Former Director, Yancheng New Fourth Army Memorial Hall; Former Director, Yancheng Bureau of Culture)"Xu Xingzhi: Using Poetry as a Weapon" 3 ▏Zang Jie (Director, Qingdao Literature Museum; Former Senior Reporter, Qingdao Daily)"Xu Xingzhi's 'Cross-boundary' Journey" 4 ▏Wei Yao (Ph.D. Candidate, Institute of Drama, Chinese National Academy of Arts)"The Pure Power Amidst the Flames of War: Xu Xingzhi's Creation of Children's Drama During the War of Resistance" 5 ▏Cai Tao (Professor, School of Art and Humanities, Guangzhou Academy of Fine Arts)"From the League of Youth Artists to the China Art University: Two Moments of 'Reorganization' in Xu Xingzhi and the Western Painting Movement" 6 ▏Ding Shanshan (Professor, School of Journalism and Communication, Nanjing University)"(Storm at Sea) and Chinese Cinema in the 1950s" 7 ▏Qu Bo (Deputy Chief Librarian and Professor, Sichuan Fine Arts Institute)"Xu Xingzhi's Cross-Media Thinking and Avant-Garde Experiments: A Case Study of Children of the Storm" 8 ▏Ning Xiajiang (Dean, Shaoxing Culture Research Institute, Shaoguan University, Guangdong)"Xu Xingzhi's Dramatic Activities in Pingshi, Northern Guangdong During the War of Resistance" 9 ▏Open Discussion10 ▏Family Representative of Mr. Xu Xingzhi Words of GratitudeEditor-in-Chief / He YishaEditor / Du Yinzhu
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: "A Heroic Ode for China — A Retrospective of Xu Xingzhi's Artistic Achievement" Opens

2025-09-22

This year marks the 94th anniversary of the September 18 Incident. "Arise! Ye who refuse to be slaves! With our flesh and blood, let us build our new Great Wall!..." The melody of the National Anthem of the People's Republic of China, "March of the Volunteers," has been deeply engraved in the hearts of every Chinese person, becoming a symbol of the national spirit. The song was born in 1935 in the classic film "Children of the Storm," directed by Mr. Xu Xingzhi. Set against the backdrop of the September 18 Incident, the film aimed to awaken the people to join the great tide of the War of Resistance against Japanese Aggression and national salvation.on the occasion of the 80th anniversary of the victory of the Chinese People's War of Resistance against Japanese Aggression and the World Anti-Fascist War，the exhibition "A Heroic Ode for China — A Retrospective of Xu Xingzhi's Artistic Achievements," jointly organized by the Central Academy of Fine Arts and the Chinese Artists Association, opened at the CAFA Art Museum. The exhibition features over 400 works and documents, comprehensively presenting Mr. Xu Xingzhi's artistic achievements across film, painting, literature, theater, and art theory.Opening ceremony sceneAt the opening ceremony, the attendees included: Senior leaders and professors of the Central Academy of Fine Arts: Sheng Yang, Du Jian, Cao Chunsheng, Huang Huaying, Han Guangxu, Yuan Baolin, Zhang Dasheng, You Jindong, Chen Wenji, Chen Jianhua, and Gao Tianxiong. Chairman of the Chinese Artists Association, Fan Di’an. Member of the Party Leadership Group of the China Film Association, Xue Changxu. Secretary of the Party Committee and Director of the Museum of the War of Chinese People's Resistance Against Japanese Aggression, Luo Cunkang. Deputy Secretary of the Party Group of the China National Film Museum, Xu Qingong. Secretary of the Party Committee and Chairman of the China Federation of Literary and Art Circles Publishing House, Yin Xing. Deputy Chief Editor of the China Federation of Literary and Art Circles Publishing House, Wang Baisong. Vice Chairman of the Yangzhou Municipal Committee of the Chinese People's Political Consultative Conference, Li Jianfang. President of the Xu Beihong Art Research Institute and Director of the Xu Beihong Memorial Museum, Xu Qingping. Former Vice President of the Yunnan Academy of Painting, Yao Zhonghua. Professor at the Academy of Fine Arts, Minzu University of China, Liu Bingjiang. Professor at the School of Animation, Communication University of China, Lu Shengzhang. Representatives of Mr. Xu Xingzhi’s family and friends. They were joined by CAFA’s leadership, including President Lin Mao, Deputy Party Secretary Wang Xiaolin, and Deputy Party Secretary and Secretary of the Disciplinary Inspection Commission Wu Qiang, as well as deans, department heads, and representatives of teachers and students. The opening ceremony was presided over by Wang Xiaolin, Deputy Party Secretary of CAFA.Lin Mao President of the Central Academy of Fine Arts ——————————————————————————————————————"Today, as we hold this exhibition of Mr. Xu Xingzhi's art, it is both a deep tribute to the war-torn years and the pioneers of the War of Resistance, and a salute to the older generation of artists who devoted their lives to China's literary and artistic career. We learn from their noble spirit of nurturing talent with profound love and depicting the era with magnificent beauty." Lin Mao stated that the artistic works of these pioneers are the most vivid classrooms, and their creative careers are the most authentic models. He mentioned that the exhibition was carefully curated by an academic team, with Mr. Xu's family meticulously organizing documents and participating deeply in the curation process. Many works and precious documents are being presented for the first time. The exhibition comprehensively and vividly showcases Mr. Xu Xingzhi's outstanding achievements in artistic exploration, education, and cultural undertakings, fully presenting his grand vision that spans multiple artistic fields. It is hoped that teachers and students of the Central Academy of Fine Arts will follow in the footsteps of "great masters" like Mr. Xu Xingzhi, and on the profound foundation of the century-old CAFA, continue the glorious legacy of the Central Academy of Fine Arts.Fan Di’an Chairman of the China Artists Association ————————————————————————————————————"As someone who has long been part of the CAFA family, I still remember often seeing Mr. Xu Xingzhi on the old Wangfujing campus. He seemed to always wear a warm red sweater, with silver hair, exuding the demeanor of a scholarly artist. It was hard to tell from his calm and kindly expression that he had experienced so many historical upheavals and made so many artistic contributions that have been recorded in history."Mr. Fan Di'an recalled Mr. Xu Xingzhi's legendary artistic journey. He noted that Mr. Xu was inspired by the May Fourth New Culture Movement and belonged to a generation of artists who grew up during the era of awakening. He was a versatile artist with talents in fine arts, film, literature, theater, poetry, and music, skilled at integrating and creating across disciplines. Guided by the Party's literary and artistic ideology, he was a revolutionary artist with firm cultural ideals and artistic convictions. The exhibition presents Mr. Xu Xingzhi's rich artistic life and important documents through a comprehensive display approach. The fusion of audio and visual elements, the interplay of images, documents, and paintings creates a scene that allows visitors to step into the space of history and gain a profound understanding of Mr. Xu Xingzhi's life and art. "A heroic song dedicated to China" is indeed a reflection of Mr. Xu Xingzhi's spirit.Li Jianfang Vice Chairman of the Yangzhou Municipal Committee of the Chinese People's Political Consultative Conference ————————————————————————————————————————————————————————————————————————————Li Jianfang, a representative from Mr. Xu Xingzhi's hometown, stated, "Mr. Xu Xingzhi was from Yangzhou. He once used his brush to vividly depict a series of Yangzhou landscapes. In the name of his hometown, we sincerely invite the 'Retrospective Exhibition of Xu Xingzhi's Artistic Achievements' to tour in Yangzhou again, and we warmly welcome Mr. Xu Xingzhi's family, friends, and students to return to Yangzhou for a visit."Yu Runsheng Secretary of the Party Committee of the School of Humanities at the Central Academy of Fine Arts ——————————————————————————————————————————————————————————————————————"In 1954, Mr. Xu Xingzhi was transferred to work at the Central Academy of Fine Arts, where he founded and served as the director of the Fine Arts Theory Research Office, laying the foundation for the establishment of New China's first department of art history." Yu Runsheng noted that the older generation of art educators, represented by Mr. Xu Xingzhi, devoted themselves to building New China's art education system. The educational philosophy they upheld—of art serving the people—has become an important source and foundation for our academic pursuits and educational spirit today.Xu Guoqing representative of Mr. Xu Xingzhi's family, son of Xu Xingzhi, and curator of the exhibition ————————————————————————————————————————————————————————————————"My father, Xu Xingzhi, never ceased creating throughout his 87-year career in the arts, and he continued to paint diligently in his later years, exploring new forms of painting." Mr. Xu Guoqing recalled his father's artistic life. He spent seven years compiling the "Complete Works of Xu Xingzhi," hoping to comprehensively present his father's achievements in various fields such as painting, film, theater, literature, and art history theory.Wang Xiaolin Deputy Secretary of the Party Committee of CAFA —————————————————————————————————————————— presided over the opening ceremonyThe exhibition received strong support from the family, who donated 18 representative works by Mr. Xu Xingzhi to the CAFA Art Museum, including "The Unemployed," "March of the Crystal World," "Quiet River Bend," and "Plaster Cast of Pope Julius II." They also donated 466 types of books from Mr. Xu's personal collection to the School of Humanities at CAFA.Exhibition siteIn September 1978, Xu Xingzhi created the oil painting "March of the Crystal World" at his homeXu Xingzhi (1904–1991) was a renowned Chinese artist, art historian and theorist, art educator, film and theater director, pioneer of the Left-wing art movement, cultural warrior, member of the China Artists Association, and professor at the Central Academy of Fine Arts. He graduated from the Shanghai Academy of Fine Arts and the Tokyo School of Fine Arts in Japan. In 1930, he helped organize the Left-wing art group "Society of the Times" and was elected the first president of the Chinese Left-wing Artists League.Amid the torrents of China's 20th-century artistic transformation, Xu Xingzhi was like a prism that refracted the spectrum of the era into brilliant dimensions. With a palette in his left hand, he dissected the texture of the times; with a camera in his right, he recorded the heartbeat of the nation. He used the theatrical stage as a battlefield of ideas and wielded his literary pen to pierce through spiritual fog. As a representative of the Left-wing cultural movement, he unleashed remarkable creativity across the four dimensions of fine arts, film, theater, and literature, and as an art theorist and educator, he sowed the seeds of revolution into the soil of New China. When we examine the footsteps of this cultural pioneer, we see not only the legend of an individual artist, but a blueprint for the modern transformation of Chinese art in the 20th century.In the field of painting, Xu Xingzhi was a pioneer who first fused modernist language with revolutionary narratives. In his youth, he used expressionist techniques to transform the spirit of the Left-wing cultural movement into questioning of social reality through the weighty themes of "The Unemployed" and "The Pavement Layer." In his middle years, through the formally beautiful language of "The Giant Arm," he passionately celebrated the awakening of industrial power in the new era. In his later years, he distilled his rich life experiences into still-life painting, seeking a path toward the nationalization of oil painting through exploration of Eastern aesthetic sensibilities. This artistic philosophy, which unifies formal exploration with social concern, opened up a new aesthetic path for modern Chinese art.In the field of art theory, Xu Xingzhi was an important founder of modern Chinese art history research. During the nascent stage of Chinese modern art in the 1930s, he was one of the most important translators and popularizers of art theory. He consecutively published significant articles such as "The Tasks of the Emerging Art Movement" and "Prospects for the Chinese Art Movement," translated numerous Western art theory documents, and actively participated in constructing Left-wing art ideology. In 1954, Xu Xingzhi presided over and served as director of the Fine Arts Theory Research Office at the Central Academy of Fine Arts, which later became the predecessor of the Department of Art History. He organized young faculty members to translate materials and introduce teaching resources, and personally wrote more than a dozen lectures on foreign art history, laying a solid foundation for the establishment of New China's first Department of Art History.In the literary world, Xu Xingzhi always maintained the sensitivity of a poet and the sharpness of a warrior. His poetry collection "The Age of Poetry" uses "Pastoral Song," "Daban Well," and "China's Mother" to connect the emotional resonance between personal growth and the changes of the times. His prose collection "Return" hides threads of social criticism within its lyrical style. He built a bridge connecting Lu Xun with emerging writers, allowing Left-wing literature to maintain both ideological sharpness and diverse expressions.In the field of cinema, Xu Xingzhi transformed the camera into the eye of the era, recording the collective memory of the nation. His 1935 film "Children of the Storm" (Fengyun Ernu) used a plain cinematic style to awaken the most stirring and inspiring fighting spirit. The film's theme song, "March of the Volunteers," with lyrics by Tian Han and music by Nie Er, exploded with the force of thunder and later became the national anthem of the People's Republic of China. This landmark work of the Left-wing film movement not only established the aesthetic paradigm for Chinese realist cinema but also elevated the political expression of art to the dimension of the national spirit.On the theatrical stage, Xu Xingzhi became a banner of experimental spirit and public enlightenment. His adaptation of Lu Xun's classic "The True Story of Ah Q" not only preserved the original's profound examination of human nature but also incorporated elements from Lu Xun's "Kong Yiji" and "Medicine." Through the form of tragicomedy, he created a highly critical and satirical theatrical style. Since its premiere in the 1930s, the play has caused a sensation in every performance, exerting widespread influence across different eras and achieving a historical connection between theatrical innovation and popular aesthetics.This versatile artist, skilled in fine arts, film, theater, and literature, was not only a pioneering practitioner of artistic creation but also a researcher, writer, and disseminator of literary theory. He made outstanding contributions to the development of art history and theory in New China and to the cultivation of painting talents. From the China Art University to the Central Academy of Fine Arts, Xu Xingzhi devoted more than half a century to teaching. Through translations, he introduced modern art theory to China, wrote literary and artistic treatises with a sharp pen, and transformed the concept of "art for the people" into concrete teaching practices, cultivating numerous literary and artistic warriors who integrated artistic ideals with social responsibility.The forms and colors of fine arts, the camera lens of film, the stage space of theater, and the words and sentences of literature all intertwined in Xu Xingzhi's hands to form a harmonious chorus of a transforming era. This cross-disciplinary creative practice not only shaped the aesthetic standards of Left-wing literature and art but also reveals to us that true artistic innovation stems from a profound observation of reality and represents the mutual illumination of the individual and the times.
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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.