No Smooth Path To The Summit -- The Exhibition of Works Donated by Li Xingjian

  • Dates:2026-03-28 - 2026-04-19
  • Location:Gallery A (3rd Floor) & Galleries (4th Floor), CAFA Art Museum
  • Opening:2026-04-01 10:00
  • Organizer: CAFA Art Museum
  • Supporting Organizations: School of Chinese Painting, Central Academy of Fine Arts School of Calligraphy, Central Academy of Fine Arts
  • Academic Host: Yu Yang
  • Exhibition Director: Jin Jun Qiu Ting Xu Hai Han Wenchao
  • Exhibition Coordination: Gao Gaol Hai Jun
  • Academic support: Huang Huasan Liu Rong Yu Yue
  • Curator: Li Yaochen Li Jie
  • Design Director: Ji Yujie
  • Special Thanks: Wang Tongren Jiang Baolin Wang Yong Cui Xiaodong Wang Wei Gao Yi Wang Geng

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CAFAM Exhibition Preview | "No Smooth Path To The Summit: The Exhibition of Works Donated by Li Xingjian" to Open Soon

2026-03-29

Ministry of Culture and Tourism"2025 National Art Collection and Donation Award Program"No Smooth Path To The Summit-- The Exhibition of Works Donated by Li XingjianExhibition Dates: March 28, 2026 – April 19, 2026Venue: Gallery A (3F) & 4th Floor Galleries, CAFA Art MuseumOpening Ceremony: 10:00, April 1, 2026Venue: Academic Lecture Hall, CAFA Art MuseumOrganizer: CAFA Art MuseumSupporting Institutions: School of Chinese Painting, CAFA; School of Calligraphy, CAFA"No Smooth Path To The Summit: The Exhibition of Works Donated by Li Xingjian" will open on March 28, 2026 at Gallery A on the 3rd floor and the galleries on the 4th floor of CAFA Art Museum. This donation project has been selected into the "2025 National Art Collection and Donation Award Program" of the Ministry of Culture and Tourism. The donated works include more than 260 traditional Chinese paintings and over 3,000 sketches by the artist, making it the largest collection project of the Central Academy of Fine Arts in recent decades. These thousands of works are not only the artist's most affectionate tribute to his alma mater, but also a vivid visual diary documenting the complete journey of a "CAFA person" from a young student to an outstanding teacher, and then to a distinguished artist and educator.This exhibition features selected key paintings by Li Xingjian from his student years in the 1960s to his overseas residence in the early 21st century. With a broad time span and a large number of works, it comprehensively presents Mr. Li Xingjian's artistic vision. It is hoped that the audience may understand how an artist forms his methods through repeated practice, establishes his style through inheritance and innovation, and ultimately transforms his personal creative experience into academic achievements that can be researched, discussed, and inherited.Sorghum Is Red ,Li Xingjian, 1963 Ink and color on paper, 48 × 47.5 cm,Collection of CAFA Art MuseumA Panoramic View of Kunming Lake at Longevity Hill,Li Xingjian, 1982,Ink and color on paper, 96 × 183 cm,Collection of CAFA Art MuseumHow Many Towers Are Veiled in Mist and Rain,Li Xingjian, 1981Ink and color on paper, 98 × 60 cmCollection of CAFA Art MuseumThe Solemn and Auspicious Leshan Giant Buddha,Li Xingjian, 2003,Ink and color on paper, 84 × 50.5 cmCollection of CAFA Art MuseumBoth north and south of the cottage surrounded by spring water, Li Xingjian, 1984Ink and color on paper, 83 × 50.5 cmCollection of CAFA Art MuseumCaught in Rain at the Old Cave on Mount Emei,Li Xingjian, 1988Ink and color on paper, 68 × 68 cmCollection of CAFA Art MuseumA Lane Leading to the Sacré-Cœur Basilica on Montmartre,Li Xingjian, 1997Ink and color on paper, 68.5 × 102 cmCollection of CAFA Art MuseumBy the Seine (Paris),Li Xingjian, 1988Ink on paper, 34 × 34.5 cmCollection of CAFA Art MuseumThe Alley Outside My Window,Li Xingjian, 1988,Ink on paper, 52.5 × 42.4 cmCollection of CAFA Art MuseumAs a prized pupil and capable assistant to Mr. Li Keran, Li Xingjian deeply comprehended and practiced the "School of Painstaking Pursuit" spirit advocated by his mentor. This spirit represents not merely diligence, but also an almost devout perseverance and reverence for art. In his brushwork, whether depicting towering mountains and rivers or ordinary urban streets, there emanates a steady, profound, and vibrant aura. His landscape paintings inherit the aesthetic characteristics of Li’s school of landscape—darkness, fullness, ruggedness, and roughness—while integrating his unique insights into nature, thus forming a personal style marked by verdant richness, grandeur, and profound artistic conception. The landscapes he creates are small in scene yet vast in conception, concise in imagery yet far-reaching in meaning. With layered peaks and luxuriant ink washes, they manifest the magnificence and majesty of nature through shifting light and shadow, enabling viewers to transcend worldly distractions, as if listening to a symphony of pine winds and spring murmurs in the mountains.Green Shade and White Silk,Li Xingjian, 1977Ink and color on paper, 97 × 60 cmCollection of CAFA Art MuseumSunset Over Mountain Springs,Li Xingjian, 1963Ink and color on paper, 69 × 49 cmCollection of CAFA Art MuseumSite of the Lushan Conference,Li Xingjian, 1977Ink and color on paper, 68 × 46 cm,Collection of CAFA Art MuseumJinggangshanLi Xingjian, 1977Ink and color on paper, 50 × 137 cmCollection of CAFA Art MuseumA key highlight of this exhibition is the specially curated thematic section "Seeking Forms Through Diligent Study", which presents a concentrated display of the sketch works accumulated by Mr. Li Xingjian over decades. As an ancient saying goes, "Search out all wondrous peaks to make drafts," and this found perfect embodiment in Li Xingjian. For him, sketching was not merely a means of collecting source materials, but also a practice to hone his vision, skill, and inner resolve. "Never conceited, never hasty; learning through perseverance, as a true scholar of diligence." From the fishing boats and ferries along the banks of Guilin, to the majestic, perilous gorges of the Three Gorges on the Yangtze River; from the streets and alleys of foreign lands to the vibrant scenes of construction sites, his footsteps spanned both north and south of the Yangtze River and reached all corners of the world.A Section of Kuixia GorgeLi Xingjian, 1977Pen on paper, 26.5 × 19.2 cmCollection of CAFA Art MuseumPond SceneLi Xingjian, 1962Pen on paper, 15 × 21 cmCollection of CAFA Art MuseumPedestrians on the BridgeLi Xingjian, 1977,Pen on paper, 19.2 × 26.5 cmCollection of CAFA Art MuseumThe Joyful Old FarmerLi Xingjian, 1972,Pencil on paper, 26 × 19 cm,Collection of CAFA Art MuseumDriller Wang Guisen, Meticulous in His Work,Li Xingjian, 1970sPencil on paper, 25.7 × 31.5 cmCollection of CAFA Art MuseumThe Towering Drilling RigLi Xingjian, 1970s,Pencil on paper, 31.6 × 25.8 cmCollection of CAFA Art MuseumBullring (Madrid)Li Xingjian, 1988,Pen on paper, 16.7 × 15.8 cm,Collection of CAFA Art MuseumChâteau d'Estaing (Western Europe),Li Xingjian, 1988Pen on paper, 13 × 21 cm,Collection of CAFA Art MuseumAh! SpainLi Xingjian, 1988,Pen on paper, 14.7 × 10.5 cm,Collection of CAFA Art MuseumGreen Mountains at Sunset (Germany),Li Xingjian, 1988,Pen on paper, 18.1 × 17 cm,Collection of CAFA Art MuseumThis exhibition is not only a comprehensive review and retrospective of Mr. Li Xingjian’s artistic achievements, but also a high tribute from the CAFA Art Museum to the selfless dedication of this distinguished alumnus. His artistic journey proves that only by rooting oneself in life, delving deep into tradition, and daring to innovate can one continuously climb to greater heights in art. Through the precious paintings on display, we will have the privilege of entering the simple yet grand artistic world of Mr. Li Xingjian.We look forward to welcoming you on March 28!Artist ProfileLi XingjianBorn in Wuhan, Hubei Province in 1937, Li Xingjian is a renowned contemporary Chinese landscape painter and art educator. He was admitted to the Affiliated High School of Guangzhou Academy of Fine Arts in 1954, and entered the Department of Chinese Painting at the Central Academy of Fine Arts for further studies in 1958. Studying under Li Keran, he specialized in ink landscape painting. After graduating in 1963, he stayed and taught at the academy. He formerly served as a Professor at the Central Academy of Fine Arts, Director of the Landscape Painting Studio of the Department of Chinese Painting, and a postgraduate supervisor. He is a member of the Chinese Artists Association and a Standing Director of the Li Keran Art Foundation.His creations are grounded in sketching, with a simple and natural painting style. While inheriting Li Keran’s majestic and profound style, he integrates a fresh and bright contemporary spirit, forming a unique artistic language. His representative works include Autumn Red Season, Spring Rain over the River City, The Great River Flows East, River Boats Depart at Dawn, among others. He participated in the creation of the monumental Chinese painting Splendid China for the 1st Anniversary Celebration of Hong Kong’s Return to China in 1998.He has held numerous solo exhibitions in China and around the world. Many of his works are collected by major art museums and museums at home and abroad, including the National Art Museum of China, the Museum of Fine Arts, Boston (USA), and the Fukuyama Museum of Art (Japan). Five individual painting collections have been published successively, including Collection of Li Xingjian’s Landscape Paintings and Li Xingjian Painting Collection.Ministry of Culture and Tourism"2025 National Art Collection and Donation Award Program"No Smooth Path To The Summit: The Exhibition of Works Donated by Li XingjianExhibition Dates: March 28, 2026 – April 19, 2026Venue: Gallery A (3F) & 4th Floor Galleries, CAFA Art MuseumOrganizer:CAFA Art MuseumSupporters:School of Chinese Painting, Central Academy of Fine ArtsSchool of Calligraphy, Central Academy of Fine ArtsAcademic Chair: Yu YangExhibition Directors: Jin Jun, Qiu Ting, Xu Hai, Han WenchaoExhibition Coordinators: Gao Gao, Hai JunAcademic Support: Huang Huasan, Liu Rong, Yu YueCurators: Li Yaochen, Li JieDesign Director: Ji YujieSpecial Thanks: Wang Tongren, Jiang Baolin, Wang Yong, Cui Xiaodong, Wang Wei, Gao Yi, Wang GengEditor-in-Chief / He YishaEditor / Du Yinzhu
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Artistic Pursuit: "No Smooth Path to The Summit" | The Opening Ceremony of Li Xingjian Donation Exhibition

2026-04-02

≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒The opening ceremony of the exhibition "No Smooth Path to The Summit – The Exhibition of Works Donated by Li Xingjian" and the artwork donation ceremony were held on April 1, 2026, at the Academic Lecture Hall of the CAFA Art Museum. This donation project has been selected into the "2025 National Art Collection and Donation Award Program" by the Ministry of Culture and Tourism. As the Central Academy of Fine Arts celebrates its 108th anniversary, the century-old heritage of this prestigious institution and the lifelong artistic achievements of its devoted alumnus converge at this moment into a warm and touching picture of artistic inheritance.≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒This donation project features an extensive collection, including more than 260 traditional Chinese paintings and over 3,000 sketches by Mr. Li Xingjian, making it the largest acquisition project of the Central Academy of Fine Arts in the past decade. Thousands of works are not only the artist’s most sincere tribute to his alma mater, but also a vivid visual diary documenting the complete journey of this CAFA graduate: from a young student to an outstanding educator and distinguished artist. What is particularly moving is that Mr. Li Xingjian donated all his award funds back to the academy to establish the Li Xingjian Sketching Award. His pure spirit of “taking from art, giving back to education” is deeply inspiring, and his legacy will surely illuminate the artistic path of generations of students to come.Distinguished guests attending the opening ceremony included: Senior artists of CAFA: Cao Chunsheng, Lou Jiaben, Wen Guozhang, Sun Jingbo, Zhang Jiping, Cui Xiaodong, Wang Shujie; Yu Yang, Vice President of the Central Academy of Fine Arts; Li Geng, President of Li Keran Academy of Painting, and Wang Haikun, Executive Vice President; Huang Huasan, Professor, School of Arts, Renmin University of China; Du Yicai, Secretary of the Directly Affiliated Party Branch, School of Chinese Painting, CAFA;Wang Xiuling, Deputy Secretary; Xu Hai, Dean of the School of Calligraphy, CAFA; Li Ming, Deputy Secretary of its Directly Affiliated Party Branch; Yu Yue, Teacher; Wang Lei, Director of the Retirees Affairs Office; Zhou Yue, Secretary-General of the CAFA Education Development Foundation; Jin Jun, Director of CAFA Art Museum; Han Wenchao, Secretary of the Directly Affiliated Party Branch of CAFA Art Museum; Hai Jun and Gao Gao, Deputy Directors of CAFA Art Museum; as well as leaders, faculty and students from various schools, departments and administrative divisions of the Central Academy of Fine Arts.Yu Yang, Member of the Standing Committee of the CPC Committee and Vice President of the Central Academy of Fine Arts, delivered an addressYu Yang, Vice President of CAFA, stated that the opening of the exhibition "No Smooth Path to The Summit – The Exhibition of Works Donated by Li Xingjian" carries special significance as CAFA celebrates its 108th anniversary. Since its founding in 1918, the Central Academy of Fine Arts has upheld its motto "Seek Refinement in Detail, Reach Grandeur in Vision", remained committed to fostering virtue through education, and cultivated generations of outstanding art talents with profound artistic accomplishments and deep patriotism, composing a magnificent chapter in modern Chinese art and art education. Mr. Li Xingjian has been closely connected with CAFA for more than 60 years. Grounded in diligence and persistent study and guided by the spirit of sketching from life, he traveled across China’s famous mountains and great rivers and around the world, integrating traditional Chinese landscape brush and ink with contemporary aesthetics. In his artistic exploration of "borrowing scenery, depicting scenery, and creating scenery", he achieved a sublimation from "physical form" to "mental image", forming a unique artistic language characterized by "small scene yet vast realm, concise form yet profound meaning". Throughout his teaching career, Mr. Li has stayed at the forefront of education, devoting himself to nurturing students and imparting his knowledge wholeheartedly, embodying the mission and responsibility of a CAFA educator. This exhibition not only showcases his artistic achievements but also carries forward his spirit of pursuit, dedication to education, and patriotism embodied in "No Smooth Path to The Summit".Address by Jin Jun, Director of CAFA Art MuseumJin Jun, Director of the CAFA Art Museum, stated that the CAFA Art Museum serves as a platform for disseminating the century-old academic spirit, as well as a center for collecting and preserving classic artworks and teaching achievements. For many years, it has been committed to building a comprehensive collection system of masterpieces and representative artists based on the century-long history of CAFA. The exhibition is inaugurated on the anniversary day for two purposes: first, to express sincere respect to Mr. Li Xingjian; second, to carry forward spiritual inheritance, bringing his art into dialogue with young students and realizing the intergenerational continuation of the academy’s tradition and academic spirit. Featuring more than 300 works carefully selected from over 260 representative paintings and more than 3,000 sketches donated by Mr. Li, the exhibition is curated in accordance with the trajectory of his artistic exploration. Such a large-scale and complete donation is rare in the history of the museum. Mr. Li Xingjian’s artistic career, creative practice and donation act perfectly embody the ideal of “Nurturing numerous students with great love, creating timeless masterpieces with supreme art”. His artistic spirit deserves continuous research and promotion. The museum will properly preserve and inherit these works, giving full play to their important role in continuing the cultural context of China.Address by Li Geng, Representative of Li Keran’s Family and President of Li Keran Academy of PaintingIn his speech, Li Geng, Representative of Li Keran’s Family and President of Li Keran Academy of Painting, recalled that in his youth he had received careful guidance from both Zhou Sicong and Li Xingjian. Mr. Li Xingjian, who taught him sketching and drawing for a long time, was his important mentor. He spoke of the unwavering faith in art upheld by his father Li Keran and Mr. Li Xingjian during extraordinary historical periods. He noted that the mission of an artist is to uphold his original aspiration through the brush. Only by persistent devotion can one reach the summit of art — just as the motto “No Smooth Path to The Summit” bestowed by his father upon CAFA.Address by Yu Yue, Student Representative and Teacher at the School of Calligraphy, Central Academy of Fine ArtsIn his speech, Yu Yue, student representative and teacher at the School of Calligraphy, CAFA, reviewed his own study experience and expressed deep gratitude to Mr. Li Xingjian for guiding him onto the path of art, leaving him many precious memories. When teaching landscape painting from life, Mr. Li led the students to sketch in western Hunan and Mount Hengshan. He imparted the essence of the “Li School Landscape”: capturing the soul of nature and practicing the principle of “selecting one subject, refining it tenfold”. His teaching was concise and incisive, his demonstrations exquisite, and his guidance on students’ works meticulous, enabling them to gain sudden insight. Outside class, Mr. Li’s elegant, modest, sincere and romantic character made the students deeply understand that moral integrity is the foundation of academic pursuit. The Li Xingjian Sketching Award established by Mr. Li represents not only his expectations for young students but also embodies the mission of inheriting CAFA’s teaching system and passing the artistic torch from generation to generation.Address by Huang Huasan, Family Representative and Professor, School of Arts, Renmin University of ChinaHuang Huasan, family representative and Professor at the School of Arts, Renmin University of China, delivered a speech on behalf of Mr. Li Xingjian and conveyed his sincere gratitude. The donation project, which took four years to complete, has finally come to a successful conclusion, fulfilling Mr. Li Xingjian’s long-cherished wish and bringing him deep warmth and satisfaction.He also conveyed Mr. Li’s message to young students: I hope you will remain committed to being diligent learners, temper your skills and pursue artistic excellence with the faith that “No Smooth Path to The Summit”; at the same time, inherit the Chinese painting tradition of CAFA, uphold the original aspiration of “creating Chinese paintings and art for the people”, and live up to the times and to the art of painting.Li Yaochen, Deputy Secretary of the Directly Affiliated Party Branch of CAFA Art Museum, served as the hostIn 2025, Mr. Li Xingjian sorted and selected his artworks, and generously donated his representative works throughout his life to the museum to enrich teaching resources at CAFA. The donation includes more than 260 works and over 3,000 sketches, covering every stage of his artistic exploration over more than 60 years since his university studies. Mr. Li Xingjian’s dedication and commitment to artistic inheritance are deeply touching and inspiring.Han Wenchao, Secretary of the Directly Affiliated Party Branch of CAFA Art Museum, presented the Artwork Donation Certificate to Mr. Huang Huasan,  representative of Mr. Li Xingjian’s familyMr. Li Xingjian also donated 300,000 RMB in prize money to the CAFA Education Development Foundation to establish the “Li Xingjian Sketching Award”. His selfless spirit of “taking from art, giving back to education” is deeply moving, and his legacy will surely illuminate the artistic path of generations of students.Zhou Yue, Director of the Office of the CAFA Education Development Foundation, presented the Donation Certificate to Professor Huang Huasan, representative of Mr. Li Xingjian’s familyThis exhibition features selected major works by Li Xingjian from his student years in the 1960s to his overseas residence in the early 21st century. With a long time span and a large number of works, it comprehensively presents Mr. Li Xingjian’s artistic vision and style. It is hoped that visitors may understand how an artist develops his approach through repeated practice, establishes a style through inheritance and innovation, and ultimately transforms personal creative experience into researchable, discussable and inheritable academic achievements.The exhibition is structured around two major sections: The Path of Artistic Refinement and Painstaking Study through Sketching. The former focuses on his journey of inheritance and innovation from "borrowing scenery" and "depicting scenery" to "creating scenery"; the latter showcases his extensive sketches and quick drawings, reflecting his persistent creative spirit and fruitful achievements. Mr. Li Xingjian specialized in landscape painting and was a disciple of Mr. Li Keran. He was one of the important practitioners and inheritors of the landscape painting teaching system at the Central Academy of Fine Arts founded by Li Keran. His landscape works not only inherit the aesthetic characteristics of Li School landscape—dark, full, forceful, and rough-textured—but also integrate his unique insights into nature, forming a personal style marked by vigor, richness, grandeur, and profound artistic conception. The landscapes he depicts are small in composition yet vast in realm, concise in imagery yet far-reaching in meaning. With layered mountains and luxuriant ink washes, they present the magnificence and vastness of nature through shifting light and shadow. Throughout his life, he abided by his mentor’s teachings: "Do not rely on talent, do not seek hasty advancement, learn through hardship, and be a painstaking scholar." He maintained a devout attitude toward art, as well as a spirit of diligent research and innovation that feared no difficulties. His artistic footsteps spanned the mountains and rivers of China and many parts of the world.A key highlight of this exhibition is the special section “Painstaking Study through Sketching”, which presents Mr. Li Xingjian’s sketchworks accumulated over decades. As an ancient Chinese saying goes, “Search all wondrous peaks to make drafts” — a maxim perfectly embodied by Mr. Li. His sketches are not merely the collection of visual materials, but a constant refinement of perception, skill, and artistic sensibility. From fishing boats and ferries along the Li River, to the majestic perilous gorges of the Three Gorges, from daily scenes in foreign streets to vibrant construction sites, every line he drew reflects profound observation of reality and nature.“No Smooth Path to The Summit”刻印Mr. Li Xingjian once carved a large seal inscribed with “No Smooth Path to The Summit”, with the side inscription reading: “Carved in reverence of Master Keran’s words for self-encouragement — Xingjian”. By adopting his mentor’s motto as his own, he made it a true reflection of his artistic spirit. This exhibition is not only a comprehensive review and retrospective of Mr. Li Xingjian’s artistic achievements, but also a high tribute from the Art Museum of the Central Academy of Fine Arts to this outstanding alumnus for his selfless dedication. Through the precious paintings and numerous sketch manuscripts on display, viewers are invited to enter his simple yet grand artistic world, and to understand the truth: only by rooting in life, delving deep into tradition, and daring to innovate can one keep climbing toward the summit of art.The exhibition runs until April 19, 2026.   Selected Works   "Sorghum Is Red" by Li Xingjian, 1963, color on paper, 48×47.5 cm, Collection of CAFA Art Museum"Pavilions Hidden in Misty Rain" by Li Xingjian, 1981, color on paper, 98×60 cm, collected by CAFA Art MuseumSouth and North of the Cottage Are All Spring Waters (No. 2) , Li Xingjian, 1984, color on paper, 83 × 50.5 cm, collected by CAFA Art MuseumRain Encountered at the Old Cave of Mount Emei, Li Xingjian, 1988, color on paper, 68×68 cm, collected by CAFA Art MuseumSmall Street Leading to Sacré‑Cœur from Montmartre, Li Xingjian, 1997Color on paper68.5 × 102 cm, Collection of CAFA Art MuseumPond SceneLi Xingjian, 1962, Ink pen on paper15 × 21 cm, Collection of CAFA Art MuseumPedestrians on the Bridge, Li Xingjian, 1977Ink pen on paper19.2 × 26.5 cmCollection of the CAFA Art MuseumThe Joyful Old Farmer, Li Xingjian, 1972Pencil on paper26 × 19 cmCollection of CAFA Art MuseumTall Standing Drilling Rigs, Li Xingjian1970sPencil on paper31.6 × 25.8 cmCollection of CAFA Art MuseumChâteau d'Estaing (Western Europe) Li Xingjian, 1988Ink pen on paper13 × 21 cmCollection of CAFA Art Museum   Artist Profile   Li XingjianLi Xingjian was born in Wuhan, Hubei Province in 1937. He is a renowned contemporary Chinese landscape painter and art educator. He was admitted to the Affiliated High School of Guangzhou Academy of Fine Arts in 1954, and pursued advanced studies at the Department of Chinese Painting, Central Academy of Fine Arts in 1958. He studied under Li Keran, specializing in ink landscape painting, and stayed to teach at the academy after graduation in 1963. He once served as a professor at the Central Academy of Fine Arts, director of the Landscape Painting Studio of the Department of Chinese Painting, postgraduate supervisor, member of the Chinese Artists Association, and executive director of the Li Keran Art Foundation.His creations are based on sketching, with a simple and natural style. While inheriting Li Keran's majestic and profound style, he integrates a fresh and bright contemporary spirit, forming a unique artistic language. His representative works include Autumn Red Season, Spring Rain over the River City, The Great River Flows East, Boats Departing at Dawn and others. He participated in the creation of the monumental Chinese painting Splendid China for the first anniversary celebration of Hong Kong's return to China in 1998.He has held numerous solo exhibitions across China and around the world. Many of his works are collected by major art museums and museums at home and abroad, including the National Art Museum of China, the Museum of Fine Arts, Boston, USA, and the Fukuyama Museum of Art, Japan. Five personal painting collections have been published, including Li Xingjian Landscape Paintings and Li Xingjian Paintings.Ministry of Culture and Tourism"2025 National Art Collection and Donation Award Project"No Level Paths on High Peaks—Donation Exhibition of Li XingjianExhibition Dates:March 28 – April 19, 2026Venue:Gallery A (3rd Floor), Galleries (4th Floor)CAFA Art MuseumOrganizer:CAFA Art MuseumSupporting Institutions:School of Chinese Painting, CAFASchool of Calligraphy, CAFAAcademic Director:Yu YangExhibition Directors:Jin Jun, Qiu Ting, Xu Hai, Han WenchaoExhibition Coordinator:Gao Gao, Hai JunAcademic Advisors:Huang Huasan, Liu Rong, Yu YueCurators:Li Yaochen, Li JieDesign Director:Ji YujieDesign Associate:Min ZhiyiCuratorial Assistants:Chen Tianyi, Li Ze, Zha YiruiExhibition Management:Wu Peng, Su Shicun, Jing Peng, Lü ZhifaCollection Management:Li Yaochen, Xu Yan, Jiang Nan, Wang Chunling, Ma Liang, Cui Ranran, Dou Tianwei, Li WeiMedia & Publicity:He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding Yi, Guo HongmeiPublic Education:Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Xi Huawei, Cai MengFinance Affairs:Yang Liu, Men JingDevelopment & Promotion:Sun Wei, Yi Yi, Jin Jianru, Kou Lei, Liu XinglingAdministrative Support:Jiang Siyu, Yue Junyao, Zhang Qian, Guo Xu, Chen XiaohuaVideo Production:Du XiaochengSeal Rubbings:Wang Xiaochen, Lin Zhuoyang, Dong Xuanning, Li Jiameng, Zhang Enyuan, Liu Yizhao, Wang Qiushi, Xie Yanchen, Cui Zihui, Lin Han, Zhang Qirui, Guo Zihao, Liu Jinming, Su Haoming, Chen Zeye, Fan Lin, Duan Shuo, Zhao Boyang, Wu Mengze, Xue Yutong, Sun Guanming, Li Boya, Sun Yixuan, Chen Yuming, Zhang Yifan, Ren JinhongSpecial Thanks to:Li Yuhua, Wang Tongren, Jiang Baolin, Wang Yong, Cui Xiaodong, Zhou Hongbing, Wang Wei, Gao Yi, Wang GengEditor-in-Chief / He YishaEditor / Du YinzhuOn-site Photographs / He Yifei
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CAFAM Workshop Recruitment|No Smooth Path To The summit; Ink Charm Nurtures Young Hearts

2026-04-11

In the gentle spring with bright scenery, the fragrance of ink lingers in the corridors. At the CAFA Art Museum, No Smooth Path to the Summit – Donated Works by Li Xingjian quietly unfolds the artistic life of a veteran alumnus of the Central Academy of Fine Arts.Li Xingjian watched his teacher Li Keran painting李行简作为日本东洋美术学院客座教授,正在教授中国山水画他师承李可染先生,笃行临摹 — 写生 — 创作的治学之路,以三千速写、百幅丹青,践行 “峰高无坦途” 的艺术初心,用一生坚守告诉我们:水墨之美,始于根基,成于坚守。山水画承载着东方独特的审美意趣与笔墨精神,临摹经典更是学习国画的必经之路。本次中央美术学院美术馆特别推出山水临摹工作坊,以李行简先生经典国画作品为范本,系统讲授山水画基础技法,带领学员在笔墨实践中感受传统山水画的魅力。《井冈山的毛主席旧居等革命旧址》 李行简 1977年 纸本设色 46×45cm 中央美术学院美术馆藏《西班牙山城》 李行简 1990年 纸本墨笔 37.2×45cm 中央美术学院美术馆藏《绿荫白练》 李行简 1977年 纸本设色 97×60cm 中央美术学院美术馆藏工作坊活动亮点致敬前辈・走近李行简的水墨世界直面先生 260 余幅国画、3000 余幅速写真迹,读懂李家山水 “黑、满、崛、涩” 的笔墨风骨,感受 “苦学派” 踏实求真的艺术精神。真迹旁研学・沉浸式水墨体验告别枯燥课堂,近距离拆解山水笔墨、构图与意境,让传统技法活起来。央美博士亲授・专业又易懂专为青少年定制教学内容,不讲晦涩理论,只教实用方法,手把手带你掌握山水临摹、写生核心技巧。作品介绍本次工作坊选取李行简先生上世纪80年代(1981年)创作的经典之作《多少楼台烟雨中》为临摹范本。此作构图兼具三远之法,将舟楫、房舍、烟柳、石桥恰如其分地安置在纵深的空间内,树木葱茏,虚实相生,赋予画面幽深厚重的意境。工作坊将围绕山水画审美标准、用笔用墨、构图章法与色彩运用展开教学,解析作品中的线条勾勒、皴擦点染、浓淡干湿变化,讲解布局取景、虚实疏密的构图法则,以及设色与笔墨的协调关系。《多少楼台烟雨中》 李行简 1981年 纸本设色 98×60cm 中央美术学院美术馆藏正如清代王原祁在《雨窗漫笔》中所言:“学不师古,如夜行无烛。”李行简先生正是通过大量的临摹与写生,继承了李可染先生的绘画理念并融入自身独特的艺术语言。通过临摹实践与针对性指导,帮助学员夯实基础技法,建立正统山水审美认知,体会传统山水的气韵与意境,在临摹经典中掌握实用创作方法。本次工作坊将以深入浅出的方式,帮助学员迈出“师古人”的第一步,在临摹中感受经典,在笔墨中寻找自我。1. 观展导览跟着博士读懂李行简 “素描筑基、传统为根、写生为路、创作升华” 的治学脉络,看懂山水笔墨里的传承与创新。2. 水墨体验巩固线条、墨色基础,临摹先生经典山水片段,学习从自然中提炼艺术语言,完成专属水墨小作。3. 精神传承体悟 “不恃才,不躐等,困而知之” 的艺术态度,在一笔一画中,养成踏实、专注的创作初心。报名须知时间:4月12日10:00-12:00,9:50在美术馆前台签到集合,前往展厅欣赏作品地点:美术馆B1会议室招募对象:9-18周岁(需要一定的国画基础)招募人数:20人请扫码预约报名成功后自行购买美术馆门票入馆美术馆会员免票温馨提示本活动不包含入馆门票,请单独购买门票若超过两次爽约,将取消年度报名资格课程导师彭瑾慧1992年生于湖南,现居北京,自由艺术家,目前博士就读于中央美术学院美术学专业。先后于中央美术学院完成本科与硕士阶段学业,均主攻中国画山水方向,本科毕业作品曾获校级奖项并被中央美术学院美术馆收藏,2025年荣获博士研究生国家奖学金。近年持续参与国内外重要学术与展览活动,作品先后入选第十四届全国美展中国画作品展、第八届杭州中国画双年展等,并赴敦煌、印尼等地参与当代中国画邀请展与国际交流展览,始终致力于在传统山水脉络中探索当代表达。笔墨藏山河,少年承文脉。愿每一位爱水墨的孩子,都能在真迹旁遇见传统,在笔触间收获成长。名额有限,快和小伙伴一起赴这场山水之约吧。活动策划:肖宝珍工作坊执行:梁雯、杨婕、惠春艳同期展览文化和旅游部“2025年国家美术作品收藏和捐赠奖励项目”峰高无坦途——李行简捐赠作品展展览时间:2026年3月28日—4月19日展览地点:中央美术学院美术馆三层A展厅、四层展厅主编 / 何一沙责编 / 杜隐珠编辑  /  张妮
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Li Xingjian: The Key To Mastering Chinese Painting Is To Lay A Solid Foundation

2026-04-15

At the exhibition "No Smooth Paths To The Summit – Donated Works by Li Xingjian", the audience is invariably captivated by the magnificent, profound and lushly beautiful landscape paintings created by Li Xingjian. Faced with such a pinnacle of art, one cannot help but wonder: where exactly did this journey of artistic ascent begin?The answer lies in his plain and unadorned academic philosophy. Li Xingjian is not only an accomplished painter but also an art educator who has devoted himself to teaching for years. In his essay The Key Is to Lay a Solid Foundation, he sets aside the glory of his creative achievements and points directly to the core essence of learning Chinese painting. Drawing from his own artistic practice and the teachings of Mr. Li Keran, he clearly lays out the "steps" to mastery without reservation: he advocates taking sketch training as the scientific foundation for modeling and thinking; emphasizes exploring the profound tradition through copying without being confined to rigid formulas; points out that sketching from life is the only way to "learn from nature" and develop a personal artistic language; and further promotes the principle of "selecting one and refining it tenfold" in creation, advocating relentless refinement and perfection. The key Is To Lay A Solid Foundation Li XingjianMarch 2003≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒I. I advocate learning sketching≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒Sketching is the foundation of all plastic arts, which goes without saying for departments such as oil painting, printmaking and sculpture. However, there has been considerable disagreement over the years as to whether the Chinese Painting Department should take sketching as the basis of modeling. During my school years (1958-1963), students in the Chinese Painting Department did not study sketching, but later the department began to offer sketching courses to improve students' modeling abilities."The Joyful Old Farmer" by Li Xingjian, 1972, pencil on paper, 26×19 cm, collected by CAFA Art MuseumMr. Li Keran strongly advocated that students of traditional Chinese painting should lay a solid foundation in sketch. His artistic practice has proved that profound basic sketch skills provided favorable conditions for his innovative development of Chinese landscape painting. He said more than once: "If possible, I would study sketch for another ten years."Teaching sketching is not merely a training in painting skills, but also a scientific training in thinking. It helps students develop a keen ability to observe and capture the subtle characteristics of subjects; to depict objects with precision; and to achieve "refinement in detail and breadth in vision"—the ability to delve deeply into details while maintaining a grasp of the whole. All these can only be attained through long-term and rigorous sketching training.Sketch of a Boy Wearing a Straw Hat, Li Xingjian, 1958, Ink on paper, 33×22 cm, Collection of CAFA Art Museum≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒II. Learning from Tradition is Indispensable≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒The art of any nation develops and innovates continuously on the basis of inheriting its traditions. China's distinguished painting tradition is like an ever-flowing river.Copying classes are a vital part of learning tradition. Ancient artists advocated "studying all the famous masterpieces under heaven". In the teaching of copying, students should be arranged to appreciate, research and analyze the works of past masters as extensively as possible. This can broaden their vision and deepen their perceptual understanding of traditional Chinese painting. Meanwhile, selected traditional painting theories should also be explained and analyzed to enhance students' comprehension of traditional Chinese painting.Green Shade and Waterfall, Li Xingjian, 1972, colored ink on paper, 69×46 cm, collected by CAFA Art MuseumA copying class is by no means merely about learning specific techniques and stylistic symbols such as the texture strokes and outline methods of any particular school or master. Instead, it focuses on understanding the common principles in the modeling characteristics and brush-and-ink expression techniques of past artists. One should absorb their strengths while also recognizing their limitations. A copying class is a crucial lesson in learning from the experience of others, including ancient masters."Fresh Green", Li Xingjian, 1977, color on paper, 47.5×46 cm, collected by CAFA Art Museum≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒III. Sketching from life is the only way to develop tradition≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒"Learning from nature"—taking nature as one's teacher—is a fine tradition of Chinese painting. Only through careful and in-depth study of the endless changes in nature can one discover principles that others have not found. Sketching classes train students to go into nature, to remain calm, focused, and patient, and to discover beauty in ordinary scenes. Sketching is a process of creating from life.In Front of the Seven Star Cave, Li Xingjian, 1962, ink painting on paper, 17.8×12.3 cm, collected by CAFA Art MuseumWhen sketching from life, you must trust your eyes and your own feelings, and express your true thoughts. A sketching class should not be about verifying or copying others' formulas and methods, nor should it fall into the stereotypes of predecessors. The most important thing in a sketching class is to create your own artistic language.Nature is the best teacher for students. Faced with the infinitely rich and ever‑changing nature, we will always be ignorant young learners. Therefore, we must devote ourselves wholeheartedly, ponder deeply, and perceive profoundly, so that we can make discoveries and create. Only in this way can we develop correct ways of observation and a rigorous academic attitude through sketching classes. Continuously drawing nourishment from nature and cultivating good habits constitutes a precious treasure for students.In Front of the Residence by Li Xingjian, 1972, pen and ink on paper, 17×24 cm, collected by CAFA Art Museum≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒IV. Creative writing courses are designed to cultivate students' ability to process and refine their works≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒   ≒Sketching from life is creation directly from the scene. However, due to various limitations, the materials derived from real life cannot be fully refined and processed to achieve a higher artistic level.Ordinary Scenes of Bashanshushui, by Li Xingjian, 1985, colored ink on paper, 96×58 cm, collected by CAFA Art MuseumCreative writing courses focus on artistic conception design, and in particular, teach students more practical methods in terms of artistic conception refinement. Mr. Li Keran once proposed that for the raw materials obtained from sketching, one should "extract one and refine it tenfold" and conduct more extensive artistic processing.In conclusion, I believe that a student's learning process is one of deepening their understanding of the laws of learning and laying a solid foundation. As teachers, we should guide them in the right direction in accordance with the teaching syllabus, and continuously enrich and enhance their artistic accomplishment. This is achieved through a systematic teaching approach of "copying—sketching from life—creating", involving repeated practice, constant summarization, and progressive improvement, so as to leave ample room for their future development. This is beneficial not only to the individual growth of students but also to the development of China's fine arts cause.Site of the Hunan Peasant Movement, Li Xingjian, 1978, pen on paper, 29.9×27.2 cm, collected by CAFA Art Museum Concurrent exhibitions Chief Editor / He YishaExecutive Editor / Du YinzhuEditor / Zhang Ni
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

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

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

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

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

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

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

Event Booking Form

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Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!