The Art Of Leonardo Opera Omnia

  • Dates:2019-04-16 - 2019-05-23
  • Location:CAFA Art Museum
  • Opening:2019-04-16 16:00
  • Organizer(s): CAFA Art Museum Istituto Italiano di Cultura di Pechino

Details

Leonardo da Vinci is a painter, an architect, an engineer and a scientist. He is the most remarkable talent of the Italian Renaissance. His longing for knowledge made him a master in a diverse range of fields, yet despite his versatility he left only a small number of oil paintings with the world.... More
Leonardo da Vinci is a painter, an architect, an engineer and a scientist. He is the most remarkable talent of the Italian Renaissance. His longing for knowledge made him a master in a diverse range of fields, yet despite his versatility he left only a small number of oil paintings with the world.

With the new Opera Omnia scanning and printing technologies, the audience can now appreciate at one exhibition the high-definition, full-sized replicas of 17 da Vinci’s masterpieces, housed separately in top museums around the world.


Preface

https://timg1.artimg.net/museum-image/image/201904/sy_1556096474212710.jpeg


With the original da Vinci oil paintings housed separately around the world, “The Art of Leonardo Opera Omnia” is almost an “impossible encounter” with the great Renaissance master.


The audience could examine closely da Vinci’s classic oil paintings, including The Last Supper, painted in the late 15th century and housed by the Santa Maria delle Grazie in Milan, Italy; Mona Lisa, described by French poet Théophile Gautier as a “sphinx of beauty who smiles so mysteriously”; St. John the Baptist, a perfect embodiment of the artist’s note that drew parallels between water and the curly hair; and Bacchus, Lady with an Ermine and 12 other masterpieces.


1555301161143438.jpg

The Last Supper

Mural painting, 460 x 880 cm

Convent of Santa Maria delle Grazie, Milan, Italy

Completed in 1498


1555301235763934.jpg

Mona Lisa

Oil on poplar panel, 77 x 53 cm

The Louvre Museum, Paris

c. 1503-1506


1555301300649654.jpg

St. John the Baptist

Oil on walnut wood, 69 x 57 cm

The Louvre Museum, Paris

c. 1513-1516


1555301376501287.jpg

Bacchus

Oil on walnut panel transferred to canvas, 177 x 115 cm

The Louvre Museum, Paris

1510-1515


1555301423657701.jpg 

Lady with an Ermine

Oil on wood panel, 54 x 39 cm

National Museum, Kraków, Poland

1489-1490


The exhibition will last from April 16 to May 23, 2019.

1555300929976297.png

https://timg1.artimg.net/museum-image/image/201904/sy_1556096474212710.jpeg


With the original da Vinci oil paintings housed separately around the world, “The Art of Leonardo Opera Omnia” is almost an “impossible encounter” with the great Renaissance master.


The audience could examine closely da Vinci’s classic oil paintings, including The Last Supper, painted in the late 15th century and housed by the Santa Maria delle Grazie in Milan, Italy; Mona Lisa, described by French poet Théophile Gautier as a “sphinx of beauty who smiles so mysteriously”; St. John the Baptist, a perfect embodiment of the artist’s note that drew parallels between water and the curly hair; and Bacchus, Lady with an Ermine and 12 other masterpieces.


1555301161143438.jpg

The Last Supper

Mural painting, 460 x 880 cm

Convent of Santa Maria delle Grazie, Milan, Italy

Completed in 1498


1555301235763934.jpg

Mona Lisa

Oil on poplar panel, 77 x 53 cm

The Louvre Museum, Paris

c. 1503-1506


1555301300649654.jpg

St. John the Baptist

Oil on walnut wood, 69 x 57 cm

The Louvre Museum, Paris

c. 1513-1516


1555301376501287.jpg

Bacchus

Oil on walnut panel transferred to canvas, 177 x 115 cm

The Louvre Museum, Paris

1510-1515


1555301423657701.jpg 

Lady with an Ermine

Oil on wood panel, 54 x 39 cm

National Museum, Kraków, Poland

1489-1490


The exhibition will last from April 16 to May 23, 2019.

1555300929976297.png

Artworks

Photographs

Related essays

Innovator Da Vinci: The Scientific and Technological Symbol of Renaissance | Lecture Report ...

2019-04-26

Professor Plinio Innocenzi of Università degli Studi di Sassari gives a lecture about Leonardo da Vinci’s scientific and technological achievements, and the Renaissance Genius’ relationship with his time’s scientific development. This is the second lecture of The Art of Leonardo Opera Omnia Exhibition series. More

Leonardo and Anatomy | Lecture Report ...

2019-04-30

The lecture featured two speakers, Dr. Giampaolo Ghilardi and Dr. Nicola Di Stefano, both experts in the research of da Vinci’s anatomical drawings from Italy. More

Revealing the sfumato Technique of Leonardo da Vinci by X‐Ray Fluorescence Spectroscopy ...

2019-05-15

Non‐invasive X‐ray fluorescence spectroscopy was used to reveal the sfumato paint layer stacking method that was used by Leonardo da Vinci to paint the faces in seven of his paintings. A strong diversity in his technique could clearly be seen with this method. More

Techniques and Secrets behind The Last Supper | Lecture Report ...

2019-05-15

Mr. Mario Taddei, chief researcher at the Leonardo3 Museum and Research Center, shared his research results on Leonardo da Vinci’s masterpiece The Last Supper at CAFAM. More

Lecture Report | Da Vinci and Treatise on Painting ...

2019-08-18

Treatise on Painting (Trattato della pittura) is the only collection of Leonardo da Vinci’s that has been published. It is a key to understanding Da Vinci’s diverse research. On June 12, 2019, Prof. Carlo Vecce, renowned Italian scholar in Renaissance literature and an authority on the study of Da Vinci, gave a lecture about the collection at CAFAM.According To Prof. Vecce, Da Vinci’s manuscript is the key to understanding his works and ideas. While Da Vinci only left us a limited number of paintings - only 10 to 15 works are confirmed to be painted by him, many of which were left undone - Prof. Vecce believes that Da Vinci mostly devoted himself to reading and writing. The manuscript is the result of his research on machinery and anatomy, etc.Leonardo da Vinci, 1452-1519It is noted that for nearly hree centuries after Da Vinci’s death in 1519, his manuscripts remained undiscovered. The manuscript existed in a scattered, disordered form - research on hydrology, geometry, anatomy and painting could appear on the same page. For many times, Da Vinci had thought about writing books logically - he had even listed contents for some books - but he never completed one.The only book of his - Treatise on Painting - was successfully published in Europe thanks to his apprentice Francesco Melzi, who, according to Prof. Vecce, was chosen by Da Vinci because he wanted him to organize his manuscripts. Melzi continued the compilation after his teacher’s death, and brought into being the Codex Urbinas, which is later known as Treatise on Painting.Francesco Melzi, 1491-1568/70Prof. Vecce continued to introduce the contents of the book. Beginning with Da Vinci’s idea that painting is not only an art creation, but also science and cognitive process, the book was divided by Melzi into eight chapters, which respectively talked about:1) Painting is a science, and an art form most close to the nature;2) Rules for painters;3) Motion, changes and proportion of figures;4) On painting clothing;5) On chiaroscuro (Da Vinci’s invented this term in his manuscript);6-8) On other elements involved with painting, mainly on trees, clouds and horizons;The first page of Treatise on PaintingAccording to Prof. Vecce, the Treatise on Painting compiled 18 of Da Vinci’s manuscripts. He once compared the book with the manuscripts, and found out that many paragraphs in the book were lost in the manuscripts. This highlights the significance of Melzi’s work.The book brought Da Vinci’s idea to wider audience in Europe in the 17th century. But it should be noted that the framework of the book was organized by Melzi, instead of Da Vinci himself, and Prof. Vecce believes that we need the original manuscripts to really understand how Da Vinci’s ideas on painting were developed.From the manuscripts we can tell that proportion of human bodies is one of the earliest research topic of Da Vinci’s. What’s more, Da Vinci usually wrote text along with illustrations, and Prof. Vecce believes it means he habitually think visually. Another character of Da Vinci’s manuscripts is the typological character, for example he would list all possible kinds of hand gestures on one page, or all forms of nose.Da Vinci's manuscriptFor a long time, painting was regarded as an inferior labor, but Da Vinci tried to demonstrate in his manuscripts that painting is a higher form of art than any other forms, because painting was supposed to present truth, and in order to present it one must first understand it. He highlighted that painting is science and cognitive process. According to Prof. Vecce, it is because of the Treatise on Painting that we can learn what painting means to Da Vinci.Time: June 12, 2019Venue: CAFAM Lecture HallSpeaker: Carlo Vecce, professor of Italian Literature in the University of Naples “L’Orientale”, renowned Italian scholar in Renaissance literature and history of civilizationPresenter: Gao Gao, Director Assistant of CAFAMLecture PhotosPhotos of artworks are provided by Prof. Carlo VecceCompiled by Lu YufanPhoto by Li Biao More
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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.

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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.

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

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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.

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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.

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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.

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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.

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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.

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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.

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