Leonardo and His Outstanding Circle

  • Dates:2019-09-12 - 2019-12-08
  • Location: Gallery 2A, CAFA Art Museum
  • Opening:2019-09-12 15:00
  • Organizer(s): CAFA Art Museum VENEZIA 2000 FOUNDATION Associazione Culturale no profit Sicilia Musei
  • Chief Curator: Nicola Barbatelli
  • Co-organizer: Ambasciata d’Italia Pechino Istituto Italiano di Cultura Pechino
  • Support: Beijing Wisdom Art & Culture Co., Ltd. Fondazione Ugo ed Olga Levi-Venice
  • Art Director: Zhang Zikang

Preface

This year marks the 500th anniversary of the death of Leonardo da Vinci. As Leonardo is a worldwide cultural symbol, major art museums and galleries around the world are holding various commemorative exhibitions and special exhibitions relevant to Da Vinci's art. This exhibition, hosted by CAFA Art Museum in Beijing, China, starts from the unique perspective of Leonardo’s master-apprentice relationship with the Leonardeschi, opens a window for the audience to learn about art creation in Italy during Renaissance, the influence of Da Vinci's art at his time, and the formation of the Leonardeschi. The academic and educative exhibition, under the recognization of the National Committee for the Celebration of the 500th Anniversary of the Death of Leonardo da Vinci, becomes part of this year’s global commemoration.

The image of the art group Leonardeschi and its master Leonardo are relatively unfamiliar to many Chinese audiences. One of the original intentions of CAFA Art Museum holding this exhibition is to bring to China one research focus about Leonardo in current Western art history research field, so as to promote Chinese academic circles to further in-depth study into the Renaissance studies in the west and participate in its ongoing discussion. At the same time, it is of particular significance for the CAFA Art Museum to organize an exhibition focusing on the art teaching and mentoring relationship of the Renaissance giant Leonardo at the Central Academy of Fines Arts to which the art museum is affiliated and where the respect for teachers is advocated.  

This exhibition presents a total of 30 pieces of paintings by Leonardo and his art group, including both the works of the students who learned directly from Leonardo and the followers who were influenced by him, covering the works made by the representatives of Leonardeschi such as Giampietrino, Oggiono, Salai and Luini.

The art group Leonardeschi is an important term and phenomenon in Western art history. There are only a few world-recognized masterpieces by Leonardo left, and many have been lost. Through the artists of Leonardeschi, we could gain more opportunities to understand Leonardo’s masterworks. In addition, more than 500 years ago in Europe, it was due to the artists of Leonardeschi, by following and re-creating their master’s works, that Leonardo’s artistic innovation and unique style were even more widely accepted and established, thus exerting a far-reaching impact. Although some works exhibited are still under academic discussion, through these works and the research of Leonardo and his art group, Leonardo’s image becomes more vivid, and we can understand more about the art ecology of Leonardo’s era, including art collection, art market, education, communication and so on, as well as the internal relations between Leonardo’s studio and the society, religion, economy and art development at that time. 

Next year will be the 50th anniversary of the establishment of diplomatic relations between China and Italy, and this exhibition comes at a right time. It is held at the CAFA Art Museum following the exhibitions at the Plazzo Cavour (9 February – 12 May 2019) in Torino, Italy, and at the Venezia Plazzo Giustinian Lolin of the Fondazinone Ugo E Olga Levi (31 May – 25 August 2019) in Venice. Zhang Zikang, Director of CAFA Art Museum, said: "Leonardo da Vinci's works collected by worldwide museums are attributed to him under meticulous research. In the course of history, there continues to emerge new works claimed to be Da Vinci's works. The life and works of people in art history have always been clarified with academic research, discussions and even disputes. Chinese scholars are able to participate in such discussions today. The exhibition displays Da Vinci and Leonardeschi's art styles with an open attitude, introduces the phenomenon of Da Vinci's art at his time, and provides an opportunity for diverse comments, researches and discussions in front of the paintings."

As Ettore Sequi, the Italian ambassador in China, addressed in his foreword for the exhibition: “…… During Leonardo’s stay in Milan, a whole generation of Renaissance artists visited his ‘studio’ to learn from him, which greatly enriched the production of oil paintings in those years.” The legacy of Leonardo inherited by these artists is of vital importance. Most of their works are still in private collections around the world and are rarely open to the public or experts. Given the above situation, The Institutions of Italy and China decided to organize this significant exhibition of “Leonardo and His Outstanding Circle”. This exhibition receives strong support from the Venezia 2000 Foundation and the Associazione Culturale no profit Sicilia Musei. CAFA Art Museum also thanks to the Italian Embassy, the Istituto Italiano di Cultura di Pechino in Beijing, Beijing Wisdom Art & Culture Co., Ltd., and Fondazinone Ugo E Olga Levi in Venice, for their great supports for the exhibition to open smoothly and the music elements to the visually-presented painting exhibition. During the exhibition, CAFA Art Museum will hold a number of academic lectures, the Renaissance – Ming Dynasty Concert and other public education activities to attract more audiences and trigger more open academic discussions and researches. CAFAM will also publish academic materials about the exhibits during the exhibition for researchers and the public's reference.

This year marks the 500th anniversary of the death of Leonardo da Vinci. As Leonardo is a worldwide cultural symbol, major art museums and galleries around the world are holding various commemorative exhibitions and special exhibitions relevant to Da Vinci's art. This exhibition, hosted by CAFA Art Museum in Beijing, China, starts from the unique perspective of Leonardo’s master-apprentice relationship with the Leonardeschi, opens a window for the audience to learn about art creation in Italy during Renaissance, the influence of Da Vinci's art at his time, and the formation of the Leonardeschi. The academic and educative exhibition, under the recognization of the National Committee for the Celebration of the 500th Anniversary of the Death of Leonardo da Vinci, becomes part of this year’s global commemoration.

The image of the art group Leonardeschi and its master Leonardo are relatively unfamiliar to many Chinese audiences. One of the original intentions of CAFA Art Museum holding this exhibition is to bring to China one research focus about Leonardo in current Western art history research field, so as to promote Chinese academic circles to further in-depth study into the Renaissance studies in the west and participate in its ongoing discussion. At the same time, it is of particular significance for the CAFA Art Museum to organize an exhibition focusing on the art teaching and mentoring relationship of the Renaissance giant Leonardo at the Central Academy of Fines Arts to which the art museum is affiliated and where the respect for teachers is advocated.  

This exhibition presents a total of 30 pieces of paintings by Leonardo and his art group, including both the works of the students who learned directly from Leonardo and the followers who were influenced by him, covering the works made by the representatives of Leonardeschi such as Giampietrino, Oggiono, Salai and Luini.

The art group Leonardeschi is an important term and phenomenon in Western art history. There are only a few world-recognized masterpieces by Leonardo left, and many have been lost. Through the artists of Leonardeschi, we could gain more opportunities to understand Leonardo’s masterworks. In addition, more than 500 years ago in Europe, it was due to the artists of Leonardeschi, by following and re-creating their master’s works, that Leonardo’s artistic innovation and unique style were even more widely accepted and established, thus exerting a far-reaching impact. Although some works exhibited are still under academic discussion, through these works and the research of Leonardo and his art group, Leonardo’s image becomes more vivid, and we can understand more about the art ecology of Leonardo’s era, including art collection, art market, education, communication and so on, as well as the internal relations between Leonardo’s studio and the society, religion, economy and art development at that time. 

Next year will be the 50th anniversary of the establishment of diplomatic relations between China and Italy, and this exhibition comes at a right time. It is held at the CAFA Art Museum following the exhibitions at the Plazzo Cavour (9 February – 12 May 2019) in Torino, Italy, and at the Venezia Plazzo Giustinian Lolin of the Fondazinone Ugo E Olga Levi (31 May – 25 August 2019) in Venice. Zhang Zikang, Director of CAFA Art Museum, said: "Leonardo da Vinci's works collected by worldwide museums are attributed to him under meticulous research. In the course of history, there continues to emerge new works claimed to be Da Vinci's works. The life and works of people in art history have always been clarified with academic research, discussions and even disputes. Chinese scholars are able to participate in such discussions today. The exhibition displays Da Vinci and Leonardeschi's art styles with an open attitude, introduces the phenomenon of Da Vinci's art at his time, and provides an opportunity for diverse comments, researches and discussions in front of the paintings."

As Ettore Sequi, the Italian ambassador in China, addressed in his foreword for the exhibition: “…… During Leonardo’s stay in Milan, a whole generation of Renaissance artists visited his ‘studio’ to learn from him, which greatly enriched the production of oil paintings in those years.” The legacy of Leonardo inherited by these artists is of vital importance. Most of their works are still in private collections around the world and are rarely open to the public or experts. Given the above situation, The Institutions of Italy and China decided to organize this significant exhibition of “Leonardo and His Outstanding Circle”. This exhibition receives strong support from the Venezia 2000 Foundation and the Associazione Culturale no profit Sicilia Musei. CAFA Art Museum also thanks to the Italian Embassy, the Istituto Italiano di Cultura di Pechino in Beijing, Beijing Wisdom Art & Culture Co., Ltd., and Fondazinone Ugo E Olga Levi in Venice, for their great supports for the exhibition to open smoothly and the music elements to the visually-presented painting exhibition. During the exhibition, CAFA Art Museum will hold a number of academic lectures, the Renaissance – Ming Dynasty Concert and other public education activities to attract more audiences and trigger more open academic discussions and researches. CAFAM will also publish academic materials about the exhibits during the exhibition for researchers and the public's reference.

Artworks

Artworks

Photographs

Photographs

Related essays

Around Leonardo. Pupils, followers, imitators ...

2019-09-10

This is an exhibition that— in the year of the celebrations of the five-hundred-year anniversary of the death of the Renaissance genius — focuses on the artistic and cultural climate generated by him in his time that from today (and until August 25) proposes in Venice the Levi Foundation in Palazzo GiustinianLolin. “Leonardo e la sua grande scuola” (“Leonardo and his great school”)— this is the title of the exhibition curated by Nicola Barbatelli— exhibits in fact 24 works that illustrate above all the personality of the so-called “leonardeschi”(“Leonardesques”), some of who attended his workshop in Lombardy, when he was in the service of Lodovico il Moro, and the works by the “leonardeschi” largely crystallized on the master’s style, remaining at a sidereal distance from him. However, they had the great merit of spreading, through their travels, the innovative style of Leonardo also in areas outside from his journeys, like Giovanni Agostino da Lodi (not present in the exhibition) in Venice, Bernardino Luini in Switzerland or Cesare daSesto in southern Italy and Rome.This is also remembered by a historian of Venetian art such as Giovanna NepiScirèin one of the essays accompanying the exhibition’s catalogue (still in print).The works of some of them, from Bernardino Luini to Cesare da Sesto, to the beloved pupil Salaì, to Giampietrino to Marco d'Oggiono, are precisely in the Venice exhibition. In some cases, with works of high level such as “Marta e Maria Maddalena” (“Martha and Mary Magdalene”)or “Maddalena con vaso d’unguento” (“Magdalene with an ointment vase”)of Luini, in particular for his ability to combine Leonardo’s sfumatowith a kind of metaphysical rigour that pervades his figures. And  exactly Magdalene herself is represented in one of the symbol-pictures of the exposition, the “Maddalena discinta” (“Bare-Breasted Magdalene”),that next to the preponderant hand of one of the Leonardesques — perhaps Marco d’Oggiono for the curator, perhaps Giampietrino for a great Leonardo scholar suchas Carlo Pedretti, recently passed away — could also see the hand of the master. Peculiar also a large “San Gerolamo in penitenza” (“Saint Hieronymus Penitent”)by Cesare da Sesto, who enriched Leonardo’s language with revivals from the classical art and from Raphael.The Leonardesques’ distinguishing feature remains — variously declined — the compositional smoothness, the use of sfumato, the diffuse illumination, the melancholic beauty of the subjects, the ambiguity of the faces. Leonardo’s sure presence in the exhibition is however represented by a fragment of a study drawing for the lost fresco, “Battaglia di Anghiari” (“Battle of Anghiari”)— of which the Gallerie dell’Accademia exhibit in this period several sheets — and by that of a “Testa di uomo” (“Man’s Head”), gone over again by the hand of a pupil of the artist. The director of the Levi Foundation, Giorgio Busetto, the president of the cooperative party Venice 2000 Foundation, Giuliano Segre and Francesco Stochino Weissof the Beijing Music Festival Arts Foundation yesterday presented in the opening ceremony. As a matter of fact, the exhibition, after Venice, will fly to China, to be shown first in Beijing starting from the early September, and then in other cities in China. In line also with the musical vocation of the Levi Foundation, in the Chinese stages it will also see musical interludes with the Ugo and Olga Levi Venice Ensemble with students of the Benedetto Marcello Conservatory, that will perform Renaissance music with vintage instrumentsand also passages of Chinese tradition.Enrico Tantucci More
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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.

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(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.

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(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.

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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.

I have carefully read and agree to the above provisions.

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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
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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.

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