The Incredible Way: Wang Bingfu's Art Promotion Through Sixty Years

  • Dates:2019-12-13 - 2020-02-08
  • Location:Gallery 2A, CAFA Art Museum
  • Opening:2019-12-13 10:30
  • Organizer(s): Central Academy of Fine Arts
  • Undertaker: CAFA Art Museum

Preface

The Incredible Way: Wang Bingfu’s Art Promotion Through Sixty Years

Foreword

Modern and contemporary Chinese art history has witnessed many creative and influential art masters, but not many of them are thinkers and practitioners who have summarized unique methodologies and feasibly carry them on in art education. Fortunately, artist and art educator Wang Bingfu is one of those few unique and precious masters.

As an old graduate from CAFA, Mr. Wang Bingfu has been devoted in cultivation of art talents, and explored a set of effective experiences and methodologies to the point of art making. He does not care about wealth or fame, despite having gone through many difficulties, and obtained unique understanding and profound achievement in research, teaching and creation of traditions of Chinese painting. He suffered from a lot of difficulties in his art career due to historical reasons, but in his five-year study in CAFA, he received instructions from famous teachers, comprehensive and deep artistic influence, and gradually formed his unique artistic ideas.

In the early stage of his research and study of Chinese paintings, Mr. Wang Bingfu followed the tradition, studied figure paintings of late Ming Dynasty painter Chen Laolian and late Qing Dynasty painter Ren Weichang, and even personally went to the Mogao Grottoes in Dunhuang and Yongle Taoist Temple in Shanxi to imitate mural paintings. In his midlife, he went to magnificent mountains and rivers including Mount Huang, Mount Yandang, Mount Qingcheng and Mount Emei many times, and left a number of travelogue paintings. He based his research on Literati Paintings after Song and Yuan dynasties, and extended his research to the art of Qin and Han dynasties. He laid emphasis on folk mural paintings and new archeological archives, and studied modeling methods and art rules accumulated in history. His creative practices usually draw inspirations from classical Chinese poetry, literature and opera. He emphasized the importance of understanding traditions with traditional Chinese methods, continuing the context of traditional Chinese painting on ontological level, understanding the spirit of traditional Chinese modeling, and devoted to revitalizing traditional modeling ideas and methods.

In Mr. Wang’s eyes, art making equals to life. He paid attention to the unity of knowing and doing, insisted on imitating traditional masterpieces everyday, and kept a sketchbook with him all the time to record precious modeling footage and materials in historical sites and museums. The height of the sketchbook is as tall as Mr. Wang himself. This method of experiencing traditions led his art practices unhinderedly through the past and the present.

In his creative practices, Mr. Wang transforms the old into the new and expresses his feelings using the ancient essence. He enjoys reading history and painting historical stories. His representative work, the “A New Account of the Tales of the World” series, is composed of a total of 367 paintings. Each and every one of them was considered meticulously with subtlety. Mr. Wang discreetly researched on the modeling methods and characters of the time when the stories happened, painted ancient stories with ancient painting methods while bringing into full play his vivid understanding of the stories as a modernist. From his proficient use of the ink and brush and lively modeling of the figures, we feel as if the distant modeling traditions are brought back to life by his paint brush. Recently, he generously donated the whole set of “A New Account of the Tales of the World” to his school CAFA. We believe these works of his will play an important part in teaching, and will be a precious treasure of the academy.

In teaching practice, Mr. Wang summarized his thinking and understanding of traditional painting over the years, and compiled a textbook titled “Gu Fa Fa Wei (骨法发微)”, which give a systematic and practical analysis of ink and brush. He emphasized the importance of “the unity of knowing and doing and the integration of teaching and learning”, and adhered to the “Gu Fa” (bone structures) of the traditional Chinese painting and calligraphy. Due to his thorough understanding of Chinese painting traditions, he was invited back to CAFA in his twilight years, teaching calligraphy and line drawing in Studio No.6 of the Department of Sculpture in the School of Modeling. He has made a great contribution to the learning of Chinese traditions and transformation of the ancient into the new of the students in CAFA.

Just like what “Chang Dao”, Mr. Wang Bingfu’s self-named hao stands for, he has been exploring the conventional principles of Chinese painting through art practice of his whole life, while endeavoring to pass on the legacy of traditional Chinese modeling system and seeking the methodologies to continue the vocabulary of traditional art. On the one hand, this exhibition develops around Mr. Wang's extraordinary path of art exploration, and displays his unique creative approach that originates from the tradition and applied new resources and new materials to interpret the traditions; on the other hand, the art exploration and teaching methods revealed in the exhibition strongly extends our perception of the relationship between the traditional and the contemporary, which is significant in our thinking of the continuation and development of Chinese art in contemporary cultural context.

Painting Chinese stories with Chinese methods, rendering contemporary spirits with Chinese styles. As the top fine arts academy in China, CAFA has accomplished its first arduous and glorious hundred-year journey. To cultivate future artistic talents and explore the principles and secrets of art is CAFA’s historical mission. The unique “Chinese methods” and “Chinese experience” in Mr. Wang Bingfu’s art making and teaching, and the display and research of his creative practice, is a great opportunity for the art academy to promote aesthetic education to its students and the public. This “Chang Dao” is rather “unconventional”.

Wang Shaojun

Professor and Deputy Secretary of CAFA Party Committee


The Incredible Way: Wang Bingfu’s Art Promotion Through Sixty Years

Foreword

Modern and contemporary Chinese art history has witnessed many creative and influential art masters, but not many of them are thinkers and practitioners who have summarized unique methodologies and feasibly carry them on in art education. Fortunately, artist and art educator Wang Bingfu is one of those few unique and precious masters.

As an old graduate from CAFA, Mr. Wang Bingfu has been devoted in cultivation of art talents, and explored a set of effective experiences and methodologies to the point of art making. He does not care about wealth or fame, despite having gone through many difficulties, and obtained unique understanding and profound achievement in research, teaching and creation of traditions of Chinese painting. He suffered from a lot of difficulties in his art career due to historical reasons, but in his five-year study in CAFA, he received instructions from famous teachers, comprehensive and deep artistic influence, and gradually formed his unique artistic ideas.

In the early stage of his research and study of Chinese paintings, Mr. Wang Bingfu followed the tradition, studied figure paintings of late Ming Dynasty painter Chen Laolian and late Qing Dynasty painter Ren Weichang, and even personally went to the Mogao Grottoes in Dunhuang and Yongle Taoist Temple in Shanxi to imitate mural paintings. In his midlife, he went to magnificent mountains and rivers including Mount Huang, Mount Yandang, Mount Qingcheng and Mount Emei many times, and left a number of travelogue paintings. He based his research on Literati Paintings after Song and Yuan dynasties, and extended his research to the art of Qin and Han dynasties. He laid emphasis on folk mural paintings and new archeological archives, and studied modeling methods and art rules accumulated in history. His creative practices usually draw inspirations from classical Chinese poetry, literature and opera. He emphasized the importance of understanding traditions with traditional Chinese methods, continuing the context of traditional Chinese painting on ontological level, understanding the spirit of traditional Chinese modeling, and devoted to revitalizing traditional modeling ideas and methods.

In Mr. Wang’s eyes, art making equals to life. He paid attention to the unity of knowing and doing, insisted on imitating traditional masterpieces everyday, and kept a sketchbook with him all the time to record precious modeling footage and materials in historical sites and museums. The height of the sketchbook is as tall as Mr. Wang himself. This method of experiencing traditions led his art practices unhinderedly through the past and the present.

In his creative practices, Mr. Wang transforms the old into the new and expresses his feelings using the ancient essence. He enjoys reading history and painting historical stories. His representative work, the “A New Account of the Tales of the World” series, is composed of a total of 367 paintings. Each and every one of them was considered meticulously with subtlety. Mr. Wang discreetly researched on the modeling methods and characters of the time when the stories happened, painted ancient stories with ancient painting methods while bringing into full play his vivid understanding of the stories as a modernist. From his proficient use of the ink and brush and lively modeling of the figures, we feel as if the distant modeling traditions are brought back to life by his paint brush. Recently, he generously donated the whole set of “A New Account of the Tales of the World” to his school CAFA. We believe these works of his will play an important part in teaching, and will be a precious treasure of the academy.

In teaching practice, Mr. Wang summarized his thinking and understanding of traditional painting over the years, and compiled a textbook titled “Gu Fa Fa Wei (骨法发微)”, which give a systematic and practical analysis of ink and brush. He emphasized the importance of “the unity of knowing and doing and the integration of teaching and learning”, and adhered to the “Gu Fa” (bone structures) of the traditional Chinese painting and calligraphy. Due to his thorough understanding of Chinese painting traditions, he was invited back to CAFA in his twilight years, teaching calligraphy and line drawing in Studio No.6 of the Department of Sculpture in the School of Modeling. He has made a great contribution to the learning of Chinese traditions and transformation of the ancient into the new of the students in CAFA.

Just like what “Chang Dao”, Mr. Wang Bingfu’s self-named hao stands for, he has been exploring the conventional principles of Chinese painting through art practice of his whole life, while endeavoring to pass on the legacy of traditional Chinese modeling system and seeking the methodologies to continue the vocabulary of traditional art. On the one hand, this exhibition develops around Mr. Wang's extraordinary path of art exploration, and displays his unique creative approach that originates from the tradition and applied new resources and new materials to interpret the traditions; on the other hand, the art exploration and teaching methods revealed in the exhibition strongly extends our perception of the relationship between the traditional and the contemporary, which is significant in our thinking of the continuation and development of Chinese art in contemporary cultural context.

Painting Chinese stories with Chinese methods, rendering contemporary spirits with Chinese styles. As the top fine arts academy in China, CAFA has accomplished its first arduous and glorious hundred-year journey. To cultivate future artistic talents and explore the principles and secrets of art is CAFA’s historical mission. The unique “Chinese methods” and “Chinese experience” in Mr. Wang Bingfu’s art making and teaching, and the display and research of his creative practice, is a great opportunity for the art academy to promote aesthetic education to its students and the public. This “Chang Dao” is rather “unconventional”.

Wang Shaojun

Professor and Deputy Secretary of CAFA Party Committee


Artworks

Artworks

Photographs

Photographs

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中央美术学院美术馆藏借用展览主题“非常道”的概念,在水墨人物画的笔墨叙事里或许存在“常态”与“非常态”两种状态。常态的情况下,现实意象通过笔墨语言的程式转换(形)与文人意趣的审美转换(神),由第一自然变为第二自然,成为创作主体心中的山水与图像。在这一过程中,图像与自然不自觉地被文雅化、或者说是规训化,形成一种强大的审美惯性。从非常态的角度来说,这一过程是可逆的,应该被反思和重构的,在拥有深厚的学院式系统积淀的艺术功底后,绘画者能够通过选择性的保留与取舍,形成带有自己强烈个性语言的非常态的“形神叙事”。这种“形神叙事”能够反过来与现实意象产生一种更为直接的互文关系。王秉复的创作正是以这样一种“非常态”的状态,为当下的美术创作带来了具有建构性的启示。《从〈笔谈王秉复〉说起》曹庆晖(中央美术学院)王秉复最引以为傲、也最受欢迎的是他的长篇水墨连环画,尤其是他的自传体水墨,纪录着王秉复的个人经历,同时也是与王秉复同时代、同呼吸、共命运的普通知识分子的传记。这些人大多生于30年代,青春岁月在红旗下渡过,上大学时遭遇政治运动,改革开放时已不再年轻。他们对时间的感受与别人不同,生怕辜负光阴,退休后面对社会商品经济大潮看不懂,也不搀和。《世说新语之晒书》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏1956-1961年王秉复在美院,也是美院中国画系面临内外矛盾,政治压力巨大的时刻。何为中国画造型之基础?如何继承和发展传统?这些问题在复杂的政治、言论空间与人事、宗派的方方面面交汇。中国画系在这一过程中逐渐形成了今天所说的临摹、写生、创作三位一体的教学体系。王秉复遭遇人生的重大变故也是在这几年。谈到中央美院中国画系,总被不容置疑的贴上“徐蒋体系”的标签,事实上王秉复在美院的学习生活里接受了叶浅予、蒋兆和、李苦禅、李可染等一众老师的教导,广收博取。叶浅予的“八写、八练、四临、四通”,李苦禅的“金石笔墨”,蒋兆和的“笔笔相生”,都对王秉复发生着作用。时代的变化使我们现在能够重新回看这些艺术家,这也提醒着我们,需要在一个开放的环境中看待中国经验与中国故事。《常道的笔记体绘画之道》韩劲松(中国美术馆)《世说新语》是中国南北朝时期南朝刘宋临川王刘义庆撰写的一部笔记体小说,记录汉末、三国、两晋人物的言谈、轶事。小说文笔生动,记叙人物性格鲜活,篇幅短小精练,颇受后人推崇。鲁迅说它记言则玄远冷峻,记行则高简瑰奇。常道先生与《世说新语》深有共鸣,以文入画,不仅录其文,也拟其体,以简练笔墨记人叙事,风神潇洒,有魏晋风度,我称之为笔记体绘画。何谓笔记体绘画,我理解就是形式相对自由灵活,会讲故事,叙事志人不铺排,即使重大也举重若轻,以小见大。观常道先生作品,就有举重若轻之感。《世说新语之支公好鹤》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏常道先生之画,笔简意赅,笔墨萧散松驰,看似漫不经意却饶有谐趣耐人寻味。上文下图,将古文学之美、古文字之美融进风趣不失古风的视觉解读中。互相映照表达出近乎智者默然神会的领悟体验。这种笔记体绘画与20世纪早期画家李毅士创作的《长恨歌画意》较为相似,但这套黑白画还是属于连环画体裁,有连续故事情节。《长恨歌画意》用明暗写实造型表现中国历史题材,但由于历史细节失实,曾受到鲁迅批评。《世说新语》则潜心研究古人衣冠、文物制度,达到考古而能入古,入古而又化古的程度。常道先生画《世说新语》自述:一是喜欢其文笔;二是了解基本历史知识,尤其是汉末、两晋的历史;三是对那个时期的美术有较深的领会,并且动手临摹过东汉壁画、画像砖、画像石、彩绘砖画、南北朝的壁画、石刻线画、敦煌、麦积山的北魏、西魏、北周壁画等,摸索出那时的造型规律或者叫“手法”,因而能进入历史文化整体语境去想象古人、表现古人,所以能得古人活气。一套《世说新语》绘画,因文学而触发画意,聊记心得而已,记录是唯一重要的,所以自然而然,通过记录而把传统活化,活化的有传统文化的内容,也有传统绘画语言这种形式本身。王秉复的绘画语言《复活的陶俑——王秉复先生的“跨媒介”绘画》张鹏(中央美术学院)2002年,王秉复出版了《古墓里的活人》第一辑,其中收录王秉复所绘陶俑149件。从50年代开始接触陶俑,王秉复一直辗转于中国各大美术馆、博物馆,借古抒怀。用王秉复自己的话说,画这些陶俑是要表现真实的人,让他们重生。通过将王秉复所画的陶俑与真实原作进行对比,可以看出王秉复如何从四个角度唤起古墓里的活人:1.角度择取中的今古对话;2.塑绘转换中的笔情墨趣;3.眼波流转中的传神阿睹;4.古色古香的色彩意象。王秉复在其中做了两种转换:一是从塑到绘、从立体到平面的中国传统艺术语言的跨媒介转换。二是从幽暗黄泉向明朗的人世间的转换。在这双重转换间可以看出中国传统绘塑结合的思维方式与整体艺术观。《古墓里的活人》选页《从“公众”到“人民”——读王秉复〈帅府园老美术馆的展厅内〉》徐梦可(中国美术馆)王秉复的《帅府园老美术馆的展厅内》作于1958年,表达了一个更加开放的、面向“人民”的公共空间。陈师曾的《读画图》与之类似,被视为中国传统绘画和“公众”进入公共空间的一次表达,画中记录了1917年北京文化界在中山公园举办展览筹款赈灾的场景。杜朴、文以诚在《中国艺术与文化》中提到《读画图》时表示,这幅作品显示了机构组织填补家庭与政府间的空缺的作用。有趣的是,王秉复的这件作品创作于大跃进时期,在这期间,文化部发表了《关于大力繁荣艺术创作的通知》,表明要广泛开展展览活动。在王秉复与陈师曾的作品中,展览的组织者都是社团,它们在社会机构中不只充当着补充性的角色,而是承担着更广、更深的社会职能。《帅府园老美术馆的展厅内》  1958年从《读画图》到《帅府园老美术馆的展厅内》,从1917年到1958年,观画者的身份发生了很大改变。《读画图》中用于筹款赈灾的展览,吸引的多是精英阶层,而王秉复的画中,公众身份出现了改变,体现了50年代初美术制度建立之始的展览形象,这与现代性民族国家政策的制定紧密关联。《中国神话:王秉复〈钟馗〉与〈九歌〉中的“戏仿”》吴雪杉(中央美术学院)王秉复有大量带有摹仿色彩的创作,临写改绘某件前人作品。这类看似临摹的画作既带有学习目的,又是一种“去其熟而留其生动”的创造过程。他的钟馗系列作品就是基于大量临摹后的再创造,在图式、笔墨、内涵等多个层面与前人展开对话,又以一种若即若离的方式批判现实。《九歌》系列作品也可以看到类似技巧。《东君》用钟馗替代中国古画中的东君,《山鬼》把现代漫画式的人物形象嫁接到古代山鬼图式,在看似摹仿传统的同时调侃传统。“仿”是中国画古已有之的创作方式,王秉复把“仿”演化为“戏仿”,以他独特的方式实现传统写意人物画现代化的尝试。《九歌》之东君  48x59cm 纸本设色 2018年《法度与实指——王先生和〈刘姐的故事〉》张伟(中央美术学院)刘姐全名叫刘彦萍,2013年来到北京打工,被介绍到王秉复的画室做家务工作。工作之余刘姐表示希望跟王秉复学习绘画,当时的王秉复正在创作自传式作品《多彩人生》,就让刘姐讲述自己的生活经历,王秉复边听边构图,再由刘姐勾勒描摹的方法作画。最后刘姐完成了共60幅的《彦萍自画传》,画了那些让她记忆深刻的事件或情景,所有看到过的人都惊呼:堪比丰子恺!令人困惑的是,作品中刘姐对自己亲人情感的注入,使画面的生动性有时更胜王秉复。王秉复教刘姐学画的事件,似乎触及了艺术表达的两个核心问题:“实指”与“法度”。刘姐用自己切身、动人的经历构成了画面的内容,这表示“实指”;王秉复则运用自己的经验和功夫娴熟地为故事绘制构图,这代表“法度”。这两者恰巧是所谓当代与传统分别看重的东西。实(真实)、指(痛点)、法(技法)、度(控制)四个方面,在不同的艺术家处各有侧重,而王秉复是极少能将这四方面融会贯通的艺术家,王秉复的作品之所以具有当代性,是由于他的语言不仅与古人相通,而且与现实吻合,其中包含着艺术家毕生的修养、理解、掌控及态度。《一九五六年之美院》 28x38.5cm 纸本设色 2018年研讨会现场嘉宾与艺术家王秉复合影整理|胡炘融编辑|CAFAM官网编辑部图|袁慕晗 More
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Group Public Education Event Reservation Form

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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.

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!