The Gene of Sculpture

  • Dates:2020-11-20 - 2021-03-31
  • Location:CAFA Art Museum 4F
  • Opening:
  • Organizer(s): CAFA Art Museum
  • Art Director: Zhang Zikang
  • Academic Director: Wang Chunchen
  • Exhibition Supervisor: Gao Gao
  • Curator: Li Yaochen

Details

“2020 National Exhibition Season of Brilliant Collection Works from Art Museum in China Organized by Ministry of culture and Tourism”The Gene of Sculpture:Various traditions in the construction of sculpture teaching system in CAFA in the 1950s and 1960sOrganizer: CAFA Art MuseumExhibition Time: 2020/11/20–2021/03Location: Gallery 4F, CAFA Art Museum “The Gene of Sculpture” exhibition is a program of the “2020 National Exhibition Season of Brilliant Collection Works from Art Museums in China” organized by Ministry of Culture and Tourism. It is also the eighth exhibition of the CAFA Art Museum Select Collection Series. By combing through CAFAM’s collection, the series exhibition aims to construct the museum’s narrative based on the “'history, spirit and value’ of CAFA and its predecessors, and to contribute to CAFA being an active part of the narrative of modern and contemporary Chinese art history and art education history”. The series exhibits artworks based on themes regarding modern art history, in an organized way.This exhibition focuses on the “sculpture” of CAFA in the 1950s and 1960s. By combining with the history of teaching and creation at the Department of Sculpture of CAFA, and combing through and exhibiting relevant collection, the exhibition hopes to analyze the function of multiple traditions on the formation of the teaching system related to sculpture.Due to the limit of collected works and documentation, the exhibition still has space to improve. For now, the exhibition will only showcase the historical fact behind the creation of the works in a certain period of time, and hopefully arouse the viewers’ reflection on the history.Influenced by COVID-19, the exhibition is held in two stages, respectively online and offline. The exhibition’s first stage was held online from August 2020; the second stage offline is held at CAFAM 4F beginning November 20, 2020.Exhibition structure:Part 1: Experience from French sculpture: Teachers who studied in France and their inheritanceThe sculpture major in modern China was introduced mainly by students who studied abroad. From 1934, when the National Art School in Beiping established sculpture major, to 1950, when Central Academy of Fine Arts was founded, the responsible teachers in the sculpture department, such as Wang Jingyuan, Wang Linyi, Liu Kaiqu, Zhou Qingding, have all studied sculpture in France. After 1950, teachers like Wang Linyi, Hua Tianyou, Liu Kaiqu, Zeng Zhushao and Zheng Ke who had academic experience in France, along with their students Wang Bingzhao, Situ Jie, Fu Tianchou, continued the tradition of French sculpture in their teaching practice at CAFA.Part 2: Introduction of Soviet experience: Students who studied in the Soviet Union and the Klindukhov Sculpture Training Course After New China was founded, how to lead the sculpture education to a normalized path, and how to improve China's sculpture teaching system? Learning from Soviet Union's higher art education system became the most urgent task.On the one hand, the art from Soviet Union was largely introduced to China, with exhibitions held around the country, on the other hand, the Ministry of Culture "sent" Qian Shaowu, Dong Zuyi, Cao Chunsheng, Situ Zhaoguang and Wang Keqing to study in Soviet Union. They all came back becoming teachers at CAFA. Furthermore, Nikolai Klindukhov from the Surikov Art Institute was invited to China to hold a sculpture training course. By the early 1960s, the teaching experience from Soviet Union blended into, and played an important role in the teaching of the sculpture department at CAFA.Part 3: Exploration of Chinese national sculpture tradition in teachingThe birth of New China needed support from national culture. The new cultural and artistic environment needed art to learn from the good qualities from abroad, and create unique style with Chinese national characters. It prompted sculpture department, which originated from the west, to look at its own tradition while exploring its national gene. Meanwhile, sculptors themselves also had the wish of carrying forward the Chinese sculpture tradition in their art and teaching practice.

“2020 National Exhibition Season of Brilliant Collection Works from Art Museum in China Organized by Ministry of culture and Tourism”

The Gene of Sculpture:

Various traditions in the construction of sculpture teaching system in CAFA in the 1950s and 1960s

Organizer: CAFA Art Museum

Exhibition Time: 2020/11/20–2021/03

Location: Gallery 4F, CAFA Art Museum 


“The Gene of Sculpture” exhibition is a program of the “2020 National Exhibition Season of Brilliant Collection Works from Art Museums in China” organized by Ministry of Culture and Tourism. It is also the eighth exhibition of the CAFA Art Museum Select Collection Series. By combing through CAFAM’s collection, the series exhibition aims to construct the museum’s narrative based on the “'history, spirit and value’ of CAFA and its predecessors, and to contribute to CAFA being an active part of the narrative of modern and contemporary Chinese art history and art education history”. The series exhibits artworks based on themes regarding modern art history, in an organized way.

This exhibition focuses on the “sculpture” of CAFA in the 1950s and 1960s. By combining with the history of teaching and creation at the Department of Sculpture of CAFA, and combing through and exhibiting relevant collection, the exhibition hopes to analyze the function of multiple traditions on the formation of the teaching system related to sculpture.

Due to the limit of collected works and documentation, the exhibition still has space to improve. For now, the exhibition will only showcase the historical fact behind the creation of the works in a certain period of time, and hopefully arouse the viewers’ reflection on the history.

Influenced by COVID-19, the exhibition is held in two stages, respectively online and offline. The exhibition’s first stage was held online from August 2020; the second stage offline is held at CAFAM 4F beginning November 20, 2020.


Exhibition structure:

Part 1: Experience from French sculpture: Teachers who studied in France and their inheritance

The sculpture major in modern China was introduced mainly by students who studied abroad. From 1934, when the National Art School in Beiping established sculpture major, to 1950, when Central Academy of Fine Arts was founded, the responsible teachers in the sculpture department, such as Wang Jingyuan, Wang Linyi, Liu Kaiqu, Zhou Qingding, have all studied sculpture in France. After 1950, teachers like Wang Linyi, Hua Tianyou, Liu Kaiqu, Zeng Zhushao and Zheng Ke who had academic experience in France, along with their students Wang Bingzhao, Situ Jie, Fu Tianchou, continued the tradition of French sculpture in their teaching practice at CAFA.


Part 2: Introduction of Soviet experience: Students who studied in the Soviet Union and the Klindukhov Sculpture Training Course 

After New China was founded, how to lead the sculpture education to a normalized path, and how to improve China's sculpture teaching system? Learning from Soviet Union's higher art education system became the most urgent task.

On the one hand, the art from Soviet Union was largely introduced to China, with exhibitions held around the country, on the other hand, the Ministry of Culture "sent" Qian Shaowu, Dong Zuyi, Cao Chunsheng, Situ Zhaoguang and Wang Keqing to study in Soviet Union. They all came back becoming teachers at CAFA. Furthermore, Nikolai Klindukhov from the Surikov Art Institute was invited to China to hold a sculpture training course. By the early 1960s, the teaching experience from Soviet Union blended into, and played an important role in the teaching of the sculpture department at CAFA.


Part 3: Exploration of Chinese national sculpture tradition in teaching

The birth of New China needed support from national culture. The new cultural and artistic environment needed art to learn from the good qualities from abroad, and create unique style with Chinese national characters. It prompted sculpture department, which originated from the west, to look at its own tradition while exploring its national gene. Meanwhile, sculptors themselves also had the wish of carrying forward the Chinese sculpture tradition in their art and teaching practice.

Preface

As one of the CAFAM’s trademark programs, the CAFA Art Museum Select Collection Series has been held for multiple times since 2012. By combing through CAFAM’s collection, the series exhibition aims to construct the museum’s narrative based on the “'history, spirit and value’ of CAFA and its predecessors, and to contribute to CAFA being an active part of the narrative of modern and contemporary Chinese art history and art education history”. The series exhibits artworks based on themes regarding modern art history, in an organized way.

For years, the CAFA Art Museum Select Collection Series attached importance to the interrelation between themes of different exhibitions. On the one hand, we try to avoid repeating existing themes in our exhibitions, and emphasize “freshness” of the themes by paying attention to topics which haven’t received thorough research, but are inspirational in understanding the history of art education at CAFA. We hope to push forward relevant research through the exhibitions, and expand discussions around relevant topics. On the other hand, we emphasize “freshness” on selection and organization of the exhibited works from the collection, by exhibiting works that have rarely been exhibited and promoting new works to the public, or by digging into new relations between works through new academic perspectives. We hope to push forward collection studies and construction of an advanced system of collection through the exhibitions.

In recent years, by adding key works from artists including Wang Linyi, Hua Tianyou, Liu Kaiqu and Su Hui to the collection, the sculpture collection of CAFAM has become more systematical. By combing through the museum collection and compiling the list of select works from the collection, CAFA Art Museum sorted out several important sculpture works that haven’t been recognized by the public, which include modern sculptures created before the Reform and Opening Up, folk sculptures and ancient sculptures. By going through past themes of sculpture exhibitions from the series, the previous exhibitions have combed through history of CAFA and its predecessor National Art School in Beiping, and early construction of majors including western painting, Chinese painting and printmaking. The sculpture major, as an important part of teaching during this period, had not been exhibited individually due to the lack of collected works.

Therefore, “The Gene of Sculpture” exhibition will focus on sculpture in CAFA from the period of time before the Reform and Opening Up. We hope to dig into the relations between CAFAM collection and early construction of sculpture major in CAFA by researching into relevant collection and planning exhibitions around the theme.

Modern sculpture in China, as a genre introduced from the west in the 20th century, inherited its artistic ideas and teaching methods both from the west. In the sculpture major established in the early days, teaching practice was conducted following the tradition and standards from the west, especially from France. In the meantime, China enjoys well-established tradition of sculpture-making and engraving in the folk. The tradition had long been regarded as a craftsmanship rather than a traditional art form. However, after modern sculpture was introduced to China, sculpture artists began to compare China’s old sculpture traditions with Ancient Greek and Roman sculpture art, and hoped to promote the ancient and excellent Chinese sculpture tradition. In the development of Chinese sculpture art, there have always existed questions of how to absorb western traditions and inherit local traditions.

1950s-60s was a period when Chinese modern sculpture developed greatly. In CAFA on sculpture teaching practice, teachers learnt from wide resources, explored and constructed sculpture teaching system that was suitable for specific situation of China; on creative practice, there were a great number of commemorative or decorative sculpture being created and erected in important public locations, including the Monument to the People’s Heroes relief. Many of them have become classics of the time, and achieved great social impact. Because of the special character of the sculpture major, the teaching and creative practice has been combining closely with each other and benefiting mutually. The exploration of creation and teaching benefited from French classical realistic experience and ideas brought back by teachers who studied in France, and Soviet socialist realistic teaching model brought back by students who studied in the Soviet Union and Soviet experts. In the face of the reality that the resourceful folk sculpture tradition and skills are in need of inheritance and promotion, there has always been the thinking of how to inherit multiple traditions. It was through the inheritance, selection and merging of multiple traditions that a rather complete sculpture teaching system and basic sculpture artistic ideas formed in CAFA in the 1960s. Different traditional sculptural elements from France, the Soviet Union and China gradually merged into the new sculpture teaching system, and became a part of the academy’s overall teaching system. Through the teaching system, the sculpture major of CAFA also formed its “gene of sculpture” that passes on from generation to generation.

By combining with the history of teaching and creation at the Department of Sculpture of CAFA in the 1950s and 60s, and combing through and exhibiting relevant collection, the exhibition hopes to analyze the function of multiple traditions on the formation of the teaching system related to sculpture, and look back at the history of the major of sculpture. Due to the limit of collected works and documentation, the exhibition still has space to improve. For now, the exhibition will only showcase the historical fact behind the creation of the works in a certain period of time, and hopefully arouse the viewers’ reflection on the history. In addition, while planning for the exhibition, we realized that a large number of Chinese modern sculpture created in the major’s early development have been destroyed or lost. Feeling pity about the sad truth, we are also urged to think about how to preserve sculpture art more effectively.

As one of the CAFAM’s trademark programs, the CAFA Art Museum Select Collection Series has been held for multiple times since 2012. By combing through CAFAM’s collection, the series exhibition aims to construct the museum’s narrative based on the “'history, spirit and value’ of CAFA and its predecessors, and to contribute to CAFA being an active part of the narrative of modern and contemporary Chinese art history and art education history”. The series exhibits artworks based on themes regarding modern art history, in an organized way.

For years, the CAFA Art Museum Select Collection Series attached importance to the interrelation between themes of different exhibitions. On the one hand, we try to avoid repeating existing themes in our exhibitions, and emphasize “freshness” of the themes by paying attention to topics which haven’t received thorough research, but are inspirational in understanding the history of art education at CAFA. We hope to push forward relevant research through the exhibitions, and expand discussions around relevant topics. On the other hand, we emphasize “freshness” on selection and organization of the exhibited works from the collection, by exhibiting works that have rarely been exhibited and promoting new works to the public, or by digging into new relations between works through new academic perspectives. We hope to push forward collection studies and construction of an advanced system of collection through the exhibitions.

In recent years, by adding key works from artists including Wang Linyi, Hua Tianyou, Liu Kaiqu and Su Hui to the collection, the sculpture collection of CAFAM has become more systematical. By combing through the museum collection and compiling the list of select works from the collection, CAFA Art Museum sorted out several important sculpture works that haven’t been recognized by the public, which include modern sculptures created before the Reform and Opening Up, folk sculptures and ancient sculptures. By going through past themes of sculpture exhibitions from the series, the previous exhibitions have combed through history of CAFA and its predecessor National Art School in Beiping, and early construction of majors including western painting, Chinese painting and printmaking. The sculpture major, as an important part of teaching during this period, had not been exhibited individually due to the lack of collected works.

Therefore, “The Gene of Sculpture” exhibition will focus on sculpture in CAFA from the period of time before the Reform and Opening Up. We hope to dig into the relations between CAFAM collection and early construction of sculpture major in CAFA by researching into relevant collection and planning exhibitions around the theme.

Modern sculpture in China, as a genre introduced from the west in the 20th century, inherited its artistic ideas and teaching methods both from the west. In the sculpture major established in the early days, teaching practice was conducted following the tradition and standards from the west, especially from France. In the meantime, China enjoys well-established tradition of sculpture-making and engraving in the folk. The tradition had long been regarded as a craftsmanship rather than a traditional art form. However, after modern sculpture was introduced to China, sculpture artists began to compare China’s old sculpture traditions with Ancient Greek and Roman sculpture art, and hoped to promote the ancient and excellent Chinese sculpture tradition. In the development of Chinese sculpture art, there have always existed questions of how to absorb western traditions and inherit local traditions.

1950s-60s was a period when Chinese modern sculpture developed greatly. In CAFA on sculpture teaching practice, teachers learnt from wide resources, explored and constructed sculpture teaching system that was suitable for specific situation of China; on creative practice, there were a great number of commemorative or decorative sculpture being created and erected in important public locations, including the Monument to the People’s Heroes relief. Many of them have become classics of the time, and achieved great social impact. Because of the special character of the sculpture major, the teaching and creative practice has been combining closely with each other and benefiting mutually. The exploration of creation and teaching benefited from French classical realistic experience and ideas brought back by teachers who studied in France, and Soviet socialist realistic teaching model brought back by students who studied in the Soviet Union and Soviet experts. In the face of the reality that the resourceful folk sculpture tradition and skills are in need of inheritance and promotion, there has always been the thinking of how to inherit multiple traditions. It was through the inheritance, selection and merging of multiple traditions that a rather complete sculpture teaching system and basic sculpture artistic ideas formed in CAFA in the 1960s. Different traditional sculptural elements from France, the Soviet Union and China gradually merged into the new sculpture teaching system, and became a part of the academy’s overall teaching system. Through the teaching system, the sculpture major of CAFA also formed its “gene of sculpture” that passes on from generation to generation.

By combining with the history of teaching and creation at the Department of Sculpture of CAFA in the 1950s and 60s, and combing through and exhibiting relevant collection, the exhibition hopes to analyze the function of multiple traditions on the formation of the teaching system related to sculpture, and look back at the history of the major of sculpture. Due to the limit of collected works and documentation, the exhibition still has space to improve. For now, the exhibition will only showcase the historical fact behind the creation of the works in a certain period of time, and hopefully arouse the viewers’ reflection on the history. In addition, while planning for the exhibition, we realized that a large number of Chinese modern sculpture created in the major’s early development have been destroyed or lost. Feeling pity about the sad truth, we are also urged to think about how to preserve sculpture art more effectively.

Artworks

Artworks

Photographs

Photographs

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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 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.

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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

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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.

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!