Where to Seek the Trails

  • Dates:2023-09-08 - 2023-10-20
  • Location:Gallery 2A, CAFA Art Museum
  • Opening:2023-09-08
  • Organizer(s): CAFA Art Museum
  • 赞助: 北京鑫河艺博文化有限公司 北京自定义科技文化创意有限公司
  • 学术主持: 邱志杰
  • 学术顾问: 唐勇力、黄小峰
  • 展览统筹: 王春辰、高高
  • 策展顾问: 郑弌
  • 策展人: 刘希言、李垚辰
  • 策展助理: 陈冠石
  • 资料整理: 陈晨曦、刘盛焱、夏冉
  • 设计总监: 纪玉洁
  • 展览设计: 曹群、赵格

Details


四时景物

古人顺应四时物候的生活智慧,有时“藏”在山水画中的人物在不同时节的活动里。如北宋画家韩拙《山水纯全集》中所示:春画归牧耕锄、郊游踏青、渔唱渡水。夏画避暑纳凉、玩水浮舟、风雨过渡。秋画吹箫、玩月、渔笛、登高。冬画雪笠寒僮、寒郊游猎、雪江渡口。这些在自然环境中的应景行为,亦可视作古人在个人养生与安国宁家方面的一种修习,通过合自然之序,寻自我与万物之道。


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上官周 《仿周东邨农家乐事图》轴 

清 纸本设色 纵46厘米,横44厘米

中央美术学院美术馆藏

 


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吴榖祥 《摛藻扬华图册》册页之一(共十开)

清 绢本设色 直径24.5厘米

中央美术学院美术馆藏

 

1694060338859784.jpg

王翚(款) 《仿古山水》册页之一(共十四页) 

清 绢本设色 纵 30厘米,横 23厘米

中央美术学院美术馆藏


1694060383888031.jpg 


张宏 《仿古山水》册页之六(共十二对开) 

1637年 绢本设色 纵30.5厘米,横40厘米

中央美术学院美术馆藏

 

1694060413568521.jpeg


盛茂烨 《竹林书斋图》扇面

1624年 金笺设色 纵20厘米,横54厘米

中央美术学院美术馆藏

 

1694060436770314.jpg 


张复 《雪景山水》卷 (局部)

明 绢本水墨 纵33厘米,横455厘米

中央美术学院美术馆藏

  

意象玲珑

山水画中的点景人物,有时可作为欣赏作品的“画眼”,通过辨识画中人的行为与自然的关系、探寻画中人在山水中的不同行迹,来理解古人寄于此的志趣。这些人物活动如明代书画家陈继儒《太平清话》中所示,有支仗、舟游、勘方、山居、小憩、抚花、烹茶、读书、观瀑、负暄、望山、旅行、对弈、鼓琴等。人在自然中既享受林木优美、揣摩山川意味,又行为于其中、寻幽于其中、移情于其中,借助自然中的玲珑意象,终抵理想寓所。


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张雨(款) 《山水图》轴 

元 纸本水墨 纵 169厘米,横 97厘米

中央美术学院美术馆藏


1694060517294948.jpg 


蓝瑛 《白云红树图》轴 

1659年 绢本设色 纵162厘米,横 86厘米

中央美术学院美术馆藏

 

1694060554584412.jpg


戴进 《松下弈棋图》轴

明 绢本水墨 纵 174厘米,横105厘米

中央美术学院美术馆藏


1694060601250265.jpg 


李士达 《匡庐泉图》轴

明 绢本设色 纵 193厘米,横 99厘米

中央美术学院美术馆藏


1694061400638191.png 


沈周 《云水行窝图》卷(局部)

1503年 纸本设色 纵 33厘米,横 164厘米

中央美术学院美术馆藏


1694060824840209.jpg 


祁豸佳 《仿张僧繇画法山水》

明 纸本设色 纵180厘米,横96厘米

中央美术学院美术馆藏


1694060948198733.jpg 


樊圻 《抚梅图》轴

清 绢本水墨 纵 113厘米,横56厘米

中央美术学院美术馆藏


1694060975486468.jpg 


一智 《黄山峰顶图》轴

清 纸本设色 纵 113厘米,横59厘米

中央美术学院美术馆藏

 

人境相偕

山水画中的人物与他所处的环境,可能还存在一种隐喻的关系。那些松下孤立、拜石观石、流云共住的人物,可被看作貌肖天地的名士写照。松柏、杨柳、奇石等元素,是他们精神的外显,如《世说新语》中以孤松形容嵇康、以春月柳形容王恭、以紫石棱形容桓温。这些人物周围的自然之物,寄托了文人对君子之德、大巧不工和避世归隐的追求,与陶渊明归山、张骞浮槎等经典形象在画中的再现亦有对应。在此,画中人是他,画中境也是他。

 

1694061006836288.jpg 


张宏 《松声泉韵图》轴 

1626年 纸本设色 纵30.5厘米,横40厘米

中央美术学院美术馆藏

 

1694061032134271.jpg


任伯年 《秋林觅句图》轴

1883年 绢本设色 纵30.5厘米,横40厘米

中央美术学院美术馆藏


1694061068299603.jpg 


任伯年 《米癫拜石》扇

1893年 绢本设色 直径21厘米

中央美术学院美术馆藏

 

1694061105194781.jpg


王素 《人物》扇面 

清 金笺水墨 纵24厘米,横53厘米

中央美术学院美术馆藏

 

1694061127500211.jpg


梅清 《山水》轴 

清 纸本水墨 纵51厘米,横31厘米

中央美术学院美术馆藏

 

 

 

 


Preface

Foreword
“The recluse lives in the green mountains, where should I ever find his trails!” This is the painter’s self-inscription at the end of the Qing Dynasty landscape painting in the collection of Central Academy of Fine Arts (Imitating Wang Meng’s Landscape Painting by Zhu Angzhi). Between the mountains and valleys and in the bamboo forest, a thatched pavilion is hidden among them, and a scholar sits on the mat, looking at the mountain and meditating in silence.
In ancient Chinese landscape paintings, apart from the magnificent landscape surrounded by clouds and smoke, it is common to see such staffage figures dispersed in the painting. They may travel far across the waves, watch the mountains and waterfalls, herd under the trees, play chess among the clouds, or cook tea for a rest, which seems to be the painter’s improvisational strokes but also results in a finishing touch, making the static picture appear alive with the figures’ movements and eyes. Is the person in the painting real or imaginary? What kind of feelings does the scene in the painting imply? How to form a reflection and intertext between humans and sceneries? How do they relate to today’s viewers? These questions are exactly the new perspectives that this exhibition attempts to provide to the public for appreciating landscape paintings: it starts from the presence and viewing of “people” to re-enter landscape painting, observes and connects the narrative commonalities of ancient landscape painting and figure painting in different times, allowing the viewer to re-understand the symbiotic relationship between humans and nature in traditional Chinese cultural thoughts through the figures in the scenery and the scenery between the figures.
In fact, Chinese civilization has always advocated the theory that man is an integral part of nature, and that the law of nature governs all things. The Book of Changes says, “learn about the changes of the season by studying natural phenomena and foster social development by studying human phenomena”; and Zhuang Zi states, “co-exist with heaven and earth, and unit with everything”. The conception of nature and the universe that man and nature co-exist in harmony has always been running through our cultural thoughts. On the one hand, the ancients followed the law of nature and seasonal regularity, keeping in good health in the way of nature. On the other hand, they paid attention to what to thought about and felt about the scenery and natural environment, and through encounters with sceneries and literary activities, they gained internal comprehension of nature, or expressed their feelings using scenery as a metaphor.
Based on what was mentioned above, this exhibition takes the wisdom and ideal of co-existence between ancient people and nature as the starting point, and from three angles of “Sceneries of Four Seasons”, “Exquisite Imagery” and “Harmony Between Humans and Nature”, it shows people’s lives following the law of four seasons, the natural ecology full of cultural feelings, and the carefree life that expressed emotions through sceneries. By looking for the movements of the figures in the painting, observing and bringing in activities of the figures in the scenery, today’s viewers can understand what is conveyed, expressed and thought in ancient paintings, and relax themselves as if they were visiting these mountains and rivers in person. The exhibition selects more than 50 pieces of landscape and figure paintings of Yuan, Ming and Qing dynasties from CAFA’s collection, including classics such as Shen Zhou’s A Residence Between Clouds and Waters, Dai Jin’s Playing Chess Under the Pine, Lan Ying’s White Clouds and Mangrove, and Ren Bonian’s Conception in Autumn Forest, as well as less-exhibited featured works, such as Zhang Hong’s Landscape Album in Imitation of Ancient Masters, Mei Qing’s Landscapes, and Qian Huian’s Figure Story Album.
It is worth mentioning that understanding the characteristics of Chinese civilization, exploring the profound implications of Chinese traditional culture, and promoting the harmonious coexistence between humans and nature have become important requirements for Chinese-style modernization. “Humans and nature” is a constant topic, and when thinking about the way of symbiosis between the two, looking back on the tradition is not to stand still and refuse to make progress, but to reinterpret and expand the connotation of the past view of man and nature. The exhibition examines ancient paintings and calligraphy with modern perspectives, integrates ancient philosophy with modern planning, and finds natural philosophy through the paintings, which may contribute to the dissemination of classic natural concepts and the inheritance of Chinese traditional culture.
Foreword
“The recluse lives in the green mountains, where should I ever find his trails!” This is the painter’s self-inscription at the end of the Qing Dynasty landscape painting in the collection of Central Academy of Fine Arts (Imitating Wang Meng’s Landscape Painting by Zhu Angzhi). Between the mountains and valleys and in the bamboo forest, a thatched pavilion is hidden among them, and a scholar sits on the mat, looking at the mountain and meditating in silence.
In ancient Chinese landscape paintings, apart from the magnificent landscape surrounded by clouds and smoke, it is common to see such staffage figures dispersed in the painting. They may travel far across the waves, watch the mountains and waterfalls, herd under the trees, play chess among the clouds, or cook tea for a rest, which seems to be the painter’s improvisational strokes but also results in a finishing touch, making the static picture appear alive with the figures’ movements and eyes. Is the person in the painting real or imaginary? What kind of feelings does the scene in the painting imply? How to form a reflection and intertext between humans and sceneries? How do they relate to today’s viewers? These questions are exactly the new perspectives that this exhibition attempts to provide to the public for appreciating landscape paintings: it starts from the presence and viewing of “people” to re-enter landscape painting, observes and connects the narrative commonalities of ancient landscape painting and figure painting in different times, allowing the viewer to re-understand the symbiotic relationship between humans and nature in traditional Chinese cultural thoughts through the figures in the scenery and the scenery between the figures.
In fact, Chinese civilization has always advocated the theory that man is an integral part of nature, and that the law of nature governs all things. The Book of Changes says, “learn about the changes of the season by studying natural phenomena and foster social development by studying human phenomena”; and Zhuang Zi states, “co-exist with heaven and earth, and unit with everything”. The conception of nature and the universe that man and nature co-exist in harmony has always been running through our cultural thoughts. On the one hand, the ancients followed the law of nature and seasonal regularity, keeping in good health in the way of nature. On the other hand, they paid attention to what to thought about and felt about the scenery and natural environment, and through encounters with sceneries and literary activities, they gained internal comprehension of nature, or expressed their feelings using scenery as a metaphor.
Based on what was mentioned above, this exhibition takes the wisdom and ideal of co-existence between ancient people and nature as the starting point, and from three angles of “Sceneries of Four Seasons”, “Exquisite Imagery” and “Harmony Between Humans and Nature”, it shows people’s lives following the law of four seasons, the natural ecology full of cultural feelings, and the carefree life that expressed emotions through sceneries. By looking for the movements of the figures in the painting, observing and bringing in activities of the figures in the scenery, today’s viewers can understand what is conveyed, expressed and thought in ancient paintings, and relax themselves as if they were visiting these mountains and rivers in person. The exhibition selects more than 50 pieces of landscape and figure paintings of Yuan, Ming and Qing dynasties from CAFA’s collection, including classics such as Shen Zhou’s A Residence Between Clouds and Waters, Dai Jin’s Playing Chess Under the Pine, Lan Ying’s White Clouds and Mangrove, and Ren Bonian’s Conception in Autumn Forest, as well as less-exhibited featured works, such as Zhang Hong’s Landscape Album in Imitation of Ancient Masters, Mei Qing’s Landscapes, and Qian Huian’s Figure Story Album.
It is worth mentioning that understanding the characteristics of Chinese civilization, exploring the profound implications of Chinese traditional culture, and promoting the harmonious coexistence between humans and nature have become important requirements for Chinese-style modernization. “Humans and nature” is a constant topic, and when thinking about the way of symbiosis between the two, looking back on the tradition is not to stand still and refuse to make progress, but to reinterpret and expand the connotation of the past view of man and nature. The exhibition examines ancient paintings and calligraphy with modern perspectives, integrates ancient philosophy with modern planning, and finds natural philosophy through the paintings, which may contribute to the dissemination of classic natural concepts and the inheritance of Chinese traditional culture.

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文化和旅游部“2023年全国美术馆馆藏精品展出季”入选项目 “何处寻行迹——馆藏古代绘画中的人与自然”展览研究工作坊时间:2023年9月、10月地点:中央美院美术馆报告厅、会议室、2A展厅,中央美院中国画与书法学院临摹教室*报名方式详见文末展览研究工作坊介绍2023年9月8日,由中央美术学院美术馆主办的“何处寻行迹——馆藏古代绘画中的人与自然”展览在中央美术学院美术馆2层A展厅正式开幕,精选出横跨元明清三个朝代的山水人物画共五十余件进行展出。作为文化和旅游部“2023 年全国美术馆馆藏精品展出季”的入选项目,秉承中央美术学院美术馆的教育职能,随着本次展览举办研究工作坊,旨在以新颖的模式鼓励年轻学子参与到与展览主题相关的科研项目中,尝试以浸入式教学让学员从展览前到展览后深入接触作品和展览,从多角度调动和激发青年学人对馆藏古代书画作品的深入研究以及探索美术史研究新视角。展览研究工作坊内容本次工作坊全程免费分为三个阶段进行第一阶段为展览开幕后的系列公开讲座。该阶段将依托中央美术学院美术馆平台举办学术讲座,展现杰出学者的前沿成就,与校内外师生形成积极互动,推出学界原创性的独有思考成果,并为工作坊下一阶段拟定研究方向和题目提供帮助。时间:2023年9月、10月地点:中央美院美术馆报告厅第二阶段为工作坊内部授课。主要内容为从多种角度进一步认识馆藏古代书画、确定研究题目与方向。该阶段将邀请策展人以及艺术史和中国画创作相关领域学者,带领学员从艺术史和绘画技法等角度分析馆藏古代山水作品及同时代艺术。时间:2023年9月、10月地点:中央美院美术馆报告厅、会议室、2A展厅,中央美院中国画与书法学院临摹教室第三阶段为学员成果汇报。学员根据前两个阶段的课程学习,于2023年10月18日汇报选题,于2023年12月1日以PPT形式汇报研究成果,优秀论文将推荐发表。时间:2023年10-12月地点:中央美院美术馆会议室    展览研究工作坊主持黄小峰  “何处寻行迹”展览学术顾问中央美术学院人文学院院长、教授研究工作坊授课教师公开讲座部分尹吉男中央美术学院人文学院原院长、现任广州美术学院图像与历史高等研究院院长付阳华中国人民大学艺术学院教授邵彦中央美术学院人文学院教授 内部授课部分董梅中央美术学院人文学院教授郭怀宇故宫博物院副研究馆员郑弌中央美术学院人文学院副教授边凯中央美术学院中国画与书法学院副教授窦天炜中央美术学院美术馆修复师刘希言“何处寻行迹”展览策展人、中央美术学院美术馆副研究员 成果汇报部分主持人姜鹏国家博物馆副研究馆员万笑石中央美术学院人文学院讲师 陈冠石“何处寻行迹”展览策展助理招募学员要求招募人数: 15人招募对象:美术史研究或中国画创作方向,北京地区在读硕、博士,或已毕业硕、博士报名方式: 请发送简历到chen.guanshi@foxmail.com(标注“工作坊+姓名+电话”发送申请,简历包含学术背景、研究方向、手机号,将由主办方共同讨论决定参加人选,并以收到回复为准。名额有限,报满为止,请勿重复提交报名)| 展览信息 |文化和旅游部“2023年全国美术馆馆藏精品展出季”入选项目何处寻行迹馆藏古代绘画中的人与自然展览时间:2023年9月8日-10月20日展览地点:中央美术学院美术馆2层A展厅主办:中央美术学院美术馆赞助:北京鑫河艺博文化有限公司、北京自定义科技文化创意有限公司学术主持:邱志杰学术顾问:唐勇力、黄小峰展览总监:张子康、韩文超展览统筹:王春辰、高高策展顾问:郑弌策展人:刘希言、李垚辰策展助理:陈冠石
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CAFAM 工作坊招募 | “何处寻踪迹”展览公共教育活动

2023-09-28

正值中秋十一小长假,美术馆将呈现多场公共教育活动,本系列活动由在展的“何处寻踪迹——馆藏古代绘画中的人与自然”展览生发,此次展览试图提供给公众的一个观看山水画的新向度:从“人”的在场与观看出发,重新进入山水画,观察并串联起不同时代的古代山水画和人物画的叙事共性,籍由山水中的人与人物间的景,重新理解中国传统文化思想中人与自然的共生关系。我们将通过系列工作坊带领大家共同感受古代文人山水画的魅力。
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“何处寻行迹”公开讲座系列 | 邵彦:明清山水画的风格源流

2023-10-07

“何处寻行迹”展览研究工作坊公开讲座系列讲座题目:何处寻龙脉――明清山水画的风格源流主讲人:邵彦(中央美术学院人文学院教授)主持人:黄小峰(中央美术学院人文学院院长,“何处寻行迹”展览学术顾问)讲座时间:2023年10月9日(周一)18:30讲座地点:中央美术学院美术馆学术报告厅Tips:请从美术馆西门进入内容介绍:本此讲座将为“何处寻行迹——中央美术学院美术馆藏古代绘画中的人与自然”展览提供美术史背景知识。以展出作品为例,讲述明清山水画如何继承和发展中古以来的传统,几条主要风格脉络又是如何对立与融合的。【主讲人】邵彦,中央美术学院人文学院教授,博士生导师。专长中国美术史、书画史、书画鉴定。曾任美国纽约大都会艺术博物馆高级访问学者。中央美术学院美术史系《中国美术简史》、“马工程”《中国美术史》等重要教材撰稿专家。专著有《皇舆揽胜——清代宫廷山水》、《山川换古今——蓝瑛家族的故事》,主编《月明十二楼——解读元画》等,发表学术论文数十篇。【主持人】黄小峰,中央美术学院教授、博士生导师、人文学院院长。主要研究中国古代绘画史、书画鉴藏史。著有《古画新品录:一部眼睛的历史》《虢国夫人游春图:大唐丽人的生命瞬间》《西园雅集:两宋人物画》等,于《故宫博物院院刊》《中国国家博物馆馆刊》《艺术史研究》等学术刊物发表论文数十篇。部分展览及讲座涉及的作品文伯仁,《王维诗意图》扇面,明代   金笺设色,纵20厘米、横54厘米中央美术学院美术馆藏盛茂烨,《竹林书斋图》扇面,1624年金笺设色,纵20厘米、横54厘米中央美术学院美术馆藏李士达,《匡庐泉图》轴,明代绢本设色,纵193厘米、横99厘米中央美术学院美术馆藏蓝瑛,《白云红树图》轴,1659年绢本设色,纵162厘米、横86厘米中央美术学院美术馆藏潘恭寿,《仿陆叔平林屋洞天图》轴,清代纸本设色,纵64厘米、横31厘米中央美术学院美术馆藏王鉴,《仿沈石田山水图》轴,1673年绢本设色,纵191厘米、横98厘米中央美术学院美术馆藏展览信息文化和旅游部“2023年全国美术馆馆藏精品展出季”入选项目何处寻行迹馆藏古代绘画中的人与自然主办:中央美术学院美术馆展览时间:2023年9月8日-10月20日展览地点:中央美术学院美术馆2层A展厅赞助:北京鑫河艺博文化有限公司、北京自定义科技文化创意有限公司学术主持:邱志杰学术顾问:唐勇力、黄小峰展览总监:张子康、韩文超展览统筹:王春辰、高高策展顾问:郑弌策展人:刘希言、李垚辰策展助理:陈冠石资料整理:陈晨溪、刘盛焱、夏冉设计总监:纪玉洁展览设计:曹群、赵格
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“何处寻行迹”公开讲座系列 | 付阳华:明清之际遗民情境中的人物图像

2023-10-10

“何处寻行迹”展览研究工作坊公开讲座系列讲座题目:何处寻桃源——明清之际遗民情境中的人物图像主讲人:付阳华(中国人民大学艺术学院教授)主持人:黄小峰(中央美术学院人文学院院长,“何处寻行迹”展览学术顾问)讲座时间:2023年10月13日(周五)15:30讲座地点:中央美术学院美术馆学术报告厅内容介绍中国山水画中的人物图像多为点景人物,在明清亦有程式化的现象。而在明清易代之际的山水绘画中,如何借助人物图像表达遗民之思,正如本次画展所发问:画中之人,是写实还是虚笔?画中之景,蕴含着何种情怀?人与景之间如何构成了一种映照与互文?本次讲座试图运用几个个案对此问题作出解答。【主讲人】付阳华,中国人民大学艺术学院教授,博士生导师。芝加哥大学访问学者。2017年被聘为中国人民大学“杰出学者”。研究领域为中国绘画史、地域美术、绘画鉴藏。出版有《明遗民画家研究》《明遗民绘画的图像叙事》。在《文艺研究》《美术》《美术观察》《美术与设计》等专业期刊发表学术论文数十篇。【主持人】黄小峰,中央美术学院教授、博士生导师、人文学院院长。主要研究中国古代绘画史、书画鉴藏史。著有《古画新品录:一部眼睛的历史》《虢国夫人游春图:大唐丽人的生命瞬间》《西园雅集:两宋人物画》等,于《故宫博物院院刊》《中国国家博物馆馆刊》《艺术史研究》等学术刊物发表论文数十篇。展览及讲座涉及的部分作品樊圻,《抚梅图》轴,清绢本水墨,纵113厘米、横56厘米中央美术学院美术馆藏文从简,《山水》扇面,明末清初金笺设色,纵21厘米、横48厘米中央美术学院美术馆藏梅清,《山水》轴,清纸本水墨,纵51厘米、横31厘米中央美术学院美术馆藏祁豸佳 《仿张僧繇画法山水》,轴,明纸本设色,纵180厘米、横96厘米中央美术学院美术馆藏展览信息文化和旅游部“2023年全国美术馆馆藏精品展出季”入选项目何处寻行迹馆藏古代绘画中的人与自然主办:中央美术学院美术馆展览时间:2023年9月8日-10月20日展览地点:中央美术学院美术馆2层A展厅赞助:北京鑫河艺博文化有限公司、北京自定义科技文化创意有限公司学术主持:邱志杰学术顾问:唐勇力、黄小峰展览总监:张子康、韩文超展览统筹:王春辰、高高策展顾问:郑弌策展人:刘希言、李垚辰策展助理:陈冠石资料整理:陈晨溪、刘盛焱、夏冉设计总监:纪玉洁展览设计:曹群、赵格
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CAFAM画夹子表情包更新了 | 山水画中的点景人物

2023-10-19

“何处寻行迹——中央美术学院美术馆藏古代绘画中的人与自然”自开展以来,得到了广大观众的好评与支持,为满足观展需求,展期将延长至10月22日(本周日),欢迎您前来参观。
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讲座回顾 | 邵彦:明清山水画的风格源流

2023-10-21

2023年10月9日,“何处寻行迹——中央美术学院美术馆藏古代绘画中的人与自然”展览的系列讲座第一场“何处寻龙脉:明清山水画的风格源流”于美术馆学术报告厅举行,该讲座也是此次展览研究工作坊的公开授课之一。
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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.

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

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

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

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

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

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

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!