Exhibitions and Events-News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

International Collection Focus | "Opening" The Video Experience of Roman Signer

2025-07-31

From 19th-century European oil paintings to contemporary art, spanning three centuries; from the Americas to Oceania, connecting five continents. More than 200 international art collections gather here and now, meeting us in the present. This exhibition marks the first overall appearance of the international artworks in the collection of the CAFA Art Museum, presented in two parallel sections: "International Art Treasures" and "Chinese Mirrors". The "International Art Treasures" section sorts out the collections from the perspective of cultural diversity, demonstrating the international vision and diverse pattern in the construction of the museum's collection system. The "Chinese Mirrors" section, taking the works created in China by four foreign artists with China as the theme as samples, presents the images of China from a foreign perspective.Many of these works once lay silent in storage, yet each bears distinct imprints of its era and inherent artistic value. Piece by piece, batch after batch, the enrichment and accumulation of international art collections not only reflect the development course of the art museum, the achievements of art education and international exchanges at the Central Academy of Fine Arts, but also outline, from a side angle, the cultural exchanges between China and foreign countries as well as the global art ecosystem.The international collection of CAFA Art Museum dates back to the 1930s. The European oil paintings from the former collection of the Beiping Research Institute and the individual collection of Yasaki Chiyo formed the initial foundation. Starting from the 1950s, the Academy systematically purchased and collected European and Soviet works during the construction of its exhibition hall. Supplemented by donations from teachers and gifts from international artists, the scale of the collection gradually took shape. Works by renowned artists such as the Soviet Union's Kravchenko and Japan's Kazuyama Matazo, donated by embassies in China and international friends, are all precious relics of their era.The art museum designed by Arata Isozaki was completed in 2008, marking a new stage in the development of the international collection. Significant contemporary artworks have entered the collection through donations from collectors, institutions, and embassies: including the conceptual art of Joseph Beuys from Germany and Yoko Ono, a Japanese-American; paintings by Sean Scully from Ireland and Ha Dong-joo from South Korea; sculptures by Bjørn Nørgaard from Denmark; video works by Roman Signer from Switzerland; photographs by Agnès Varda and Marc Riboud from France; as well as works by other international art masters such as A.R. Penck from Germany and Roberto Matta from Chile. Together, they weave a network of international art.Open, Roman Signer, 2014, 1 minute and 42 seconds, video, Collection of CAFAM, Start, Roman SignerRoman Signer was born in Switzerland in 1938. Since 1972, he has participated in major exhibitions including the Venice Biennale in 1976 and 1999, as well as Documenta Kassel in 1987. Aktion vor der Orangerie (Action in Front of the Orangerie) at the closing ceremony of Documenta Kassel has become a classic project. Roman Signer has established himself as one of the most significant artists in the fields of explosive actions, activism, time-based sculpture, and video art.Roman Signer has a long-standing connection with China. He first visited China in 1981, returned in 2011, and from October 23 to November 23, 2014, an exhibition entitled "Roman Signer: Videos and Films 1975-1989 and Now" was held at the Art Museum of the Central Academy of Fine Arts. Roman Signer spoke of his works in this way: "Most of my creations are personal. All my initial attempts were for my own experience. Later, through video dissemination, others invited me to carry out small-scale, public on-site actions. But these are not creations like performance art; they are without audience awareness."相关展览.点击“阅读原文”查看展览详情正在展出.,时长00:10文化和旅游部“2025年全国美术馆馆藏精品展出季”项目2025 National Exhibition Season of Art Museums' Brilliant Collections Organized by the Ministry of Culture and Tourism流动的艺域——中央美术学院美术馆藏国际艺术交流研究展Interflowing Artscapes: CAFAM International Exchange Research Exhibition from the Collection主办:中央美术学院美术馆Organizer: CAFA Art Museum展览时间:2025年7月18日-8月24日Duration: July 18 - August 24, 2025展览地点:中央美术学院美术馆 3A和3B展厅Venue: 3A & 3B Gallery, CAFA Art Museum主编 / 何一沙责编  / 杜隐珠
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CAFAM馆藏陈列 | “现代中国美术” 首次换新

2025-07-31

“中央美术学院美术馆藏陈列——现代中国美术”,22幅新增作品涵盖国画 、油画再到版画,不仅是艺术家的个体表达,更凝聚着在历史激流中的求索与变革,以现代的形式与语言,回应时代。此次馆藏陈列展陈更新,是一次融合古今的深度艺术邀约,在古老纹饰与现代构图的对话中,在传统气韵与当代精神的碰撞里,希望观众能体会到中华艺术文明的生命力。
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"New China Artists: Hu Yichuan" Edited By Professor Cao Qinghui Of The Central Academy Of Fine Arts Has Been Published

2025-07-28

New China Artists: Hu Yichuan胡一川的代表作品有哪些?曹庆晖教授还编著过哪些关于艺术家的书籍?给我推荐一些介绍中国现代美术家的书籍编著:曹庆晖出版发行:中国青年出版社出版日期:2025年5月第1版 第1次“十四五”国家重点出版物出版规划项目、CAFAM学术丛书《新中国美术家·胡一川》,由曹庆晖教授在2020年策划的“站在人生的前线——胡一川艺术与文献展”(点击文末“阅读原文”了解展览)的基础上于2021年编著成稿。2022年,有专家在阅读书稿后认为:“阅读《胡一川》书稿,让我走进一个真实的胡一川世界,为他的传奇人生、革命精神所振奋,为他的创作激情和执着追求所感染,为他的家国情怀、爱情故事所感动。胡一川用他的一生诠释了革命艺术家的坚毅执着、使命担当、真诚质朴、大爱无私的人格魅力与伟大情怀。期待这部书早日与读者见面。”2025年,《新中国美术家·胡一川》通过国家新闻出版署图书重大选题备案后由中国青年出版社印刷出版。这也是编著者曹庆晖在2024年领衔编著出版《新中国美术家·滑田友》之后,再次依托展览策划成果与中国青年出版社合作,在“十四五”国家重点出版物出版规划项目、CAFAM学术丛书系列出版中取得的又一展览图录编辑与研究成果。中国美术家协会主席范迪安在序言中阐述道:“从观赏作品到阅读文献,这对于我们理解胡一川先生及这一代艺术家的精神品质,对于我们认识20世纪中国美术的文化属性,特别是许多属于思想性的探索与建树,无疑具有重要的学术意义。”CAFAM学术丛书“新中国美术家”系列以中央美术学院美术馆的学术研究和馆藏作品为依托,呈现新中国成立后,几代美术名家的艺术人生之路。通过个案研究,梳理这段发生在近现代传统美术转型后的风云激荡的美术史。中央美术学院美术馆自上世纪五十年代起便以展览的形式参与到新中国美术史的书写之中。随着迈入新时期后迎来的美术馆学术建设的系统化发展,中央美术学院美术馆持续地推动丛书的编写和出版,使其立足于中央美术学院美术馆扎实的学术研究工作,这些工作既包括对馆内藏品、展览的基础性梳理,也包括对艺术史、艺术理论和美术馆学的深入思考。————————————————————          □          ————————————————————胡一川简介作者简介曹庆晖,中央美术学院人文学院美术史系教授,致力于中国近现代美术史、美术教育史、艺术物料学及美术馆典藏研究与展览策划,参与策划以校史、学科、人物为中心的作品文献展20多个,著有《美育一叶》《走进学院的中国画》等,发表论文被《新华文摘》、人大复印报刊资料《造型艺术》转载。《新中国美术家·胡一川》《新中国美术家·胡一川》目录 不同于“站在人生的前线——胡一川艺术与文献展”的物料空间编辑工作,针对资料平面编辑工作的特定性,编著者曹庆晖从封面到体例、从作品到文献、从梳理到研究,均结合展览的主题与策划对《新中国美术家·胡一川》进行了有经有权的处理。对于编辑体例,考虑到图录分章不宜过多以及文字编辑工作本身所要求的严谨规范,编著者一方面剪裁了不适于平面转化利用的第一展览板块“胡一川这个同志——大家所了解的胡一川”的视频采访内容,另一方面将展览其他4个呈现胡一川艺术人生内容的板块——“木刻与文献”“油画与文献”“美育与文献”“苦难与幸福”——并为一章,同时融入第一展览板块和展柜等其他辅助空间的照片和文献内容,总题为“艺术·人生”,从而形成以“主旨·策划”“艺术·人生”“专题·研究”和“后记”为基本章节的《新中国美术家·胡一川》编辑体例。《新中国美术家·胡一川》内页 对于专题研究,其实并不止于“专题·研究”一章发表的从创作、展陈展开深入讨论的两篇文章,开篇呈现的展览主旨与策划写作无疑也是专题研究的一种。在《新中国美术家·胡一川》中,编著者很注意在章节大专题下对小专题的材料编辑和聚焦。因之,也就有了围绕木刻、油画创作和美育工作编辑、组织胡一川手稿材料的诸多列目和呈现,有了通过胡一川日记书信编辑而成的《到武汉去》《苦海深处》《千里之外》等文献汇编。将各类物料有机整合到某专题之下加以编辑,并在此基础上择题展开深入的专门讨论,是《新中国美术家·胡一川》在编著中自觉实施的编研方法。《新中国美术家·胡一川》内页 对于书籍装帧,编著者希望既考虑胡一川绘画艺术辨识度但又不落常规,既突出“站在人生的前线”的主题但又不抽象,最终选定胡一川的一件水粉小画稿《出击之前》(25.7cm×21.3cm,1942年)为封面,并以胡一川1937年1月23日日记中的一句话——“你应该勇敢地跑到时代的前头当旗手,而不应该只握着时代的尾巴”——为封底,从书籍装帧而不是海报设计的需求呈现“站在人生前线”的主题。《新中国美术家·胡一川》封面封底展开图 编后记曹庆晖:为了人生进步和美好——写在《胡一川》编后阅读胡一川的作品和文稿,走进胡一川的世界,深深地为一位在救亡图存的时代里成长起来的有理想有责任的文艺战士,积极投身于民族解放和国家建设的前线, 振臂呼号、放声歌唱的奋勇作为所振奋;深深地为一位讲团结紧张严肃活泼、有觉悟也有苦恼的党员干部严以 律己、克己奉公的奉献精神所感慨;深深地为一位有血有肉、有情有义的男子汉和他忠孝、慈悲、恋爱、生死的故事与人生长情所感动。站在人生的前线——是时代沧桑巨变的急切召唤和需求,是胡一川的切实响应和行动步履。在献身正义和争取自由的血火革命中,在追求光明和幸福的人生道路上,胡一川所代表的中国现代艺术先锋之一面——以画笔为刀枪,冲锋陷阵;以画笔为琴瑟,讴歌信仰——收获的艺术和精神财富,远比我们从教科书上看到的描述要精彩、浓郁、艰辛、坚定。同时从中也清楚地看到, 胡一川作为时代的一分子,从20世纪三四十年代的革命年代,到五六十年代的建设年代,到八九十年代的开放年代,在思想认识上也深深地钤印着时代的印痕。胡一川之所以是胡一川,就是他坚持自己的理解、认识和选择。特别感谢广州美术学院胡一川研究所在展览策划和图书编著时在物料方面给予的大力支持。对于入展入编的会议记录稿、讲话发言稿、工作笔记、日记、书信、 回忆等原稿文字以及其他的发表文字,本书在研究所提供文字基础上,在尊重原稿原刊、不影响阅读和理解的原则下予以梳理和编校,尽可能顺其自然,力求让文字呈现较充分地反映胡一川所处时代的特点和风采。编辑此书,与其说是和“站在人生的前线——胡一川艺术与文献展”相联系,对胡一川艺术人生的再记录,不如说是对蕴含其中的精神价值和经验智慧的深入挖掘与研究的再期待。与其说是为了学术研究,不如说是为了人生进步和美好。是为记。内 页
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CAFAM公教活动回顾 | 从观展到讲解!”小导览员”的华丽蜕变

2025-07-24

2025年7月15日,中央美术学院美术馆第二届“小导览员”公益课程圆满完成。本次公益课程是中央美术学院美术馆在探索和实践中国青少年美育的重要环节,对加强我国基础教育美育建设、弘扬中华美育、丰富儿童艺术文化体验具有重要的作用。本次课程设置三大模块:艺术知识学习、导览技巧培训和实战考核,由中央美术学院美术馆公共教育部王军老师主讲。王军老师示范导览王老师通过生动幽默的教学方式,为孩子们带来系统化的导览培训。循序渐进地引导孩子们掌握导览要点,并结合每位学员的实际情况和个体差异,开展差别化教学,真正做到“因材施教”。”每个孩子都是独特的,我们要做的就是发现他们的闪光点。"王老师如是说。王振振老师讲解《横云山民行乞图》来自中央美术学院油画系的王振振老师为学员们讲解了中央美术学院馆藏古代艺术展中的书画部分,并以海派大师任伯年的镇馆之宝《横云山民行乞图》为例,深入浅出地解析了绘画作品的欣赏要点,并引导学员们思考如何理解和讲述艺术作品的内涵与价值。中华女子学院播音与主持专业祝佳月讲授讲解技巧来自中华女子学院播音主持系的祝佳月老师为小朋友们带来了一堂生动实用的导览语言技巧课。课程中,祝老师从语音发声的基础入手,细致讲解了正确的呼吸方法、发声技巧以及语言表达训练方式,帮助孩子们掌握清晰、流畅的导览表达。祝佳月老师结合专业播音主持经验,通过趣味互动和示范练习,不仅提升了孩子们的导览能力,更增强了他们的语言表达自信,为未来的公共讲解打下坚实基础。7月13日的考核现场,小学员们自信大方的表现让老师们惊喜不已。从最初的紧张到现在的从容,短短几天时间,孩子们已经能够独立完成专业讲解。讲解现场“看到孩子从不敢开口到侃侃而谈,这种成长太让人感动了。"家长动情地说。值得一提的是,本届课程吸引了来自广东、内蒙古、广西、辽宁等全国多地的小朋友参与,展现了美术馆美育工作的广泛影响力。美术馆直属党支部书记韩文超在结课仪式上总结发言7月15日,在“中央美术学院美术馆小导览员公益课程”结课暨颁奖仪式上,中央美术学院美术馆党支部书记韩文超发表讲话。本届课程不仅让孩子们深入领略中华传统艺术精髓,更培养了表达能力和责任感。相比往届,今年课程在参与广度和互动深度上均有显著提升,成功助力孩子们从”艺术参观者"蜕变为"文化传播者"。他表示,美术馆将持续推出优质公共教育项目,让艺术滋养更多家庭,并寄语小导览员们继续传承文化,传播艺术之美。家长代表发言来自广东的林稀宝同学的家长作为代表分享了参与感受。林先生专程从广东带孩子来京学习,她表示,短短课程期间就明显看到孩子从腼腆不敢开口到能够自信流畅表达的蜕变,对老师们专业负责的教学态度和课程”干货满满"的内容设置给予高度评价。学员代表分享感受来自北京第一实验小学的小导览员徐艺珊同学分享了自己的学习心得。她表示,通过本次学习,不仅能够近距离观赏馆藏大师作品,更透过铜镜、汉代画像石、唐三彩、陶俑、瓷器、书画等珍贵文物,深入了解了不同历史时期的社会文化生活。”想要讲好一件作品,需要具备多方面的综合能力。"徐艺珊在分享中提到,课程让她意识到艺术导览需要持续的学习积累。从梳理讲解内容到现场表达,她感到自己在艺术理解和表达能力上都有明显提升。这场"视觉盛宴"让她仿佛穿越时空与古人对话,并期待未来能继续参与美术馆的学习活动。仪式最后,中央美术学院美术馆副馆长海军、副馆长高高为小导览员们颁发证书。美术馆副馆长海军为小导览员们颁发证书美术馆副馆长高高为小导览员们颁发证书
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丹青里的凝视:袁镜蓉仕女图中的时代印记 | CAFAM馆藏陈列

2025-07-24

>>>>《女仙图》,袁镜蓉,轴,纸本设色,清,纵102cm 横48cm,中央美术学院美术馆藏题跋:袁镜蓉,字月渠,随园老人女孙,吴侍郎梅梁淑配也。能诗,善花鸟,画仕女尤长。艳而不冶,秀雅有唐人笔韵,洵为嘉道间闺秀之杰出者。与先祖母钟太夫人结姊妹行,此帧系其手赠,余幼时即见之。迄今几四十年矣,无题款印记,久恐失传,志其姓字原委如此。后之鉴者,庶得信有征焉。时光绪二年岁在丙子二月花朝,叔宪张度题。钤印:张度(朱文方印)、叔宪(白文方印)、辟非(朱文长方印)鉴藏印:叔宪所保(白文方印)、传壁经堂确定真品记(白文方印)《女仙图》 局部图袁镜蓉,字月渠,江南奉贤(今上海)人,生于清代诗画簪缨之家。其家学渊源深厚,祖父袁秉直曾任江西巡抚,父亲袁厚堂官至广宗知县,后适工部侍郎吴杰为室。虽张度于画跋中附会其为袁枚孙女,然其才情本自卓然——工诗词,擅丹青,尤以花鸟人物见长。笔下仕女,非但得其形貌,更摄其神韵,一颦一笑间尽显闺阁雅致。诗画相生,笔墨间自有一段清淑之气,既承家学之粹,又见女子之慧,堪称清代闺秀艺文之典范。《女仙图》 局部图这幅无款钤印的仕女图卷,在绢素上悄然诉说着一个关于时代审美的秘密。画中三位佳人风姿绰约,其构图意趣与乾隆年间苏州坊间盛行的木版"三美图"竟有惊人的血脉相通——那些在民间雕版上反复出现的丽人形象,此刻在闺秀画家的笔下获得了更为精致的重生。细观画面,仕女们手持药锄、提篮采芝的细节,为这幅世俗美人图平添几分道教仙韵。这种雅俗交融的表现手法,在女性画家的创作中实属凤毛麟角。袁镜蓉或许未曾意识到,她笔下的柳眉杏眼、弱质纤纤,恰是那个时代男性凝视下的完美投射。当木版年画的市井趣味与闺阁丹青相遇,我们看到的是不同艺术媒介在视觉语言上的奇妙共鸣,更是性别权力在艺术创作中留下的深刻印记。>>>>中央美术学院美术馆藏陈列——古代中国美术(第二期)展览时间:2024年7月1日起展览地点:中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠编辑 / 王一帆
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CAFAM工作坊回顾|重见唐彩绘文吏俑

2025-07-24

活动时间第一期:2025年07月03日 14:00—17:00第二期:2025年07月15日  14:00—17:00活动地点中央美术学院美术馆为进一步丰富会员的艺术文化体验,中央美术学院美术馆特别为CAFAM企业会员策划并举办了两期古代中国艺术展主题公共教育工作坊。此次活动主要分为“参观讲解—色彩学习—实践创作”三大环节,以馆藏精品为引,融合专业导览、美学讲堂与沉浸创作,围绕中国古代雕塑与色彩文化展开,带大家零距离触领略古代艺术的审美智慧,感知中华优秀传统文化的深厚底蕴。第一环节:以“美”为径——馆藏导览与艺术讲解活动首站,学员们在专业讲解员的引领下参观了“中央美术学院美术馆藏陈列古代中国艺术展”,透过珍贵馆藏文物,了解中国古代历史与艺术发展的脉络,从器物到雕塑、从图像到工艺,体会中华民族关于“美”的文化理念与精神追求。导览老师为学员们导览杜英奇老师在展厅教学学员们现场“寻宝”环节第二环节:以“色”为笔——古代色彩美学分享 由中央美术学院毕业的青年艺术家王徳彬老师带来主题讲解。围绕红、黄、紫三种在古代雕塑中常见的代表性色彩,小彬老师从色彩提取、文化象征与视觉表现等层面进行解读。通过对传统色彩体系的讲述,学员们不仅学习了古代艺术的用色逻辑,也激发了对传统色彩体系的尊重与再创造的热情。王徳彬老师分享古代色彩美学第三环节:以“艺”为实——亲手复原彩绘文吏俑本次实践环节特别采用由中央美术学院美术馆依据馆藏文物定制研发的3D打印文吏俑雕像作为基础模型,真实还原了唐代雕塑的比例、结构与神态。小学员们在两位导师及中央美术学院助教老师的悉心指导下,依次完成勾线、涂色、晕染、贴金箔等传统彩绘流程,亲身体验古代工艺的精细与魅力。在创作过程中,大家围绕人物的面部神情、衣饰造型与纹样细节进行描绘,将课堂中学习到的传统色彩知识与个人审美理解相结合。最终,每位参与者都完成了一件独一无二的彩绘雕塑作品。本次中央美术学院CAFAM会员公共教育工作坊,以独特的”理论+实践”模式,让小学员们在专业艺术氛围中感受传统文化的魅力,实现了从"欣赏美"到"创造美"的跨越。艺术教育在传承中华优秀传统文化、培育文化自信方面的重要作用,未来中央美术学院美术馆将持续拓展公共教育内容,为会员与公众提供更多高质量的艺术体验。项目总监:海军项目策划&执行:耿菁华项目协调:肖宝珍导师:杜英奇 王徳彬助教:王振振 王雪松 胡雨萧 刘小艺导览:张欣 肖雪梅 王振振  杨璟 温京晶场务:梁雯 陈小华 郭旭 范天润撰文&摄影:王雪松主编 / 何一沙责编  / 杜隐珠
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第十届“我爱颜色——小天才绘画大赛”优秀作品展 如约开幕

2025-07-24

7月19日下午,第十届“我爱颜色——小天才绘画大赛”主题创作“美好的明天”优秀作品展在中央美术学院美术馆隆重开幕,并同步举办“美好的明天”主题分享会。展览由中央美术学院美术馆与艾敬工作室联合主办,呈现了来自全国各地儿童天马行空的艺术创作和真挚的情感表达。第十届“我爱颜色——小天才绘画大赛”展厅“LOVE”展墙“我爱颜色——小天才绘画大赛”自2014年创立以来,已连续举办十届。大赛始终坚持以公益之心发掘与鼓励儿童艺术潜能,为无数孩子搭建了自由表达与梦想启航的平台。作为这一公益项目的十年重要里程碑,本届大赛格外受到社会关注。本届大赛共收到1600余件参赛作品。经过海内外评委的严格评审,最终评选出150件优秀作品入展。展览集中呈现孩子们的奇思妙想,展现他们对世界的观察与想象、情感与表达。受邀出席的嘉宾有:第十四届全国人大常委会委员、教科文卫委员会主任委员、原文化部部长雒树刚,中央美术学院院长林茂,中央美术学院美术馆馆长靳军。现场还汇聚了本届优秀作品奖获奖儿童及家长代表,以及长期关注公益事业的社会各界人士和新闻媒体代表。中央美术学院美术馆副馆长高高担任开幕式主持人。艺术家艾敬、雒树刚部长、林茂院长、靳军馆长、高高副馆长(从左至右)中央美术学院院长林茂致辞中央美术学院院长林茂在致辞中表示,孩子们的作品展现了童真的想象力与美的创造力,是美育成果的体现。艺术是儿童认识世界的重要方式,也孕育着未来社会的创造力。中央美院始终重视青少年美术教育,致力于将专业资源转化为社会养分。每一幅作品都是一粒希望的种子,承载着我们对美好生活的共同期待。中央美术学院美术馆馆长靳军致辞中央美术学院美术馆馆长靳军指出,孩子们的画作展现了对世界最真挚的情感与天然的艺术感受力,是童心与创造力的真实流露。美术馆不仅展出经典作品,更致力于搭建平台,让儿童的奇思妙想被看见、被记录、被珍惜。他希望每位孩子都能在这里播下艺术的种子,找到属于自己的表达天地,并感谢所有为展览付出心力的策划者与志愿者。开幕式主持人  中央美术学院美术馆副馆长高高“小天才”活动发起人、艺术家艾敬现场致辞 现场播放了特别制作的十周年纪念短片《爱像一颗种子——“我爱颜色”小天才绘画大赛十年公益录》,呈现了这项公益活动十年来的发展轨迹与温暖时刻。短片结束后,艺术家、公益项目发起人艾敬以“十年收获”为题发表感言,讲述了大赛从萌芽到成长的点点滴滴。艾敬特别感谢中央美术学院以及中央美术学院美术馆对本届活动的大力支持以及往届支持这项公益活动的艺术机构、美术教育家以及社会各界热心于公益的朋友们。并寄语小朋友们,为了美好的明天快乐健康地过好每一天。艾敬还深情缅怀了这项公益活动的重要发起人、中国国家博物馆副原馆长陈履生老师,并播放了陈履生老师一分钟的纪念短片,短片记录了陈履生老师曾经亲临现场为孩子们颁发奖状的身影。随后,各位嘉宾依次上台,为获奖儿童颁发奖杯与证书。“小天才”活动发起人、艺术家艾敬为评委及义工赠送限量版纪念奖杯“小天才”活动发起人、艺术家艾敬与评委及义工合影“小天才”评委何韵兰老师及刘宝亮老师为获奖小朋友颁奖“小天才”评委汪家明老师及尹然老师为获奖小朋友颁奖“小天才”评委杨源老师及搜狐公益代表曾怿女士为获奖小朋友颁奖艺术家张蔚星老师(已故陈履生老师夫人)、陈都老师(陈履生老师之子)为获奖小朋友颁奖雒树刚部长及林茂院长为获奖小朋友颁奖靳军馆长、高高副馆长及艺术家艾敬为获奖小朋友颁奖 “我爱颜色——小天才绘画大赛”十周年纪念版奖杯第十届“我爱颜色——小天才绘画大赛”优秀作品奖杯值得一提的是,本届活动特别设置了"我爱颜色——小天才绘画大赛"十年回顾展单元,邀请历届部分获奖者携作品参展,与第十届获奖作品交相辉映。其中,第一届获奖的两位代表还专门录制了视频短片,分享他们的艺术成长故事。本届展览展期为7月19日至8月22日,诚邀社会各界前来观展。同期,中央美术学院美术馆还推出"流动的艺域——中央美术学院美术馆藏国际艺术交流研究展",这是该馆首次系统梳理并呈现其丰富的国际艺术收藏。展览汇聚了跨越三个世纪、涵盖五大洲的两百余件艺术精品,每件作品都承载着独特的时代印记与艺术价值,不仅勾勒出中央美术学院美术馆视野下的国际艺术脉络,更展现了中央美术学院在国际美术教育与交流领域的历史成就。这些艺术珍品在中央美术学院美术馆璀璨绽放,既向公众呈现了中外艺术交流的珍贵历史,也为观众开启了对艺术未来的美好展望。嘉宾合影第十届“我爱颜色——小天才绘画大赛”展览现场第十届“我爱颜色——小天才绘画大赛”参展作品“我爱颜色——小天才绘画大赛”十年回顾展厅第十届“我爱颜色——小天才绘画大赛”开幕式大合照主编 / 何一沙责编  / 杜隐珠
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吴彬《洗象图》中的隐喻与晚明禅意 | CAFAM馆藏陈列

2025-07-23

>>>>《洗象图》,吴彬,轴,纸本设色,1592年,纵123cm 横45cm,中央美术学院美术馆藏题款:万历二十年清和八日画于长安燕邸,吴彬钤印:吴彬之印( 朱文方印 )、文中氏( 白文方印 )中央美术学院美术馆二层展厅里,泛黄的绢素上,一队僧侣正于潺潺溪水中涤洗白象——吴彬《洗象图》将佛家的清净境界永恒定格。《洗象图》 局部图吴彬,字文中,又作文仲,自号枝隐僧,生于福建莆田,后寓居金陵(今南京),主要活跃于明万历至崇祯年间。他因画艺精湛被授中书舍人,后擢升工部主事,长期供职于宫廷画院,成为晚明画坛的重要人物。吴彬善绘山水、佛像人物,尤以白描见长,笔法精妙,独树一帜。他的山水布局不囿于古法,自成机杼,而佛像人物则造型奇崛,迥异前人,在晚明画坛开创了独特的艺术语言。作为“变形主义画风”的代表,他以夸张的形态和强烈的表现力重塑人物画传统;同时,他又倡导“复兴北宋经典山水画风”,以严谨的笔墨和宏阔的意境接续古典精神。二者并重,使他在晚明艺术变革中成为承前启后的关键人物,影响深远。《洗象图》 局部图吴彬此作绘于万历二十年(1592),属其中晚年笔意。画题《洗象图》,以“清和”(农历四月别称)点明时节,暗合四月八日佛诞之期,呼应传统“浴佛”仪轨。画中红衣高士为普贤菩萨,持杖立于磐石,三侍从随侧,共观众侍于溪中洗濯白象。象身纹路繁密,在佛教图式中既为普贤坐骑,亦暗喻“佛像”之形,故洗象之举实为“浴佛”象征。晚明宫廷逢初伏有洗象风俗,此作或受官方节俗启发,然更深层地融汇文人“扫相参禅”之思——以涤象为喻,洗却尘障,照见心性。吴彬以奇崛造型与北宋山水笔意并置,使宗教主题兼具仪式感与哲理性。同期洗象图式虽不乏其例,然此作借世俗节令托喻佛法,既应宫廷需求,亦契文人禅悦,堪称晚明佛画“以俗入玄”之典范。>>>>中央美术学院美术馆藏陈列——古代中国美术(第二期)展览时间:2025年7月1日起展览地点:中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠编辑 / 王一帆
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Today is Major Heat.

2025-07-22

Today is Major Heat.
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蓝瑛《雷蛰龙孙图》的无限生机 | CAFAM馆藏陈列

2025-07-21

>>>>蓝瑛《雷蛰龙孙图》 轴明纵193厘米 横74厘米纸本设色中央美术学院美术馆藏 题款:雷蛰龙孙,法李息斋之意。时于西溪万壑松涛,七十又四蝶叟蓝瑛。钤印:蓝瑛之印(白文方印)田叔(朱文方印)鉴藏印:博尔济吉特氏瑞浩所藏(朱文长方印)蓝瑛字田叔,号蝶叟,晚号石头陀、山公、万篆阿主者、西湖研民,又号东郭老农,所居榜额曰“城曲茅堂”,钱塘(今浙江杭州)人,是浙派后期代表画家之一。工书善画,长于山水、花鸟、梅竹,尤以山水著名。其山水法宗宋元,又能自成一家。师画家沈周,落笔秀润,临摹唐、宋、元诸家,师黄公望尤为致力。晚年笔力蓊苍劲,气象峻嶒,与文征明、沈周并重。其画派在晚明影响甚大,传其画法者甚多。在“中央美术学院美术馆藏陈列——古代中国美术”展览中,蓝瑛这幅晚年作品《雷蛰龙孙图》演绎了自然伟力与生命韧性的交锋。笔墨间的力量透露出其对天地生机的哲思。《雷蛰龙孙图》局部具体来看,《雷蛰龙孙图》采用纵向的立轴形式,主要由湖石作为视觉中心,辅以灵芝、雷竹与破土而出的春笋。湖石以高耸、嶙峋的形态贯穿画面,营造出一种奇石挺拔的高古之感。而雷竹和春笋则点缀其旁。《雷蛰龙孙图》 局部雷竹与春笋:雷竹象征旺盛的生命力,而春笋作为竹子的幼苗,与“龙孙”(子孙后代)相呼应,寓意生机勃勃、后继有人,而灵芝常被视为长寿和吉祥的象征,在画面中位于春笋的旁边,强化了祝福长寿的主题。画江南雷竹之春笋,在惊蛰之际破土而出,配以灵芝、湖石,成为祝福老年人长寿和添孙的祥瑞题材。>>>>中央美术学院美术馆藏陈列 ——古代中国艺术 (第二期)  展览时间:2024年7月1日起 展览地点:中央美术学院美术馆2层A展厅       主编 / 何一沙 责编  / 杜隐珠
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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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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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!
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