Exhibitions and Events-News- CAFA Art Museum

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

: Exhibition Guide | Step into "Rising At Dawn" And Explore The "Central Axis" Principle Running Through Beijing

2025-10-11

"Rising At Dawn: Beijing-Themed Art Works from CAFA Art Museum Collection" focuses on the artistic narration of Beijing's urban image in the history of modern and contemporary Chinese art. By systematically sorting out Beijing-themed artworks in the collection of the CAFA Art Museum and inviting a number of artists to exhibit their fine and representative works, it in-depth explores the interactive relationship between artistic creation and social context in different historical periods.With "Morning Rise", "Vitality", "Renewal" and "Choosing the Center" as its narrative threads, the exhibition constructs an artistic dialogue field that transcends time and space: on the one hand, it presents the stylistic evolution of artists from different generations in their depiction of urban landscapes and interpretation of humanistic spirit; on the other hand, it focuses on artists' continuous exploration of urban themes and conceptual innovation in the contemporary context.Choosing the Center | 4th SectionBeijing's Central Axis is like a wordless historical book engraved on the city, with its grand narrative extending north-south, it interprets the Oriental wisdom of "choosing the center" in architecture. Artists reinterpret this temporal and spatial axis through diverse visual languages—not only to capture the sense of ritual that connects the past and the present, but more importantly, to transform the traditional philosophical thought of "achieving harmony through balance" into a tangible visual experience.萧淑芳，《北海溜冰》，1935年，46cm×30cm，布面油彩Ai Zhongxin, Remaining Snow on the Forbidden City, 1947, 38cm × 70cm, Oil on Wood PanelRemaining Snow on the Forbidden City is a lyrical sketch created by Ai Zhongxin after he began teaching at the Beiping School of Art, where he was deeply impressed by the vastness of snowscapes in northern China. The painting adopts an extended horizontal composition, resembling a miniature panoramic scroll. Although the scene depicted is in the depths of winter, the overall color palette exudes a subtle, rippling warmth. Ai Zhongxin was a representative artist of Chinese realistic oil painting in the 20th century. Xu Beihong highly praised his oil paintings for possessing "the brushwork charm of traditional Chinese painting." This work embodies the artist’s artistic achievements in integrating Chinese and Western artistic traditions and exploring native artistic conception.矢崎千代二 C. Yazaki，《北平午门》，20世纪，23.7×31cm，纸本色粉Meridian Gate of Beiping depicts the solemn outline and Oriental charm of this iconic ancient building in Beijing through delicate pastels. Under the artist’s brush, the majestic momentum of the Meridian Gate presents a unique "Eastern style." The work features warm colors with rich layers—it not only adopts the light and shadow treatment of Western realism but also incorporates the implicit artistic conception of Eastern painting. Chiyoji Yazaki was a renowned Japanese pastel artist. He settled in Beijing in 1938 and resided there until his passing in 1947. He donated all 1,008 pastel works he created in his lifetime to the education sector and was later hired by Xu Beihong as a lecturer at the National Beiping School of Art. The pastel-on-paper works with Beijing themes exhibited this time embody the affection this foreign artist held for the ancient city.文金扬，《前门、春节》，1955年，43cm×56.5cm，木板油画杨澧，《天安门西侧》，20世纪50年代，15cm×26.5cm，纸本水彩谭权书，《天安门》，1958年，25.5cm×35.5cm，木版单色邓华、傅真，《琴景》，2011年—2012年，3分28秒，影像Qin and Scene adopts a perspective overlooking the panoramic view of the Forbidden City from Jingshan Mountain, poetically combining the sound of guqin performance with the images of the ancient imperial capital. Every time the artist tightens the guqin’s tuning pegs to raise the pitch, the images of the Forbidden City jump and change accordingly; when the guqin reaches its highest pitch, the images of the palaces vanish suddenly at the moment the strings snap. Deng Hua and Fu Zhen have collaborated on creative works since 2008, focusing on the exploration of individual identity and collective memory. The guqin, ranking first among the four arts 'namely guqin, go, calligraphy, and painting' of the Chinese Scholar, is regarded as a symbol of elegance and virtue. Through the dialogue between the guqin and the Forbidden City, the work presents the tenacious vitality of traditional culture and reveals the complex and subtle relationship between traditional culture and contemporary society.王琦，《故宫楼角》，1985年，42cm×28cm，木版单色宋红雨，《北京胜境全景》，1992年199.5cm×199.5cm，布面油彩广军，《风情》，2007年，70cm×65cm，丝网套色Scenery and Atmosphere presents highly condensed imagery, vividly depicting a Beijing swallow kite floating in the blue sky above the Palace Museum. The work's colors and lines are concise and succinct yet brim with tension—echoing Guang Jun's consistent artistic style: relaxed and witty, achieving much with little, and rich in ideological connotation. Since the late 1970s, Guang Jun has been participating in and organizing various printmaking activities, and he is a pioneer of screen printing creation in China. Meanwhile, he is also an oil painter. Regardless of the form of artistic creation, his works integrate his personal ideals and reflections on humanity, exuding a sense of freedom, ease, and thought-provoking charm.Featured Artist: Zhou Jirong | 4th SectionZhou Jirong was born in Guizhou Province in 1962. He graduated from the Printmaking Department of the China Central Academy of Fine Arts in 1987 and pursued advanced studies at the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Spain in 1996. Currently, he serves as Associate Professor and Deputy Director of the Printmaking Department at CAFA, Head of the 2nd Studio of the Printmaking Department, and a member of the China Artists Association.His artistic practice explores the aesthetic significance of various printmaking impressions. Using a unique printmaking language, he depicts both the new and old aspects of Beijing, which is filled with humanistic concern.Zhou Jirong’s Landscape Series continues his long-standing focus on urban themes. Taking Beijing’s Central Axis as a starting point, this series unfolds reflections on Beijing—a city with profound historical deposits, yet in the midst of dramatic transformation. The series features over a dozen iconic and authoritative buildings from different eras along the Central Axis. When the Bird’s Nest, the Palace Museum, and the Arrow Tower are placed in juxtaposition, they seem to be detached from the bustle of the present moment and situated within the dimension of history. This grants viewers a calm sense of distance, as if looking back on the present from the future in the long river of time.Zhou Jirong, Landscape – Temple of Heaven, 2013, 60cm × 75cm, Comprehensive Printmaking周吉荣，《景观——鼓楼》，2013年，75cm×60cm，综合版画周吉荣，《景观——碑》，2013年，60cm×75cm，综合版画The Beijing Cultural and Art Fund is a public welfare fund initiated and established by the Beijing Municipal Bureau of Culture and Tourism. It focuses on providing support in three key areas: stage art creation, cultural communication and exchange, and art talent cultivation. The fund accepts applications from the public, its funding process is subject to social supervision, and the outcomes of its funded projects are shared with the public. This maximizes the enthusiasm of social forces to participate in cultural development, builds an open, equal, public, and transparent art funding system, and fully leverages the demonstration and leading role of Beijing as a national cultural center.2024 Funding Project of Beijing Cultural and Art FundRising At Dawn—Beijing-Themed Artworks from CAFA Art Museum CollectionExhibition Dates: September 18 – October 19, 2025Venue: 3A and 4th Floor Exhibition Hall , CAFA Art MuseumHost: Central Academy of Fine ArtsCo-organizer: CAFA Art MuseumSupporter: Office of Research Administration, Central Academy of Fine ArtsChief Editor / He Yisha Editor / Du Yinzhu
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: 美育新场景，师者新体验 ——央美美术馆“师者之夜”点亮跨界教学灵感

2025-10-10

为教师导览馆藏作品展的中央美术学院美术馆志愿者们活动当日，北京市中小学生社会大课堂管理办公室开展了社会大课堂资源单位教育能力提升专题培训，采取主题沙龙+案例观摩的方式，50多家社会大课堂资源单位和部分区社会大课堂办公室参加。培训聚焦活动设计的科学性与教育性，推动资源单位教育服务能力的专业化发展，提升社会实践活动的育人实效，构建协同共进的高质量社会实践育人共同体。
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: 喜讯｜我馆入围2025年朝阳区社会大课堂新资源单位

2025-10-10

2025年9月30日，北京市朝阳区青少年活动中心公布了《2025年朝阳区社会大课堂新资源单位入围名单》，中央美术学院美术馆成功入选。中央美术学院美术馆是隶属于中央美术学院的高校美术馆，中央美术学院作为教育部直属公办高等美术学府，以培养顶尖艺术人才为宗旨，学科涵盖美术、设计、建筑等，师资雄厚。我馆的历史可追溯到20世纪50年代初，原名“中央美术学院陈列馆”，原址于北京市王府井帅府园校尉胡同，由著名设计师张开济主持设计，是新中国首座专业美术展览馆。1998年，陈列馆更名为“中央美术学院美术馆”。2008年，美术馆新馆落成开放，位于朝阳区花家地南街8号的中央美术学院院内，由日本著名建筑师、普利兹克奖得主矶崎新主持设计，建筑面积近1.5万平方米，拥有6000余平米的展览空间。我馆于2010年底被评为首批“全国重点美术馆”之一，2022年获评第一批“全国科普教育基地”。作为一所集合学术研究、展览陈列、典藏修复和公共教育等功能的专业性、国际化的现代美术馆，它秉承“兼容并蓄、继古开今”的学术理念，以“用智识服务于社会”为根本，致力于当代公共文化空间的建设，以全新的视野向广大公众呈现人类的艺术文明，与社会各界分享时代文化。我馆年均接待70-80万人次，每年举办30-40场展览，工作坊、讲座等活动200余场，年接待学生团体超200批次。作为国际化、现代化的美术馆，我馆有三大特色：学术资源丰富01多年以来，中央美术学院美术馆围绕前沿议题、馆藏研究、跨地域交流、社会美育、学院教育、名家个案策划了大量展览，旨在以历史的、国际的、当下的、先锋的视角勾勒艺术世界的丰盈图景，为社会与学界提供关于艺术知识的系统脉络。馆内主要展览分为六个类型，分别为：“当代前沿展览”“传统经典展览”“国际交流展览”“科普美育展览”“教学研究展览”“中坚艺术力量展览”。其中《中央美术学院美术馆藏陈列——古代中国艺术》，200余件馆藏古代艺术展品分为“器物”和“书画”两大类型，时代跨度两千年。展览细分为铜镜、画像砖、俑、陶瓷、宗教造像、人物画、花鸟画、山水画、书法九个子类，兼及中国古代艺术的主要类型。其中“器物”类大部分藏品均为首次展出。古代艺术，是建构中国文化审美观念的基础，是理解中华民族精神传承的渠道，也是当下艺术创新的灵感源泉。在美术馆策划馆藏陈列之初，就将古代艺术作为重要基石，作为陈列的主体部分和创新源泉。中央美术学院美术馆藏陈列——古代中国艺术展览现场《中央美术学院美术馆藏陈列——现代中国美术（1900-2000）》则是从中央美术学院美术馆2万余件馆藏作品中精选20世纪中国美术作品247件优秀作品，精心呈现了“现代中国美术”部分。展览以时间为主线，分为1900-1949、1950-1976、1977-2000三个板块，梳理了油画、中国画、版画、雕塑等百年造型艺术的发展脉络。学生可通过展览感受不同时期的艺术追求、艺术探索以及作品呈现的时代面貌。展览荟萃了多件收录于北京市中小学美术教材的作品。这使得美术馆超越了静态的展示空间，成为课本知识的生动延伸与美育教学的“活态现场”。作为不可或缺的艺术实践基地，我们正致力于将原作的力量注入教育，让这里成为提升青少年审美素养的“第二课堂”。除此之外，“中央美术学院毕业季”从每年4月底至6月底开启，包括研究生毕业展和本科生毕业展两部分，呈现1000多位毕业生丰富精彩的作品。这是一场盛大的艺术舞台，整体涵盖了中央美术学院绘画、雕塑、实验艺术、数字艺术、设计、建筑、美术史论、艺术理论等多个领域，重点展示了央美学科的多元化和未来艺术发展的可行性。馆藏体系完整02上世纪五十年代以来，中央美术学院美术馆一直持续、有序地开展收藏工作，藏品约2.2万件，数量约3万幅。形成了中国古代书画收藏序列、近现代美术收藏序列、当代艺术收藏序列、毕业生留校作品收藏序列以及国际艺术收藏序列。这些藏品是中央美术学院美术馆立馆之本，也是美术馆开展学术研究、展览展示、教育推广和对外交流等各项工作的重要基础。中央美术学院美术馆藏陈列——古代中国艺术展览现场美术教育资源突出03依托中央美术学院美术馆的展览、藏品等资源，我馆公共教育部通过对展览的深入挖掘，策划针对不同人群、学龄段的艺术工作坊、艺术课程以及公共实践活动，实施定时公益导览，促进艺术与公众之间的双向交流。除此之外，我馆背靠强大的学术背景，核心师资涵盖艺术史以及美术教育、造型艺术（国画、油画、版画、雕塑）、设计、艺术与科技、艺术史、艺术管理与教育等雄厚师资力量以及教学资源。“伸手触摸”感受“神兽出没” 工作坊现场“小小策展人”工作坊顺义九中团体参观一六一中学与新农村中学参观中央美术学院毕业季展览一六一中学与新农村中学参观中央美术学院校园美术馆志愿者为学生团体参观导览毕业季参展毕业生为顺义国际幼儿园学生介绍作品展览还涵盖爱国主义教育资源，包括“为劳模画像”项目、国家形象设计以及红色主题创作，中央美院师生参与国庆阅兵、人民币设计等国家级视觉项目；传统文化教育资源涵盖中国画、书法、篆刻、非遗研究，以及古代壁画修复等内容。中央美术学院美术馆诚挚欢迎北京市各中小学将我馆列为社会实践基地。为保障活动顺利开展，敬请关注“中央美术学院美术馆”官方微信公众号，以便及时了解最新的展览与活动动态。我馆除长期陈列的馆藏展及毕业季展览外，其他临时展览均围绕本馆学术研究方向策划。请根据当期展览内容，确定适合贵校的社会实践主题，至少提前10个工作日启动预约流程：致电 010-64771575 转公共教育部，进行初步沟通。邮件确认：将详细的活动需求方案发送至公共教育部邮箱：cafamedu@cafa.edu.cn。我馆将在收到邮件后的3个工作日内予以回复。一旦预约成功，双方即可协同筹备相关课程材料，并最终按计划组织实施参观等实践活动（官方网站：www.cafamuseum.org）。主编 / 何一沙责编 / 杜隐珠
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: CAFAM Academic Season | Retrospective Lecture Forum "Cultivation and Exploration"

2025-10-09

Guest group photoForumIntroductionOn June 21, the forum 'Cultivation and Exploration: An Overview Of The Study and Current Status of The CAFA Art Museum Collection' was held at CAFA Art Museum.As part of the series of activities for the 2025 CAFAM Academic Season, the forum, themed 'Cultivation and Exploration', focuses on academic research, exhibition practices, and preservation status of museum collections. It aims to deeply explore the historical context, academic value, and contemporary significance of the museum's art collection. Taking the classic works on display in the museum's permanent exhibitions and the logic of collection building as its main body, the forum includes recent academic research achievement on these collections. It seeks to introduce the rich art collection of CAFA Art Museum to all sectors of society through this open academic exchange platform, promoting deeper research and broader dissemination of the collections. The forum has invited experts who have been deeply engaged in collection research in recent years to deliver keynote speeches. These experts have achieved much in individual case analysis of collections, exhibition planning, and restoration and preservation of collections. Divided into two sessions, 'History and Legacy' and 'Refinement and Renewal', the forum focuses respectively on 'Chinese Ancient Art' and 'Chinese Modern and Contemporary Fine Arts'. It covers overviews of different types of collections, introductions to representative works, and processes of collection maintenance, including cultural relics from art archaeology, ancient calligraphy and painting, ceramic art, religious art, modern oil paintings, and contemporary ink wash paintings. Notably, the content of this forum will also serve as important material for the Young Scholars Forum in the second half of the year.Director Jin Jun of CAFA Art Museum delivered a speechAt the beginning of the forum, Director Jin Jun of the museum delivered a speech on behalf of the art museum. He mentioned that this year, taking the opening of the second-floor collection exhibition as an opportunity, the 2025 "CAFAM Academic Series" was officially launched. The previously held International Art Museum Summit and the University Art Museum Alliance Conference have laid a high-standard foundation for the Academic Season, focusing on industry development and aesthetic education innovation. As a key part of the Academic Season, this forum will deeply explore the academic value and practical paths of the collection of CAFA Art Museum, which is of great significance. Jin Jun introduced that since its establishment, CAFA Art Museum has always been committed to art collection and academic research. Today, with nearly 30,000 pieces of collections spanning ancient and modern times, they are not only witnesses to the development of art but also important resources for exploring cultural lineages. Faced with the challenges of digitalization and globalization in global art museums, the museum hopes to build a bridge between academia and the public through the Academic Season, promoting collections from collection and research towards sharing.First Half: History and LegacyThe first half was hosted by Zhang Peng, a professor at the Central Academy of Fine Arts, Editor-in-Chief of the Journal of Art Studies, Director of the Editorial Department of the Academic Journal, and Deputy Director of the Collaborative Innovation Center for Silk Road Art Studies.Gao Gao, Deputy Director of CAFA Art Museum, made a speechGao Gao systematically introduced the development history and work achievements of the art museum. The Central Academy of Fine Arts Museum is a professional, international modern art museum integrating academic research, exhibition display, collection and restoration, and public education functions. It currently has nearly 30,000 collections. Its collection has been continuously enriched since the establishment of the Beijing Art School in 1918, gradually forming a complete sequence covering ancient, modern, and contemporary periods. Over the years, the museum has carried out systematic practical work such as exhibitions, publications, and restorations around its collections, with the collection display starting in 2024 being a representative phase achievement. These efforts fully reflect the unique value and responsibility of the museum as a research-oriented institution in the public cultural system, and also keep the collections constantly "vitalized", forming an organic cycle from "collection" to "research", "display", and then to "public sharing".Geng Shuo, Deputy Director of the Department of Cultural Heritage Studies, School of Humanities, and Deputy Director of the Research Center for Art Archaeology, Central Academy of Fine Arts, delivered a speech.Taking the collection's exhibited bronze mirrors and terracotta figurines as a starting point, such as the Han Dynasty 'Xi Wangmu Pounding Medicine' image mirror and 'Hunting and Harvesting' image brick, as well as Tang Dynasty polychrome music and dance figurines, Geng Shuo introduced the basic situation, sources, and key works of such collections from the perspective of art archaeology. This showcased the unique expressive forms and rich ideological connotations of ancient Chinese art in fields such as utensils, images, and sculpture.Tian Shuai, Professor of Beijing Normal University and Deputy Curator of the Cultural Relics Museum of Beijing Normal University, delivered a speechTian Shuai focused on the representative ceramic artifacts in the museum's collection. Taking the fine pieces on display—such as the celadon wares of the Longquan Kiln from the Song and Ming dynasties, the polychrome porcelains of the Kangxi reign in the Qing dynasty, and the red-glazed plates of the Yongzheng reign in the Qing dynasty—as examples, he introduced the basic status and origins of this type of collection. These ceramics come in a variety of categories, including celadon, white porcelain, and blue-and-white porcelain. Spanning a thousand years and covering a complete system of kilns, they systematically present the development process and artistic forms of ancient Chinese ceramic craftsmanship.Professor Huang Xiaofeng, Dean of the School of Humanities at the Central Academy of Fine Arts, made a speechHuang Xiaofeng introduced the basic situation of the art museum's collection of calligraphy and painting, as well as recent exhibition and research achievements, using high-quality ancient calligraphy and painting works on display, such as Ren Bynian's 'Xingqi Tu of Hengyun Shanmin' and Bada Shanren's 'Ink Lotus Diagram'. The collection of ancient calligraphy and painting by the Central Academy of Fine Arts began during the period of Beiping Art College. During the late 1950s when Xu Beihong served as the president, it started large-scale acquisitions and acceptance of donations. To date, including those from the affiliated middle school, the collection exceeds 2,000 pieces, mainly featuring Ming and Qing dynasty paintings, with some Song and Yuan dynasty paintings, Northern and Southern Dynasties, and Tang dynasty scriptural copies. In addition to works by renowned artists, some genre paintings and portrait paintings also reflect the possibility of the collection's initial service to teaching and the shift towards research in the discipline of art history.Zheng Yi, Professor of the Central Academy of Fine Arts, delivered a speech.Zheng Yi gave an introduction focusing on the religious cultural relics in the collection, with special emphasis on 7 selected bronze statues of Tibetan Buddhism in the Ming and Qing dynasty styles displayed in the exhibition. These include two solemn statues of Sakyamuni, four elegant and graceful statues of Tara, and one statue of Mahasaraswati adorned with numerous ritual implements. He provided a detailed account of the basic information about these statues and their representative works, and explained that the themes and styles of these statues reflect the Tibetan Buddhist art trends led by the imperial courts of the Ming and Qing dynasties. Although it is difficult to confirm that they were supervised and crafted by the imperial workshops, their shapes and craftsmanship are quite remarkable. The Buddhist statues demonstrate diverse cultural features, and further embody the profound and far-reaching Chinese stories in their aesthetic and conceptual connotations.Second Half: Sublimation and RenewalThe second half was hosted by Liu Xiyan, Director of the Curatorial and Research Department at the CAFA Art MuseumProfessor Cao Qinghui of the Central Academy of Fine Arts made a speechCao Qinghui focused on the museum's collection of over a thousand modern oil painting treasures. Starting from works by early overseas-educated painters—such as Li Shutong's Semi-Nude Female Portrait (1909) and Wu Fading's Portrait of a Woman in Banner Dress—moving on to works by Soviet-educated artists like Li Tianxiang and Luo Gongliu after the founding of the People's Republic of China, and then to exploratory works by senior, middle-aged, and young academic artists since the reform and opening-up, he systematically sorted out the sources of the collection (including teacher donations, exhibition acquisitions, and outstanding works by graduates). He outlined the interactive trajectory between the century-long development of Chinese oil painting and academic education, demonstrated the core role of the Central Academy of Fine Arts and its predecessors in oil painting teaching, creation, and talent cultivation, as well as the history of Chinese social changes and the evolution of artistic language reflected behind this.Xu Yan, Oil Painting Restorer at the CAFA Art Museum, delivered a speechTaking the restoration of Li Shutong's Semi-Nude Female Portrait and Wu Fading's Seashore as examples, Xu Yan gave an in-depth introduction to the inspection and restoration work. After the 2012 authentication seminar for Semi-Nude Female Portrait, the restoration studio confirmed the work's creation date and authenticity through technical analysis, laying the foundation for its restoration. As for Seashore, it was able to be exhibited long-term in this collection exhibition after restoration. He emphasized that oil painting restoration work not only provides empirical evidence for building a research-oriented conservation system, but also holds great significance for the study of early 20th-century Chinese oil painting art.Yu Yang, Professor of the Central Academy of Fine Arts, Director of the Scientific Research Department, and Director of the Advanced Innovation Center for Visual Arts, delivered a speechTaking the fine modern and contemporary ink wash works on display—such as Xu Beihong’s Galloping Horses and Fu Baoshi’s Scroll of Landscapes—as a thread, Yu Yang analyzed the origin and historical evolution of the museum’s collection of modern and contemporary ink wash art, and expounded on its artistic characteristics and documentary value. The collection includes over 2,000 Chinese painting and calligraphy works from more than a century. It not only covers works by renowned artists from the early history of CAFA and the tradition of Chinese painting teaching at the academy since 1949, but also includes works from the Beijing art circle and other regional painting schools in the 20th century. It can be called an epitome of the context of calligraphy and painting from both northern and southern regions over the past century, and also a vivid and intuitive documentary and image archive of the history of 20th-century Chinese art education.Dou Tianwei, Paper-based Artwork Restorer at the CAFA Art Museum, delivered a speechTaking the restoration of Zheng Banqiao’s Calligraphy and Qi Baishi’s Morning Glories as examples, Dou Tianwei detailed the specific process of paper-based artwork restoration. He pointed out that restoration is an essential behind-the-scenes work in a museum’s collection management and exhibition. As a bridge connecting history to the present and original works to the audience, it not only concerns the physical integrity of the collections but also embodies respect for the continuity of cultural heritage. Regarding issues such as damage and fading that easily occur in paper-based collections due to the fragility of their material, professional methods including scientific inspection, cleaning treatment, structural reinforcement, and partial supplementation can be adopted. These methods, based on respecting the original condition of the works, help restore their original appearance, slow down deterioration, and ensure the quality of exhibition displays.Li Yaochen, Director of the Collection Department at the CAFA Art Museum, delivered a speechLi Yaochen gave an introduction focusing on the collection of individual artist cases. He expounded on the emphasis placed by the CAFA Art Museum on the construction of individual case sequences in its collection acquisition work since the museum's establishment, as well as the practices of in-depth interpretation and exploration of the value of individual case collections through exhibitions, publications, research, and other means. From the perspectives of the types of individual cases of modern artists, reflections and prospects on collection development, and research work, he presented the basic characteristics of the museum's collection work on individual cases of modern artists to the society and academic circles, and emphasized its importance in the composition of the collection.Han Wenchao, Secretary of the Directly Affiliated Party Branch of the CAFA Art Museum, delivered the closing speechForum VenueThe forum themed "Cultivation and Exploration: Research and Current Status of the Collections at the CAFA Art Museum" successfully concluded amid extensive responses from both online and offline audiences. In his closing speech, Secretary Han Wenchao stated that this academic feast is not only an in-depth analysis of the historical context and academic value of the museum's collected artworks, but also an innovative exploration of art research methodologies. The end of the forum is not a finish line, but a starting point for a new journey. Its achievements will serve as an important foundation for the Young Scholars Forum in the second half of the year, continuously promoting the deepening and dissemination of academic research. In the future, the CAFAM will continue to take its collections as a link, build a bridge for dialogue between academia and the public, constantly explore new paths for art research and exhibition practice, and contribute to the inheritance and innovation of art and culture. We look forward to continuing to work hand in hand with all of you to witness more academic achievements and share the brilliant splendor of art and culture together!CAFAM Academic SeriesThe CAFAM Academic Series and the "Exhibition of Collections from the Central Academy of Fine Arts Museum" were launched simultaneously. A series of activities focusing on industry development, art museum management, and collection research are planned to be held throughout 2025. With a global perspective and cross-cultural dialogue, the museum aims to expand the public’s understanding of its rich collections, explore the responsibilities and missions of contemporary art museums in the context of globalization and digitalization, provide the public with a platform for in-depth participation in artistic dialogue, and realize the organic integration of academic research, public education, and social engagement. The specific activity schedule includes: The Art Museum Forum titled "Cultural Engine – International Art Museum Summit Forum of the Central Academy of Fine Arts" and the "National Alliance Meeting of University Art Museums" in March; The Lecture Forum "Cultivation and Exploration: Research and Current Status of the Collections at the Central Academy of Fine Arts Museum" in June; The Industry Forum "Custody and Dissemination: Art Museum Collection and Exhibition in the Public Context" in September; The Youth Forum "Rediscovery and New Interpretation: Case Studies on Collection Research at CAFA Art Museum" in October.Chief Editor / He YishaEditor / Du YinzhuSummary & Compilation / Meng Qingling
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: Cold Dew Today

2025-10-08

Cold Dew Today
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: 不容忽视的存在 | 许幸之的文学艺术

2025-10-08

“雄歌一曲献中华——许幸之艺术成就回顾展”展览现场在20世纪中国文艺史上，许幸之是一个不容忽视的突出存在，而文学，是许幸之最早也是最持久的表达方式：17岁便以新诗登上《觉悟》副刊，1924年又以小说《海涯》刊于《东方杂志》，正式迈入新文学行列。他的诗既有《牧歌》式的柔情哀思，也有《中国的母亲》《春雷》这类抗战时期鼓舞人心的作品和《不平等的列车》《大板井》这样揭示现实与苦难的史诗长章。抒情与叙事并进，语言简洁，情感真挚。他是将左翼理想融入诗意抒写的实践者，也是一位用文字回应时代的艺术家。他创作的《铁蹄下的歌女》原为一首抗战诗，后经由聂耳谱曲，成为《风云儿女》中的经典插曲。在散文方面，《鹿的父亲》《乡中情札》则在家国记忆与个人追思之间流露出真挚与沉静。许幸之曾经这样表示：“我酝酿我的诗/像蜜蜂酝酿它的蜜/吮吸花的心/接吻花的唇/我要/我的诗/如同蜜蜂一般甜蜜/酿出甘美而馥郁的诗情”，这是他毕生文学追求的真实写照。许幸之在创造社活跃多年，亦为左翼文艺的积极倡导者，始终在抒写个人、关怀社会与探索艺术表达之间寻找平衡。简言之，许幸之以他数十年坚持不懈的新文学创作实践，积极参与了中国新文学的建构。他的不少作品又有自己的风格和追求，是中国左翼文学中不可多得的优秀之作。梳理中国左翼文学的文学遗产，许幸之的诸多建树不可或缺。——陈子善华东师范大学教授许幸之小说、散文合集《归来》（巴金选编的《文学小丛刊第二集》）封面，文化生活出版社，1940年许幸之诗集《诗歌时代》封面，海石书店，1941年许幸之诗集《万里长城》封面，上海联合出版社，1945年许幸之诗集《扬子江》封面，上海联合出版社，1945年《许幸之诗集》封面，郑正主编，香港天马图书有限公司，2004年| 艺术家简介 |百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间：2025年9月18日—10月19日展览地点：中央美术学院美术馆3层B展厅主办单位：中国美术家协会、中央美术学院承办单位：中央美术学院党委宣传部、中央美术学院校史研究中心、中央美术学院美术馆、中央美术学院人文学院、中央美术学院油画系支持单位：中国人民抗日战争纪念馆、中国电影家协会、中国电影博物馆展览鸣谢：中国美术馆、龙美术馆、泰康保险集团股份有限公司、之已基金会、王薇、施俊兆、黄俊、董瑞主编 / 何一沙责编 / 杜隐珠
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: CAFAM Salon Preview | Post-Carbon Future: The Civilization Memory Of Ice And Fire

2025-10-07

The form of energy shapes the hierarchy and rhythm of civilization. The steam engine ignited the Industrial Revolution, reshaping the pulse of cities and rural areas; coal and oil supported globalization and informatization, building industrial networks spanning continents. Today, solar energy is integrated into buildings and urban life in a distributed manner; the energy upgrade from controlled nuclear fusion also heralds the next transformation of civilization. Soviet astronomer Nikolai Kardashev once proposed that the development of civilization can be measured by the total amount of usable energy. Each energy leap not only drives progress in productivity but also rewrites social structures and the form of civilization, while reflecting a civilization's management of entropy—how to guide disordered energy into usable order is the key to a civilization's upgrade.Traces of early civilizations are stored in matter: bubbles, tiny particles, and microorganisms trapped in ice cores record millions of years of Earth's meteorological history. As the Industrial Revolution and information technology develop, the memories preserved in ice sheets will present new geological evidence. Fire, on the other hand, carries another form of civilizational memory: Edison's 'Black Maria'—the film darkroom—where negatives are washed with sunlight, reorganizing energy on nitrate-based film to allow images to flow. As Nadia Bozak writes in 'The Cinematic Footprint': 'Every frame of film is our civilization's mastery over the sun, presented through fossilized solar fire—in the form of carbon—that we have captured, refined, and appropriately utilized.'This event, titled 'Post-Carbon Future: The Civilization Memory of Ice and Fire', focuses on the changes in the civilization level and pace during the energy transition, echoing the future civilization imagination presented by controlled nuclear fusion in the exhibition 'Energy and Civilization — Science & Art · Fusion Future'. The exhibition takes multiple installations as its core, breaking down the boundaries between science and art, transforming nuclear fusion principles into intuitive sensory experiences. At the same time, this event is also the concluding act of the 'Post-Carbon: The Political Economy of Light and Heat' screening and forum series. The 'Post-Carbon' series has been presented in multiple cities including Beijing, Shanghai, and Guangzhou, responding to the impact of solar energy and southern heatwaves on landscapes, technology, and visual culture.This forum will screen the film 'In the Ice, Everything Leaves a Trace' and invite Christoph Oeschger, the Swiss artist who created the film, Zheng Jun, a science and cultural writer, and Liu Yongmou, a professor of philosophy at Renmin University, to jointly explore the future society and civilization forms after energy transition from three dimensions: art, science fiction, and philosophy. Event Schedule Time: October 8, 2025 (Wednesday) 14:00--16:00Theme: 'Post-Carbon Future: Civilization's Memory of Ice and Fire' Host: Chen Yu (scholar in design theory, young curator, new media artist, co-curator of 'Post-Carbon') Film Screening: 'In the Ice, Everything Leaves a Trace'; by Swiss artist Christoph Oeschger, 13 minutes 09 secondsGuest Speakers: Zheng Jun (science and culture writer, futurist) Christoph Oeschger (Swiss artist) Liu Yongmou (Wu Yuzhang Chair Professor at Renmin University) Roundtable Guests: Cai Yixuan (curator, Black Void artist, 'Post-Carbon' curator)Scan the QR code to book a spotLimited spots available First come, first served Film Introduction In the Ice, Everything Leaves a Trace，Christoph Oeschger，Switzerland，13’09As Arctic sea ice retreats, previously inaccessible areas are opening up for resource extraction and territorial claims. The Arctic is transforming from a romanticized wilderness into a arena of interests in technology, economics, and geopolitics. The film 'In Ice, Everything Leaves a Trace' presents these transformations from a poetic perspective, revealing what was originally invisible. It is the first outcome of a collaborative research project initiated by writer Gianna Molinari and artist Christoph Oeschger in Greenland. There, they realized that the Arctic also exists elsewhere—in pipelines, microscopes, electronic devices, and maps, flowing through them. Those wildlands that still remain untouched in our imagination have now become stages for global power and economic ambition. Sharing Guest Liu Yongmou Wu Yuzhang Chair Professor at Renmin University of China, Second-Class Professor and Doctoral Supervisor at the School of Philosophy, Researcher at the Institute for Artificial Intelligence Governance and the National Development and Strategy Institute of Renmin University of China, and Visiting Professor at Gansu Province's Feitian Scholar Program. His main research areas include philosophy of science and technology, and science, technology and society. He has recently published works such as 'The World After the Intelligent Revolution', 'A General Theory of Technological Governance', 'The Metaverse Trap', and 'The Rebellion of Technology'. He has published more than 210 academic papers in Chinese and foreign languages, and has won awards such as the National Excellent Doctoral Thesis Award, the Wu Yuzhang Award, and served as the principal investigator of major projects of the National Social Science Fund.Sharing Theme: 'Energy Leap, Civilizational Cliff and Future Humans'Christoph OeschgerPhotographer, filmmaker, artist, and publisher. His independent work encompasses various forms of documentary filmmaking. He creates using film and photography, incorporating found images and writing text. By collaging source material with his own imagery, he generates interwoven, mutually influencing parallel narratives.In 2014, he co-founded the artist book publisher cpress with Christof Nüssli. In 2020, they expanded the project into cpress films, focusing on producing artist films. He has published multiple monographs and edited various publications. In 2024, he completed his doctoral degree at the University of Arts Helsinki (Uniarts) and conducted research in collaboration with the Zurich University of the Arts (ZHdK). He studied Media Art at the Karlsruhe Institute of Art and Design (HfG) and Photography at the Zurich University of the Arts (ZHdK).His works have been exhibited at institutions and film festivals such as the Winterthur Museum of Photography, the ZKM | Center for Art and Media Karlsruhe, the Geneva Photography Center, the Ann Arbor Film Festival, and the Solothurn Film Festival.Zheng JunGraduated from the Education Department of Tianjin Normal University in 1990, with Psychology as a core professional course. Zheng Jun has created numerous psychological knowledge reads, characterized by their emphasis on behavioral knowledge. Since publishing his debut work in 1997, Zheng Jun has produced works totaling millions of words. With diverse themes and extensive coverage, they have formed several major series and multiple product lines. The 'Toward the Future' series includes five works: 'Rebuilding Behavioral Science', 'The Mission of New Science', 'A Better Life', 'Restarting Scientific Literature', and 'Toward a Scientific Civilization'. Starting from individual behavior, they respectively explore the development trends in the three realms of truth, goodness, and beauty, and finally plan the future of humanity from the perspective of the entire society.Sharing Topic: 'New New Energy - Laying the Foundation for the Future World' Event Information Curator: Cai YixuanCo-curators: Chen Yu, Su LeiHost Organization: Ullens Center for Contemporary Art, China Central Academy of Fine ArtsSupporting Organization: Pro Helvetia Shanghai OfficeInitiating Organization: Black VoidMedia Partners: Meta Eye, ConversazioneCai YixuanBlack Void is a principal, artist, designer, and curator. She holds dual degrees in Architecture and Fine Arts from Rhode Island School of Design, focusing on the hybrid ecosystem formed by technology and nature. Her works 'Atmospheric Alchemy Twin Cloud' and 'Biosphere 3' have been nominated for the 2024 Luminary Award, won the 10th Ideal Home Future Award and the IEEE Data Art Gold Award. They have been exhibited at venues such as the National Art Exhibition, Venice Arsenal, Power Station of Art (Shanghai), and introduced in CCTV documentaries. She founded the art organization Conversazione, which has held hundreds of lectures and exhibitions in New York and Beijing, including curated shows like 'Vibrating Clouds' (Design Society) and 'Qi Wu Sheng Xi' (OCAT). Her research project 'Post-Carbon' focuses on landscape and culture during energy transition, and she teaches the 'Post-Carbon Future' course at the Central Academy of Fine Arts.Chen YuA scholar in design theory, young curator, and new media artist, she is currently a doctoral student in the Department of Information Arts and Design at the Academy of Arts and Design, Tsinghua University, and concurrently serves as the Chief Curator of the Center for Human Imagination Research at Southern University of Science and Technology. She has long focused on science fiction exhibitions, designing the future, and interdisciplinary research at the intersection of art and technology. She has curated exhibitions such as the 'Post-Life' Media Art Biennale, the Science Fiction Section of the Shenzhen-Hong Kong Urban Biennale, the 'Foresight · Visible' International Exhibition, and the 'Future Scenarios' series. In 2024, she went to Politecnico di Milano as a visiting scholar on a national scholarship. Her research have been presented at international conferences such as IASDR, HCII, and Anticipation, and have been in databases including SSCI, EI, and ACM.● ●●●●●| About the Swiss Cultural Foundation |The Swiss Arts Council is committed to promoting Swiss contemporary culture and arts both domestically and internationally. Established by the Swiss government in 1939, its Shanghai office was set up in 2010 with the aim of supporting cooperation and exchanges between artists and institutions in China and Switzerland, and facilitating the sharing of knowledge and experience in the cultural field between the two countries through project initiatives. Currently, the projects conducted by the Swiss Arts Council's Shanghai office are primarily focused on Swiss contemporary art, encompassing numerous areas such as visual arts, performing arts, design, music, and literature.| About Black Void |Black Void is an art and science creation team composed of creators from backgrounds in digital media, architectural design, data science, and music. Their work focuses on the hybrid ecosystem co-built by technology and nature. Through big data analysis, they uncover the stories behind ecological events, and through installations, they respond to changes in natural energy, establishing a dialogue between precise engineering, chaotic energy, and mysterious nature. The topics they focus on include 'clouds,' 'carbon,' 'light,' and 'interstellar life.' About the Exhibition Click the image to view exhibition detailsEnergy and Civilization — Science Art · Fusion FutureExhibition Venue: First-floor Exhibition Hall, Central Academy of Fine Arts MuseumExhibition Time: September 14 - October 12, 2025Editor-in-Chief / He Yisha Editor / Du Yinzhu
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: CAFAM Science Popularization Salon Preview | Scientists VS Artists

2025-10-06

A Brainstorm Between Scientists and ArtistsSince its opening at CAFA Art Museum, the large-scale science popularization exhibition titled "Energy and Civilization: Science & Art·Fusion Future" – co-sponsored by the Central Academy of Fine Arts, the Energy Research Institute of Hefei Comprehensive National Science Center, and the People's Government of Hefei Municipality, and co-organized by the Joint Laboratory of Science and Art under the Energy Research Institute of Hefei Comprehensive National Science Center as well as Sun Energy (Hefei) Culture and Technology Co., Ltd. – has garnered widespread attention and coverage from all sectors of society. In conjunction with this exhibition, CAFA Art Museum has launched a series of science popularization activities, including academic forums, live-streamed explanations, concentrated science popularization lectures for on-site visitors, and science popularization workshops.During the combined National Day and Mid-Autumn Festival holidays, to further promote the science popularization and communication of the exhibition and deepen interactive exchanges with both online and offline audiences, we will host a unique "Scientists VS Artists" salon. Distinguished guests invited to engage in on-site discussions at the exhibition hall include: Dr. Dong Shan, a well-known science popularization promoter; Dr. Kong Defeng, chief scientist of a national key R&D program; Dr. Wang Lishi, assistant researcher at the Energy Research Institute of Hefei Comprehensive National Science Center; Professor Zhang Zhaohong from the Central Academy of Fine Arts and curator of the "Energy and Civilization" exhibition; and Associate Professor Su Lei (FSD), curator. They will conduct in-depth discussions on topics such as energy, nuclear fusion, AI, and art intervention. Salon Guests Dong ShanScience popularization promoter for national tour lectures and director of the science content at "Hairy Planet". She holds a PhD from the Institute of Semiconductors, Chinese Academy of Sciences (CAS), and previously served as an assistant researcher at the State Key Laboratory of Superlattices and Microstructures. She also completed her postdoctoral research at the School of Aerospace Engineering, Tsinghua University. Since January 2022, she has been the chief planner and scientific director for the "Becoming a Scientist" series at the University of Chinese Academy of Sciences (UCAS), where she documents, interviews, and films the stories of China’s top scientists.Kong DefengPhD, Doctoral Supervisor, Huangshan Scholar, and Chief Scientist of a National Key R&D Program. He is a Research Fellow at the Energy Research Institute of Hefei Comprehensive National Science Center and Director of the Fusion Industry Center. He obtained his PhD degree from the University of Science and Technology of China (USTC) in 2013 and once served as a Visiting Scholar at the Lawrence Livermore National Laboratory (LLNL) in the United States. Dr. Kong has long been engaged in the physical design of fusion reactors and the development of core fueling systems. He led the development of the world’s first compact torus core fueling system (CTI) for medium-to-large tokamaks, and successfully conducted the first core fueling experiment on the Experimental Advanced Superconducting Tokamak (EAST) device. In recent years, he has published 15 papers as the first author or corresponding author, among which 10 were published in Nuclear Fusion (a top-tier journal in the SCI Category 1).Wang LishiPhD, Assistant Researcher at the Energy Research Institute of Hefei Comprehensive National Science Center. Research Interests: Accelerator Physics and Technology, Research on Compact Torus Injectors. He has participated in the design and commissioning of the water-cooling system for the Wuwei Heavy Ion Cancer Therapy Facility, the renovation of the temperature monitoring system for the Lanzhou Cooler Storage Ring (CSR), and the construction of the cryogenic test station for superconducting magnets of the Heavy Ion Accelerator Facility (HIAF). Additionally, he took part in the development of simulation experiments for accelerators and heavy ion therapy on the NUSEP platform. Currently, he is engaged in research on compact torus injectors for controlled nuclear fusion.Zhang ZhaohongCurator of the "Energy and Civilization" Exhibition; Faculty Member of the Sculpture Department at the Central Academy of Fine Arts (CAFA). He is an artist, researcher and practitioner in public art, as well as the initiator and member of the "Left Behind Group" (an art collective). Devoted to experimental research and practice in public spaces, he has maintained long-term cooperation with a number of well-known domestic real estate enterprises and public space managers. Through research on public space design, he aims to transform the perceptions and views of public art and public spaces in mainstream Chinese society.Su LeiMember of the Curatorial Team for the "Energy and Civilization" Exhibition. He is a contemporary art curator, with research interests focusing on cultural landscapes, consumer society, philosophy of technology, and museology within the interdisciplinary field of techno-art. He currently serves as an Associate Professor at the Smart Scenario Laboratory of the School of Future Design, Beijing Normal University. He received his education sequentially from the Central Academy of Fine Arts, University of Saint-Denis (Paris), École Nationale Supérieure d’Architecture de la Villette (Paris), and École des Hautes Études en Sciences Sociales (EHESS, France). Host Geng JinghuaWriter & Curator, Deputy Director of the Public Education Department at CAFA Art Museum Event Introduction Event TimeOctober 7, 2025, 14:30-16:30VenueStaircase Area on the 1st Floor, Art Museum of the Central Academy of Fine Arts (CAFA)Participation MethodVisitors can participate by purchasing an art museum ticket directly. Holders of CAFAM Annual Passes can enter the campus and the museum with their passes.All are welcome to join the observation and discussion!● ●●●●●Organizers:CAFA Art MuseumJoint Laboratory of Science and Art, Energy Research Institute of Hefei Comprehensive National Science CenterSun Energy (Hefei) Culture and Technology Co., Ltd.Curator:Public Education Department of CAFA Art MuseumSupporters:Media Department of CAFA Art MuseumOffice of CAFA Art MuseumClick on the image to view the exhibition detailsEnergy and Civilization: Science & Art · Fusion Future Exhibition Venue: 1st Floor Exhibition Hall, CAFA Art MuseumExhibition Duration: September 14 - October 12, 2025Chief Editor / He YishaEditor / Du Yinzhu
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: 展览导读 | 在“冉冉晨城”中，艺叙古都“更新”

2025-10-04

“冉冉晨城：中央美术学院美术馆藏北京主题作品展”聚焦中国现当代美术史中北京城市形象的艺术叙事，通过系统梳理中央美术学院美术馆所藏的北京题材艺术作品，并邀请多位艺术家展出其精品力作，深入探讨不同历史时期艺术创作与社会语境的互动关系。展览以“晨起”“蓬勃”“更新”“择中”为叙事线索，建构起一个跨越时空的艺术对话场域：一方面呈现不同代际艺术家在都市景观描绘与人文精神诠释中的风格流变；另一方面，则聚焦于当代语境下艺术家对城市主题的持续探索与观念革新。更新第三板块在历史的地层与未来的蓝图交汇之处，在十三世纪古城墙与二十一世纪天际线的相遇之地，我们得以见证一座都城如何持续生长出属于当代的文化年轮。艺术家以视觉的方式，解剖建筑肌理，唤醒文化记忆，揭示古都更新的深层逻辑：不仅是物理空间的重组，更是集体记忆的移植与精神场域的重构。邵声朗，《北京风景之二：西城朝晖》，1961年，65cm×34cm，纸本设色《北京风景》组画以“燕京八景”为题材，构建出具有新中国气息的城市景观。邵声朗以俯瞰视角呈现北京城廓，融合西式焦点透视与水墨皴擦，用屋脊、道路等视觉线条营造空间感，使观者仿佛从高处俯瞰“风景”。光感亦是表现的重点，在《北京风景之二：西城朝晖》中可以识别出沐浴在橘红色的城市是处在清晨的特定时间段。《北京风景》是艺术家邵声朗“立足传统、面向生活”的早期探索，旨在以“新国画”构建新中国山水画的美学范式。戴泽，《东方炼油厂之九》，1976年，27.5cm×39.5cm，纸本水彩《东方炼油厂》组画从多个角度记录了北京西郊的东方红炼油厂的工业场景。戴泽运用水彩的通透性与晕染技法刻画了厂房、传送带、高耸的塔器与交错管道，通过“物”的硬朗质感，以及干笔勾勒管道的粗糙肌理，传达了工业建设的蓬勃，凸显生产规模与秩序，营造出充满活力的时代氛围。此组画源于上世纪70年代石化工业建设的蓬勃发展之时，戴泽多次写生描绘工厂的新景象。不仅体现戴泽“以写生为创作”的理念，更成为一份珍贵的时代视觉文献。王琦，《“大街上的旋律”组画之立体交叉》，1987年，40.2cm×28cm，木版单色此组作品《大街上的旋律》出自中国现代版画先驱王琦之手。他以黑白木刻的技法表现了城市奔向未来的现代气息与活力。在《立体交叉》一作中，以现代桥梁的曲直线条分割画面，画面下方嵌入了1981年北京地铁正式对外运营的中国首条城市轨道交通。此作曾登上大英博物馆馆刊首页，以其独特的艺术语言跨越文化边界，不仅探索了木刻版画的刀法和形式，更呈现了改革开放后中国城市化进程的蓬勃生命力。张桂林，《记忆之五》，2008年，45.5cm×67.5cm，丝网套色《记忆》系列的四件丝网套色版画以鲜明色块的叠印，重现北京地标的历史意象与个人情感。《记忆之五》采用黄蓝撞色，通过留白和简单的线条勾勒形成建筑造型，下部点缀的橙色圆圈好似欢呼与烟花。张桂林通过色彩结构与符号叙事完成其对北京奥运会的视觉叙事。作为中国丝网版画创作的先行者，他以视觉强度记录历史时刻，传递出个人与城市的深刻共鸣。孙景波，《1985年的王府井大街》，1985年，100cm×80cm，布面油彩，艺术家提供戴士和，《白塔寺》，2022年，100cm×150cm，布面油彩，艺术家提供石煜，《冷》，1997年，60cm×73cm，布面油彩王国锋，《理想 No.3（北京站）》，2007年，76cm×142cm，摄影《理想 No.3（北京站）》这件摄影作品以北京火车站为主体，采用高清晰度的全景技术，焦点均匀分布，将建筑的宏大与细节同时保留于同一画面之中。王国锋刻意避开了人的出现，使巨型的建筑物突兀而富有张力地占据画面，充满笔直的线条感。北京站作为1959年为庆祝建国十周年的“十大建筑”之一，是新中国社会主义建筑的典范，承载着特定的集体记忆，展示了新国家通过建筑来塑造国家和民族的新观念、新价值与社会想象的努力。王国锋在《理想》系列中持续聚焦此类建筑，探讨其如何成为国家权力与集体意识的物化载体。缪晓春，《立》，2007年，253cm×444cm，收藏级艺术微喷《立》聚焦于奥运会场地鸟巢和水立方的建设，呈现了工地的忙碌场景，包括起重机、工程车辆、脚手架与集结的工人等，施工中的体育场馆与远处的现代高楼相互映衬。缪晓春通过长时间的记录性拍摄，将建设过程中的诸多图像拼合为一件摄影作品，使施工现场与逐渐成型的奥运场馆共处同一画面，兼具历史维度和对城市图景的未来想象。缪晓春自进入新世纪后便开始关注城市的更新，用相机记录北京新形象的建立过程。展出的摄影《立》是他在此阶段的代表作之一，体现了他“用绘画的方式做照片”的创作理念，拓展了摄影的表现边界。王川，《西山晴雪》，2009年，112x280cm，收藏级艺术微喷张楠卿，《城市·风景2》，2012年，90cm×130cm，收藏级艺术微喷展览现场专题艺术家：马晓腾第三板块马晓腾，1967年生于北京，1993年自中央美术学院油画系毕业并留校任教。90年代开始，他创作“北京”系列，以70至80年代城市景观为载体，通过记忆与图像结合探讨社会景观中的情感细节，以直接朴素笔触呈现中国式体验。2007年起画风趋于个人化，色彩采用纯色平涂，表达自我经验的转变与艺术体验的更新，其作品缓慢与持久的推进尤为突出。晓腾，《春和景明》，2011年，146cm×240cm，布面油彩马晓腾，《雀鹰》，2012年，120cm×300cm，布面丙烯，艺术家提供马晓腾，《校尉胡同5号》，1996年，97cm×72cm，布面油彩，艺术家提供马晓腾藏北京图书，艺术家提供北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金，重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享，最大限度调动社会参与文化建设积极性，搭建了一个开放平等、公开透明的艺术资助体系，充分发挥全国文化中心的示范引领作用。北京文化艺术基金2024年度资助项目冉冉晨城——中央美术学院美术馆藏北京主题作品展展览时间：2025年9月18日-10月19日展览地点：中央美术学院美术馆3层A展厅、4层展厅主办：中央美术学院协办：中央美术学院美术馆支持：中央美术学院科研处主编 / 何一沙责编 / 杜隐珠
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: 国歌从这里诞生——《义勇军进行曲》诞生背后的故事

2025-10-03

“雄歌一曲献中华——许幸之艺术成就回顾展”展览现场我们的国歌《义勇军进行曲》是怎样诞生的？这首曾经引导中国人民战胜日本侵略者，推翻三座大山反动统治的战歌，有着怎样的背后故事？这也是许多现代的年轻人非常关心的一段历史。1935年5月24日，故事片《风云儿女》在上海金城大戏院上演，一曲激昂雄壮的战歌表达了中国人民不甘做亡国奴、坚决反抗日本侵略者的心声，这就是我们今天的国歌《义勇军进行曲》，而这部电影的导演正是艺术家许幸之。1933年3月，中共地下组织成立了以夏衍为首的“电影小组”，成为领导电影界进步力量的核心。1934年初秋，上海电影界的左翼人士商议拍摄一部反映抗日救亡题材的故事片。不久，由著名剧作家田汉写出了一万多字的《风云儿女》的文学原著，并且由夏衍亲自改编为电影文学剧本。1934年11月，许幸之和吴印咸在上海联合举办绘画、摄影作品展，夏衍在观看展览后邀请他们一起“跳槽”到党领导下的电通影片公司，并接受《风云儿女》的拍摄任务。1935年2月，田汉被捕，他在狱中用香烟盒包装纸的背面写了一段歌词并托人带出监狱，这就是《义勇军进行曲》的原始手稿。许幸之在拍摄电影的同时，与聂耳一起探讨歌曲的作曲问题，两人反复推敲歌曲的首尾部分，并将最终版本的结尾定为“我们万众一心，冒着敌人的炮火前进！前进！前进！进！”。由于增加了叠句，在三个“前进”之后，又以一个“进”字作为铿锵有力的休止符来煞尾，把坚决、勇敢、跨着轻快步伐挺身前进的情绪，表现得更加明快、强烈。1937年7月“卢沟桥事变”后，《义勇军进行曲》成为激励抗日军民的雄伟战歌。20世纪40年代初，美国著名黑人歌唱家保罗·罗伯逊为声援中国人民的抗日斗争，在音乐会上用中、英文演唱了《义勇军进行曲》。1949年9月《义勇军进行曲》被确定为中华人民共和国代国歌，1982年12月正式成为国歌。2004年3月，十届全国人大二次会议通过宪法修正案，将“中华人民共和国国歌是《义勇军进行曲》”写入宪法，赋予其宪法地位。每当亿万中华儿女放声高唱这雄壮、激昂的战歌时，我们胸中的热血就在沸腾，我们在民族复兴的伟大征程上迈出的步伐，就更加坚定有力。许国庆1935年许幸之导演的抗日救亡故事片《风云儿女》初次上映之后，直到20世纪80年代初期，才又在全国重新上映。图为20世纪80年代复映时的海报1935年１月，许幸之在上海电通影片公司，导演了中国最早的抗日题材故事片《风云儿女》，其电影主题歌为《义勇军进行曲》，现在已经成为中华人民共和国国歌1935年2月，许幸之导演电影《风云儿女》现场照片，金石声摄影1935年4月，许幸之（左一）和吴印咸（左二）等人在上海郊区某地拍摄电影《风云儿女》外景1935年3月，聂耳为电影《风云儿女》的主题歌《义勇军进行曲》谱曲，这是他7月从日本寄回国内的最后定稿1935年上海百代唱片公司出品的《义勇军进行曲》原版唱片，只有聂耳作曲的署名，由袁牧之、顾梦鹤等七名男演员演唱1935年5月24日，抗日救亡电影《风云儿女》在上海公映，电影主题歌《义勇军进行曲》很快成为全中国人民反抗日本侵略的战歌。图为该片剧照电影《风云儿女》宣传图片，诗人辛白华（袁牧之饰）到歌舞班子化妆间看望好友阿凤（王人美饰），吴印咸摄影电影《风云儿女》宣传页，刊载于《电通》1935年第2期许幸之的电影艺术许幸之踏入电影界，原本只是偶然。1934年末，他与吴印咸合办“绘画、摄影联展”引起文化界瞩目，夏衍看展后亲自约谈，邀他参与筹拍《风云儿女》，自此开启了他在电影创作一线的旅程。这位本为美术家的多面手，既有诗人的气质与对造型的敏锐，又怀有坚定的左翼革命意识和深刻的历史责任感。他始终关注艺术与社会、技术与思想的结合，尤善以多种媒介表达时代精神。《风云儿女》中，他参与撰稿、画分镜、设场面，更让影片中的主题歌《义勇军进行曲》世人皆知并响彻寰宇，为左翼电影留下标志性成果。其后，他又拍摄抗战纪录片《中国万岁》、军事题材故事片《海上风暴》，以影像之力鼓舞民族斗志。许幸之创作了大量电影理论著作，代表了民国末年中国电影理论研究的较高水平。同时，他也是中国科教电影的开创者，一代革命艺术家的风范与深度，由此可见一斑。许幸之一生以绘画为本，电影只是其中短暂却深刻的一章。尽管作品不多，他作为创作者、理论家与教育者所留下的贡献，至今不应被遗忘。——钟大丰北京电影学院教授1935年9月28日，许幸之（左上角）与电通公司同事在海军新军舰《平海号》下水仪式上拍摄纪录片1950年春，许幸之赴北京，出任中央电影局电影艺术委员会编导。1951年他导演了新中国最早的军事题材故事片之一《海上风暴》，图为该片海报1951年中央电影局正式印行的许幸之导演的电影《海上风暴》分镜头完成剧本封面1951年许幸之导演的电影《海上风暴》上映时，电影院的说明书1951年许幸之导演的电影《海上风暴》上映时，电影院的说明书《电影编剧法》手稿，许幸之《电影导演论》手稿，许幸之《电影概论》手稿，许幸之许幸之将镜头化为时代之眼，记录了民族的集体记忆。1935年执导的《风云儿女》,以平实的影像风格唤醒了最为震慑人心的激昂斗志，由田汉作词、聂耳谱曲的影片主题曲《义勇军进行曲》更是迸发出惊雷般的力量，日后成为中华人民共和国的国歌。这部左翼电影运动里程碑式的作品，不仅奠定了中国现实主义电影的美学范式，更将艺术的政治表达提升到民族精神的维度。期待观众与我们一起走进许幸之的艺术世界。百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间：2025年9月18日—10月19日展览地点：中央美术学院美术馆3层B展厅主办单位：中国美术家协会中央美术学院承办单位：中央美术学院党委宣传部中央美术学院校史研究中心中央美术学院美术馆中央美术学院人文学院中央美术学院油画系支持单位：中国人民抗日战争纪念馆中国电影家协会中国电影博物馆主编 / 何一沙责编 / 杜隐珠
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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.

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

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.