Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: Travel Through A Thousand Years! CAFA Takes You On An Immersive Experience of Traditional Chinese Culture

2025-03-10

When the trend of Hanfu sweeps into CAFA Art Museum, put on your beautiful Hanfu and come to take photos! The exhibition hall on the third floor of CAFAM brings together the essence of the teaching of copying in Chinese painting at the Central Academy of Fine Arts over the past century. There are more than 300 works in total. Whether they are landscape paintings, flower-and-bird paintings or figure paintings, they all allow people to feel the profound artistic conception and humanistic feelings of Chinese painting. At the same time, it also reflects the contemporary significance of "copying and transmitting".
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: Shen Zhou, The Head Of The "Four Masters Of The Wu School" | Sooner Or Later, You Will Fall In Love With Him

2025-03-09

The exhibition "Collection Of CAFA Art Museum" is currently being held at the Art Museum of the Central Academy of Fine Arts. The part of ancient Chinese art presented this time is one of the characteristics of the museum's collection. More than 200 pieces of the collection have been selected and are exhibited in two major categories: "utensils" and "calligraphy and paintings". The time span covers two thousand years. This push article will lead the audience into the brushwork and spiritual world of the ancients through Shen Zhou's painting "The Picture of the Cloud and Water Abode". When you see with your own eyes the brushstrokes that spread out on the raw rice paper more than 500 years ago and stop in front of the spiritual "abode" built for you, sooner or later you will also fall in love with him!Shen Zhou, The Picture of the Cloud and Water Abode, created in 1503, colored painting on paper, 33cm*164cm, collected by CAFAMShen Zhou (1427-1509), styled Qinan, pseudonym Shitian, and later known as Baishiweng, was from Changzhou (now Suzhou). He was born into a family with a background in poetry, calligraphy, and painting. Throughout his life, he never took the imperial examinations. He had a rich collection, made extensive friends, and was proficient in painting. Shen Zhou was the founder of the Wu School of Painting. Together with Wen Zhengming, Tang Yin, and Qiu Ying, he was known as the "Four Masters of the Ming Dynasty." In his early years, his landscape paintings inherited the family's artistic tradition and received guidance from Du Qiong and others. Later, he learned from Dong Yuan and Ju Ran. In his middle age, he followed the style of Huang Gongwang as his model. In his later years, he drew inspiration from Wu Zhen. His works combined elements of the Song and Yuan dynasties and formed his own unique style.Shen Zhou's artistic creations have always been closely connected with nature. He declined the court's recruitment and chose to observe the changes of the four seasons at the "Youzhu Village" by the Taihu Lake, integrating his philosophical thoughts on time into his paintings. In his poems and paintings, there often shows "the deep sentiment of mourning the passing of time", yet he also cherishes the present moment with a sober attitude. This contradiction becomes the core of the charm of his art.In his early years, Shen Zhou's works mainly featured fine brushstrokes, with a rigorous and meticulous style. After reaching middle age, he shifted to using thicker brushstrokes, integrating the vigorousness of the Southern Song Dynasty style with the freshness and smoothness of the Northern Song Dynasty style, and his brushwork was robust, powerful and rich in texture. He was proficient in incorporating the essence of calligraphic brushwork into his paintings, forming a unique artistic language characterized by "abundant brushstrokes and vigorous ink application".In the painting "The Picture of the Cloud and Water Abode", a small boat sails on the water surface. There is a person sitting in the boat. There are slightly some cattail plants on the water. The lines depicting the folds of the clothes are vigorous, simple and concise. Dense flowing clouds cover the sky above. They are faintly tinted with ink, showing a gradation of shades from dark to light. The use of the brush is like the flowing of clouds and water. Sometimes, the brushwork of running and cursive scripts is interspersed. It twists and turns with pauses and reveals a hint of sharpness.Partial View of The Picture of the Cloud and Water AbodeShen Zhou used light ink to texture and dye the cloud layers, and dark ink to outline the contours of the mountains and rocks. He expressed the profoundness of the space through the contrast between dry and wet ink. The small boat was outlined with fine brushstrokes, and the lines of the figure's clothes were simple and concise. This formed a balance between movement and stillness with the hazy background, demonstrating his style in his later years, which was "bold and unrestrained in a rough and simple way" yet introverted and profound.Partial View of The Picture of the Cloud and Water AbodeHis style is different from the common appearance of thick brushstrokes often seen in Shen Zhou's landscape paintings. However, his brush and ink work is exquisite and full of artistic conception, creating a sense of tranquility in the "empty green space". His landscape paintings not only depict nature, but also convey the ideals of literati through the figures in the scenes. The people in the paintings are often placed in the "ideal landscape" where the real and the illusory coexist. It is both a projection of reality and an externalization of the spirit.Partial View of The Picture of the Cloud and Water AbodeAt the end of the scroll, there is the inscription by the author: "Mr. Zhi Rou Qiu had a scroll titled 'The Cloud and Water Abode'. When he was alive, he once entrusted me with the task of creating an illustration for it. Time passed by, and I couldn't complete it. Since Mr. Qiu has passed away for a long time, his heir sent a letter to remind me of his original intention, so I completed this piece of paper. However, Mr. Qiu's poetic talent still resounds around the lake up to now, and his poetic spirit should also not fade away. By looking at this picture and summoning him, he might appear among the clouds and water. On the ninth day of the ninth lunar month in the Guihai year of the Hongzhi Reign, Shen Zhou from Changzhou." Below the inscription, there is a vermilion seal with the character "Qinan". Both the calligraphy and the seal are no different from the authentic works. According to the textual research and study by Mr. Xue Yongnian, this painting was created in 1503 AD. Shen Zhou was seventy-seven years old by Chinese reckoning. It was painted at the request of the poet Zhu Zhi Rou. By the time it was completed, Zhu had already passed away. Mr. Xue believes that the identity of Zhu Zhi Rou remains to be verified, and "The Cloud and Water Abode" is the name of his study. Landscape paintings of studies, which take the study as the main body and depict the life of the study owner, emerged in the Yuan Dynasty and were often created in the Ming Dynasty. However, this painting is not a landscape painting of a study but an "illustration for the study", which is used to guide readers to visit the study. Therefore, the artistic conception is constructed with the virtual replacing the real, full of poetic flavor, which is highly in line with the unique artistic charm of the landscape paintings by the literati painters of the Wu School in the Ming Dynasty.This painting bears four seal impressions of Zhu Zhichi, a collector from the late Ming Dynasty to the early Qing Dynasty, in vermilion characters. They are respectively: "Treasure Collection of Books by Zhu Zhichi of Xiuning", "To Be Treasured by Descendants", "Appreciation by Zhu Zhichi", and "Collected by Wo'an". The first two seals are no different from those commonly used by Zhu Zhichi, but they have not been recorded in the Catalogue of Calligraphy and Paintings Collected by Zhu Wo'an. There is also an inscription by Wen Congjian from the late Ming Dynasty to the early Qing Dynasty. The inscription reads: "Minister Dong commented on the paintings of the late Grand Historian, saying that the small works of the Grand Historian are of a quality that surpasses those of exquisite craftsmanship by several yojanas. The essence of the excellence lies within the brush and ink. As for the playful techniques, one should not seek them in terms of the appearance of horses. The same is true for Master Baishi. His large scrolls and high screens exude an aura that can engulf heaven and earth. Viewers feel as if they are facing Mount Lushan and Mount Tai and dare not look up directly. It is not as good as the depiction of a gentle stream, a faint moon, and idle clouds, which reveals the true face of nature. The wonder of this scroll is truly indescribable. I just want to sit and lie beneath it for three days. This inscription is written while recalling the poet by the lakeside, as if mourning Qu Yuan by the Xiang River. On the sixth day of the twelfth lunar month in the yimao year, I respectfully inscribe this in the Tingyun Pavilion while burning incense. Wen Congjian, a later scholar." At the beginning of the inscription, there is an oval seal impression of "Kaiyun Tower" (in white characters), and below the signature, there are seal impressions of "Seal of Wen Congjian" (in white characters) and "Yu Yanke" (in white characters). The inscription was written in 1539 AD, seemingly before the painting was collected by the Zhu family of Xiuning. This inscription reflects the evaluation of this painting by the descendants of the Wen family. This painting was once published in the Catalogue of Ancient Chinese Calligraphy and Paintings (Volume One). (The above interpretation of this work by Mr. Xue Yongnian is quoted from the Catalogue of the Special Exhibition of "The Artistic Conception and Craftsmanship: An International Academic Symposium on Ming and Qing Paintings", p21.)It is worth mentioning that The Picture of the Cloud and Water Abode is currently on display in the exhibition hall on the third floor of CAFA Art Museum. Viewers who wish to see the original work with their own eyes are welcome to come and visit.The information about the inscription and seal impressions of this work:Inscription: Mr. Zhi Rouqiu had the scroll titled "Dwelling in the Clouds and Waters". When he was still alive, he once entrusted me with the task of creating an illustration for it. Time passed by, and I couldn't complete this task. It has been a long time since Mr. Zhi passed away. His heir sent me a letter, reaffirming his original intention. So I finally made this painting. However, Mr. Zhi's poetry is still renowned around the lake area up to now, and his poetic spirit should surely remain unforgettable. When pointing at this picture, one might imagine him appearing amidst the clouds and waters. On the 9th day of the 9th lunar month in the year of Hongzhi Guihai (1503), Shen Zhou of Changzhou.Seal impression: Qinan (a square seal with characters in intaglio) Colophon: Minister Dong commented on the paintings of the late Grand Historian as follows: "The Grand Historian's small works possess a quality that surpasses those that are exquisitely crafted." The subtlety of such masterful works lies within the strokes of the brush and ink. As for the artistry born out of spontaneous play, one should not seek to understand it merely by focusing on superficial aspects, just as one should not judge a horse solely by its color or gender. The same is true for the Elder of White Stone. His large-scale paintings on tall screens are so imposing that their aura seems to be able to engulf the heaven and earth. When viewers gaze upon them, they feel as if they are facing Mount Lushan or Mount Tai and dare not look up directly. It is not as good as the depictions of faint mountains, shallow waters, a slender moon, and idle clouds, which capture the true visage of nature. The wonder of this scroll is beyond description. I only wish I could sit or lie beneath it. After three days, I write these words, recalling the poet by the lakeside. It feels as if I am paying homage to Qu Yuan by the Xiao and Xiang Rivers. On the sixth day of the twelfth lunar month in the Jichou year, I burn incense and respectfully write this colophon in the Tingyun Pavilion. Wen Congjian, a junior scholar.Seal Imprints: Kaiyun Tower (Zhuwen oval seal), Seal of Wen Congjian (Baiwen square seal), The Style Name is Yanke (Baiwen square seal)Seal Imprints for Appreciation and Collection: Appreciated by Zhu Zhichi (Zhuwen square seal), Collected by Wo'an (Zhuwen square seal), To Be Preserved by Descendants (Zhuwen square seal)Collection Of CAFA Art Museum——Ancient Chinese ArtExhibition Duration: Long-term ExhibitionExhibition Venue: Gallery 2A, CAFA Art MuseumChief Editor / He Yisha Editor / Du Yinzhu
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: Today Is The Awakening Of Insects

2025-03-05

Today is the Awakening of Insects
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: Exclusive Exploration: How Was the "Version of the Central Academy of Fine Arts" of Night Revels of Han Xizai Created!

2025-03-04

"Transmission and Imitation: Exhibition of Works from the Chinese Painting Copying Teaching of the Central Academy of Fine Arts" is currently on display at CAFA Art Museum. This exhibition showcases more than 300 pieces of copied works, sketches for teaching students, and creations transformed from copying in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past hundred years. In the copying courses of figure painting, landscape painting, and flower-and-bird painting in the Chinese Painting Academy of the Central Academy of Fine Arts, which ancient masterpieces are respectively taken as models? And what experiences of modern renowned artists have served as inspiration to bridge traditional and modern aesthetic concepts? Let's unveil them one by one through the works.Night Revels of Han Xizai by Gu Hongzhong is a pinnacle work of ancient Chinese paintings, depicting the scene of a night banquet with singing and dancing held at the residence of Han Xizai, a powerful court official. The teachers and students of the Central Academy of Fine Arts, over several decades, completed a series of the "Version of the Central Academy of Fine Arts" of Night Revels of Han Xizai through the method of "relay copying". Li Keran once said, "Tradition is not a constraint, but a cornerstone of innovation. Only by deeply understanding and respecting tradition can one maintain the right direction during the process of innovation and preserve the cultural root." Generations of artists from the Central Academy of Fine Arts have proven with their brushes how the traditional aesthetic genes can rejuvenate in a modern context.The Night Revels of Han Xizai copied by Hu Bo, which is on display at the "Transmission and Imitation" exhibition, reflects his profound traditional foundation and his awe for classic culture. As a professor at the Central Academy of Fine Arts, Hu Bo copied this work twice during his postgraduate study from 1978 to 1980. The work exhibited this time is the second complete copy under the guidance of Mr. Liu Lingcang. It is not just an ordinary copied work; it also contains the stories of the successive generations of mentorship within the Chinese Painting Academy of the Central Academy of Fine Arts.Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (the version by Chen Linzhai) by Hu Bo. Exhibition scene. Ink and colors on silk. 38.5cm×355.5cm. 1979The copy that Hu Bo used was the facsimile made by Chen Linzhai, a senior at Rongbaozhai, based on the original work Night Revels of Han Xizai by Gu Hongzhong collected in the Palace Museum. Rongbaozhai spent eight years in total before finally reproducing Night Revels of Han Xizai using the woodblock watermark printing method. This is also a pinnacle work of the traditional woodblock printing technique. At that time, the senior painter Chen Linzhai personally traced and separated the colors, the woodblock carving technician Zhang Yanzhou engraved the plate, and the printing technician Sun Lianwang skillfully and meticulously printed it. When making the woodblock watermark print of Night Revels of Han Xizai, Chen Linzhai first made a copy of the original work by Gu Hongzhong treasured in the Palace Museum. After Chen Linzhai's copying, the original in the Palace Museum went through the processes of washing, peeling and remounting. Judging from the depth of the silk color and the charm of the antique, Chen Linzhai's copy seems to be superior to the original. Therefore, there was once a case where someone mistook the copy for the original, which is also one of the interesting anecdotes in the art world and is sufficient to illustrate the exquisite craftsmanship of Chen Linzhai's copy.Hu Bo's Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (Transmitted Version) - On-site PictureIn 1979, under the personal guidance of Mr. Liu Lingcang, Hu Bo completed the copying of this Night Revels of Han Xizai. The copy selected for Hu Bo by Mr. Liu Lingcang was exactly the treasure of Rongbaozhai—the copy made by Chen Linzhai (which is now collected by the Palace Museum). Because Mrs. Guo Muxi, Mr. Liu Lingcang's wife, had been engaged in the copying of ancient paintings in the Palace Museum for 12 years and had guided and participated in the woodblock watermark printing work at Rongbaozhai. Due to work needs, she could bring Chen Linzhai's copy home, but it was absolutely forbidden to spread it outside. Therefore, Mr. Liu Lingcang rather "domineeringly" asked his wife to take out Chen Linzhai's copy and offered her painting table for Hu Bo to use.In this way, for a full month and a half, Hu Bo rode a bicycle every day between Wangfujing and Mr. Liu's home located in Qian Sanmen. From selecting the copy to outlining the lines and then applying the colors, he completed the copying of this work under the personal guidance of Mr. Liu.Hu Bo's Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (Transmitted Version) - On-site PictureThe lines of this copied work are both firm and gentle, and the coloring is fresh, elegant and refined. Especially in the depiction of the characters' faces, clothing, and gestures, it not only retains the delicate details of Gu Hongzhong's original work, but also incorporates the elegant temperament of modern meticulous brushwork with heavy color. In terms of composition, it continues the original work's techniques of "scattered perspective" and the use of screens to divide and narrate, presenting the plots such as "listening to music" and "watching a dance" in a coherent manner, vividly and incisively reproducing the protagonist's detached and uninhibited, as well as gloomy and melancholy demeanor. Hu Bo once said, "Through copying, we can understand the techniques of our predecessors, directly draw on them, and ultimately make them our own. More importantly, we should understand the artistic spirit and the vein of painting contained in the brush and ink techniques of the ancients, and comprehend the soul of Chinese culture. With the confidence and foundation nourished by Chinese culture, in the colorful international art world, we will know where we should go."It is worth mentioning that when dyeing the imitation old silk fabric, since Mr. Liu's home was only a two-bedroom apartment and too small, Hu Bo found a classroom at the Central Academy of Fine Arts. During this period, Mr. Liu, who was over seventy years old, visited the school several times to provide on-site guidance. Due to the length of the silk fabric, it could only be hung horizontally with clips for drying, which caused a slight deformation of the silk surface. If it was cut evenly, there was a fear that it would affect the size. Therefore, Hu Bo's copied work was only mounted on paper and not framed with an axis. It is precisely this special way that records the beautiful story of the inheritance from generation to generation among the teachers and students of the Central Academy of Fine Arts.At the same time, this exhibition also showcases several copies of The Night Revels of Han Xizai made by the teachers and students of the Central Academy of Fine Arts. Viewers who are interested can come to the exhibition site to carefully appreciate these works.On-site photo of Jiao Kequn's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×73cm, 1957On-site photo of Jiao Kequn's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×73cm, 1957On-site photo of Shan Yinggui's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×59cm, 1959On-site photo of Shan Yinggui's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×59cm, 1959●○Transmission and ImitationExhibition of Works from the Copying Teaching of Chinese Painting in the Central Academy of Fine ArtsSponsor: Central Academy of Fine ArtsOrganizers: School of Chinese Painting of CAFA; CAFA Art MuseumExhibition Time: January 21, 2025 - April 16, 2025Exhibition Venue: Exhibition Hall on the 3rd Floor of CAFAMChief Editor / He YishaEditor / Du Yinzhu
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: The Opening of the Grand Exhibition at the Central Academy Of Fine Arts: "Transmitting and Imitating" Activates the Contemporary Novelty of Chinese Painting Teaching

2025-03-03

On March 2, 2025, the "Transmitting and Imitating: Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts" was opened. The exhibition was hosted by the Central Academy of Fine Arts and undertaken by the Chinese Painting Academy of the Central Academy of Fine Arts and CAFA Art Museum. This exhibition showcases more than 300 pieces of copied works, sketches for teaching students, and works transformed from copying to original creation in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past century. The aim is to explore the academic value and contemporary novelty of the ancient method of "transmitting and imitating" in the teaching of Chinese painting in contemporary higher art academies, and to discuss the profound connotations and positive significance of the cognitive system of Chinese painting in the context of globalization.Jin Shangyi, Honorary Chairman of the China Artists Association and former President of the Central Academy of Fine Arts, Feng Yuan, Deputy Director of the Central Research Institute of Culture and History, Zhang Lichen, a senior professor at the Central Academy of Fine Arts, Lin Mao, President of the Central Academy of Fine Arts, and Qiu Ting, Dean of the Chinese Painting Academy of the Central Academy of Fine Arts, delivered speeches at the opening ceremony. Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts, announced the opening of the exhibition.Senior artists who have long devoted their efforts to the teaching of Chinese painting and shown care and support for the construction of the Chinese painting discipline, such as Jiang Caiping, Li Baolin, Lou Jiaben, Wang Tongren, Ma Zhensheng, Guo Yicong, Xie Zhigao, Jiang Baolin, Du Dakai, Li Yan, Sun Jingbo, Liu Zhengcheng, Tang Yongli, and other gentlemen, attended the opening ceremony of the exhibition and viewed the exhibits.Fan Di'an, President of the China Artists Association and former President of the Central Academy of Fine Arts, Zhao Weidong, Executive Deputy Minister of the Publicity Department of the Beijing Municipal Committee, Liu Xuejun, Director of the China Broadcasting Art Troupe, Liu Wanming, Vice President of the China Artists Association and President of the National Academy of Painting, An Yuanyuan, Secretary of the Party Committee of the National Art Museum of China, Zhao Dong, Secretary of the Party Committee and Executive Director of Rongbaozhai Co., Ltd., Li Hongqiang, President of the People's Fine Arts Publishing House, Han Yun, Deputy President of the Higher Education Press of the Ministry of Education, Yang Xiaoyang, President of the China Culture and Art Development Promotion Association and former President of the National Academy of Painting, Xu Li, former Secretary of the Party Leadership Group of the China Artists Association, Lu Yushun, former President of the National Academy of Painting, Qi Haifeng, Vice President of the China Artists Association, He Jiaying, former Vice President, Liu Jian, former Secretary General, Wan Jie, Chairman of the Artron Group, Tian Zhong, President of the Hebei Fine Arts Publishing House, as well as the heads of well-known national art institutions and art colleges, the leadership team of the Central Academy of Fine Arts, and members of the Academic Committee attended the opening ceremony of the exhibition. Wang Xiaolin, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, presided over the opening ceremony.Lin Mao, President of the Central Academy of Fine Arts, delivered a speech.In his speech, Lin Mao stated that since the last century, the Central Academy of Fine Arts has taken the teaching system of "the trinity" of copying, sketching, and creating as its core to lay the foundation for the education of the Chinese Painting Academy, integrating the long-standing tradition of Chinese painting into the modern education system. He mentioned that Chinese painting should not only safeguard its cultural essence but also explore new languages and forms. Just as Mr. Li Keran mentioned on multiple occasions: "Sink in with the greatest effort and break out with the greatest courage." This two-way path of inheritance and innovation is precisely the key to keeping Chinese painting vibrant in the contemporary era. This exhibition is a historical sorting out and presentation of the teaching achievements of Chinese painting copying at the Central Academy of Fine Arts since its establishment. "Transmitting and imitating" is not only a reflection on the essence of contemporary Chinese painting but also a new opportunity to explore the training mode and discourse system for professional talents in Chinese painting in the new era. The school will also strive to cultivate outstanding talents with a sense of social responsibility and cultural mission of the times, making more contributions to building a strong educational and cultural country.Jin Shangyi, Honorary Chairman of the China Artists Association and former President of the Central Academy of Fine Arts, delivered a speechIn his speech, Mr. Jin Shangyi traced back the historical traditions of Chinese painting over the past thousand years and the development process of Chinese painting teaching over the past hundred years. He mentioned that artistic creation should reflect people's lives. In the Chinese painting teaching system, sketching classes have been added, enabling teachers and students to paint real people with distinct personalities to solve the problem of figure modeling, thus establishing a teaching system of "the trinity" of copying, sketching, and creating. He stated that in Chinese painting teaching, there is no need to debate the issues of "integration of Chinese and Western art" and "maintaining a distance." We should strengthen the role of traditional culture and make copying, an important way to learn from traditions, better combine with sketching, which aims to "solve the problem of figures and reflect life," so as to develop our Chinese painting.Feng Yuan, Deputy Director of the Central Research Institute of Culture and History, delivered a speechIn his speech, Feng Yuan stated that this exhibition has threefold significance: Firstly, it is about "reviewing the old and learning the new," looking back and sorting out the historical context of Chinese painting teaching over the past hundred years. Secondly, it combines the current teaching issues, explores the correlations among the purposes, functions, and methods, and further excavates deeper academic significance. Thirdly, it adheres to the right path and promotes innovation, highlighting the practical value of the "two innovations" and deeply grasping the distinct characteristics of Xi Jinping Thought on Culture. With the theme of "Transmitting and Imitating," the exhibition not only presents the teaching and educating methods of the Central Academy of Fine Arts that take copying as the foundation and an important link in the tradition but also provides many new topics. It is hoped that Chinese painting will have a broader space in its future development and in the exchanges between Eastern and Western civilizations. It is also hoped that the Central Academy of Fine Arts will continue to play a leading role in the innovative development of Chinese painting teaching across the country.Zhang Lichen, a senior professor at the Central Academy of Fine Arts, delivered a speechMr. Zhang Lichen stated that the Central Academy of Fine Arts has always been grounded in the excellent traditional Chinese culture and has been showcasing Chinese art to the world with the achievements of traditional Chinese painting teaching. "Transmitting and Imitating" is one of the "Six Principles of Painting" put forward by Xie He in his "Record of Ancient Paintings". It is an important way for the inheritance of Chinese painting, having its own unique development form, and has also become an important method in the teaching of Chinese painting during the process of artistic development. At the Academy of Fine Arts, "taking the copying class seriously" has always been the commitment of teachers and students majoring in Chinese painting. The exhibition not only showcases the outstanding works of the copying practices of generations of teachers and students but also provides a concentrated demonstration for the future teaching of Chinese painting.Qiu Ting, Dean of the Chinese Painting Academy of the Central Academy of Fine Arts, delivered a speechQiu Ting briefly introduced the curatorial situation of this exhibition. He particularly mentioned that the exhibition design showcases eight discussions on "transmitting and imitating" from painting theories of different dynasties. Traditional classics are "inspiring", and tracing back to these traditional classics has a sense of "experimentation" and "openness", which reflects the cultural spirit of the Chinese people's exploration of the relationship between "the ancient and the new" over thousands of years. In the era of fragmentation, Chinese art has the soft power to soothe people's hearts and the cultural plasticity to mend the broken models. By sorting out the achievements of Chinese painting copying teaching in the National Beiping Art School over the past hundred years, this exhibition presents a complete cognitive learning system of Chinese painting. At the same time, taking this exhibition as a starting point, the Chinese Painting Academy of the Central Academy of Fine Arts should shoulder the responsibility of the times to deeply explore, reconstruct, and innovatively transform traditional culture, and jointly explore the possibilities of Chinese painting's "beginning, development, transition, and conclusion, and its continuous growth".Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts, announced the opening of the exhibition.Wang Xiaolin, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, presided over the opening ceremony■ The Scene of Visiting the Exhibition ____________■ At the Exhibition Site ________________■ Exhibition Works (Partial) _______________ 01 Exemplary Works It showcases the copied works of teachers and students majoring in Chinese painting since the 1950s of the 20th century, and pays attention to the foundation of learning methods in the teaching of copying. Qi Baishi's "Record of Badashanren's Painting Draft" Ink and wash on paper, 30.5cm×16.4cm In 1907 Collected by Beijing Fine Art Academy Qi Baishi's Copy of Zhu Da's (in the Qing Dynasty) "Flowers in a Vase" Ink and wash on paper, 30cm×25.5cm Unknown era Collected by Beijing Fine Art Academy Yu Feian's Copy of the Supposed "Portrait of an Imperial Falcon" by Zhao Ji of the Northern Song Dynasty Color on silk, 165cm×80.5cm In 1954 Collected by Beijing Fine Art Academy Wang Xuetao's Copy of Lü Ji's (in the Ming Dynasty) "Plum Blossoms in Snow and Turtledoves" Color on paper, 165cm×81cm In the 1950s Collected by Wang Xuetao Memorial Hall Li Keran's "Imitation of a Painting by Badashanren" Ink and wash on paper, 76cm×42cm In 1943 Collected by the Li Keran Art Foundation Guo Weiqu's Copy of the Landscape Painting by Wu Zhen of the Yuan Dynasty Ink and wash on paper, 117.5cm×26.5cm In the 1940s Collected by Guo Weiqu Art Museum Liu Lingcang's Copy of the Portrait of Wang Anshi from the Collection in a Hall of the Qing Dynasty Color on paper, 50cm×33cm Unknown era Huang Jun's Copy of the Supposed "Herding Horses" by Han Gan of the Tang Dynasty Ink and wash on paper, 33cm×37cm In 1953 Zong Qixiang's Copy of a German Copperplate Print Color on paper, 60x105cm In 1942 Collected by the Art Museum of Central Academy of Fine Arts Jiang Caiping's Copy of a Part of the Supposed "Night Revels of Han Xizai" by Gu Hongzhong of the Five Dynasties Period Color on silk, 28cm×77cm In 1958Lu Chen's Copy of the "The Story of Zhu Yun Breaking the Balustrade" by an Unknown Painter of the Song Dynasty Color on silk, 128cm×66cm In 1958 Fan Zeng's Copy of the "Chrysanthemums" by an Unknown Painter of the Song Dynasty Color on paper, 59cm×37cm In 1959 Zhou Sicong's Copy of the Portrait of Xiao He from the Collection in a Hall of the Qing Dynasty Color on paper, 51cm×40cm In 1959 Guo Yicong's Copy of Ren Yi's Four-piece Screen Paintings in the Qing Dynasty Color on paper, 180cm×48cm×4 In 1960 Deng Lin's Copy of Han Huang's "Five Oxen" of the Tang Dynasty Color on paper, 21cm×147cm Unknown era Jia Youfu's Copy of Gong Xian's Works in the Qing Dynasty Ink and wash on paper, 30cm×24cm In 1963 02 Heritage It showcases the investigations and copies of the murals at places such as the Mogao Grottoes, Maijishan Grottoes, Yongle Palace, and Fahai Temple by teachers and students of the academy in successive years. It reconstructs the ancient art heritage from the perspectives of material civilization and social culture. Deng Bai's Copy of the Flying Apsaras in the Murals of Maijishan Grottoes Color on paper, 47cm×78cm In 1953 Collected by CAFA Art Museum Deng Bai's Copy of the Flying Apsaras in the Murals of Maijishan Grottoes Color on paper, 47cm×78cm In 1953 Collected by CAFA Art Museum Wu Zuoren's Copy of a Part of the Armored Horse in the Murals of Maijishan Grottoes Color on paper, 72cm×87cm In 1953 Collected by CAFA Art Museum Sun Zongwei's Copy of the Musician Figures in the Murals of Maijishan Grottoes Color on paper, 58.5cm×38cm In 1953 Collected by CAFA Art Museum Zhang Ding's Copy of the "Portrait of a Bhikkhu" in the Murals of Bingling Temple Color on paper, 37.5cm×29cm In 1952 Collected by CAFA Art Museum Li Hu's Copy of the Murals in the Dunhuang Grottoes of the Tang Dynasty (No. 2) Color ink on paper, 59cm×63.2cm In 1961 Collected by the family Lu Hongnian's Copy of the Buddhist Statue in the Murals of Maijishan Grottoes Color on paper, 117cm×120cm In 1953 Collected by the Art Museum of Central Academy of Fine Arts
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: The Flow of Time in "Chuan", Yu Hong Outlines the Urban Vitality of the 1980s with Colors

2025-02-28

"Chuan" is a work created by Yu Hong in 1988 when she graduated from undergraduate studies and remained at the school as a faculty member. This period was in the mid-to-late 1980s in China, which was an important turning point in Chinese contemporary art. As one of the representative painters of this era, Yu Hong has a unique personal style. This work marks Yu Hong's transition from realism to an exploration of a more expressive language, and it is also a visual testimony to the transformation of urban culture in China during the 1980s of the 20th century. "Chuan" is on long-term display in the exhibition "Collection of CAFA Art Museum--Modern Chinese Art". Come and see how Yu Hong outlines the urban vitality of the 1980s with colors.>>>>"Chuan", by Yu Hong,1988, Oil on Canvas,130×140 cm, Collected by CAFA Art MuseumThis work depicts a group of young urbanites in the prime of their lives walking against the wind. The female figure at the forefront of the painting is generally regarded as a portrayal of Yu Hong herself. The figures in the painting are slightly distorted, and the clarity of traditional realism is eliminated through blurred boundaries. This treatment not only preserves the dynamism of the figures but also endows the painting with a flowing poetic quality, presenting a reflection of the fast-paced urban life and demonstrating a stronger artistic expressiveness of the work. On the basis of realism, Yu Hong enhances the role of colors and brushstrokes, making the painting exhibit a visual impact and full artistic tension. The work adopts a distinct and contrasting color tone. In terms of composition, Yu Hong skillfully arranges the positions and movements of the figures, giving the painting a sense of fluidity and rhythm. At the same time, through the treatment of the background and the application of light and shadow, she creates a unique atmosphere and sense of space."Chuan" employs the rough scraping knife technique to create textures on the canvas. This kind of confrontational brushwork not only echoes the sense of tearing in the fast-paced urban life but also conveys the fervor and confusion of youth through the thick feeling brought by the accumulation of pigments. By depicting the life scenes of urban young people walking against the wind in the 1980s, this work showcases the spiritual outlook and characteristics of that era. The composition of the painting breaks through the conventional perspective, connecting the figures and space with dynamic lines. This kind of brushwork is not only an abstract extraction of the natural landscape but also a visual expression of the passage of time, ultimately constructing a spiritual field full of tension.>>>>Collection Of CAFA Art MUseum——Modern Chinese ArtExhibition Time: Starting from July 23, 2024Exhibition Venue: 2B Gallery, CAFA Art MuseumSponsor of Professional Exhibition Lighting:AKZU (Shenzhen AKS Lighting System Co., Ltd.)Exhibition Space Architectural Design Consultant:China Academy of Building ResearchChief Editor / He Yisha Editor / Du Yinzhu
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: Let's Explore The "Ancient Chinese Art" Collected by the CAFA Art Museum Spanning Thousands of Years Together | CAFAM Live Broadcast Preview

2025-02-28

At 14:00 on Friday, February 28thOn Douyin, WeChat Channels, Xiaohongshu, and BilibiliFollow the official account @CAFAM Art MuseumThe exhibition "Collection of CAFA Art Museum — Ancient Chinese Art" is currently on display, showcasing more than 200 precious cultural relics and artworks from the museum's collection. For this live broadcast, Gao Gao, Deputy Director of CAFA Art Museum, and Liu Xiyan, Director of the Planning and Research Department, are specially invited. They will explore these art treasures that have spanned thousands of years together with the audience.C A F A MLive Broadcast Introduction| Live Broadcast Guests |Gao GaoDeputy Director of CAFA Art MuseumLiu XiyanDirector of the Planning and Research Department of CAFA Art MuseumCollection Of CAFA Art Museum——Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: 2A Gallery, CAFA Art MuseumChief Editor / He Yisha Responsible Editor / Du Yinzhu
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: Li Keran: "Immerse oneself with the greatest effort, and break through with the greatest courage."

2025-02-25

"Transmission and Imitation: Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine Arts" is currently on display at the CAFA Art Museum. This exhibition presents more than 300 pieces of works, including copied Chinese paintings, teaching drafts for students, and creations transformed from copying in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past century. In the copying courses of figure painting, landscape painting, and flower-and-bird painting majors at the Chinese Painting Academy of the Central Academy of Fine Arts, which ancient masterpieces are respectively taken as models? And which experiences of modern renowned artists have become the inspiration for connecting traditional and modern aesthetic concepts? Let's unveil the answers one by one through these artworks.●○Li Keran, a native of Xuzhou, Jiangsu Province, was an important landscape painter and art educator in China in the 20th century. He was born in 1907 and began to study traditional Chinese painting at the age of 13. In 1929, he entered the postgraduate class of the National Art Academy in Hangzhou (now China Academy of Art) to study Western painting, laying the artistic foundation for the integration of Chinese and Western art. He was deeply influenced by Qi Baishi and Huang Binhong, and put forward the proposition of "the transformation and revival of Chinese painting", advocating exploring the modernization path of Chinese painting through "intensively studying nature and tradition". Li Keran's teaching and creation had a significant impact on the development direction of landscape painting in the 20th century.In his artistic creation and education, Li Keran particularly emphasized the combination of copying and innovation. He advocated entering the spiritual core of traditional painting by "copying the classics" and integrating modern creative concepts on this basis. This teaching method has had a profound impact on the teaching of copying and creating based on copying in the Chinese Painting Academy of the Central Academy of Fine Arts. Through systematic copying training, students can not only have an in-depth understanding of the style of traditional brush and ink language, but also respect the ancients and innovate in their creation based on copying. Just as Li Keran mentioned many times: "Immerse oneself with the greatest effort, and break through with the greatest courage." "Immersing oneself" means inheritance, and "breaking through" means innovation. With his rigorous teaching philosophy and exemplary role, Li Keran has laid a solid foundation for the teaching system of Chinese painting.Li Keran, Imitating the Painting Style of Bada ShanrenInk on paper, 76 cm × 42 cm, 1943Collected by the Li Keran Art FoundationLi Keran's artistic style emphasizes "reading two books: nature and tradition." With the core of intensively studying nature and conducting in-depth sketching, he combines traditional brush and ink techniques with a modern sense of form. His landscape paintings are vivid in spirit and rich in layers, and the paintings often present a profound and solemn visual effect. He is adept at interpreting traditional landscapes from the perspective of modern people, not only retaining the essence of traditional brush and ink but also endowing the paintings with new connotations of the era. By pursuing the dual paths of "transformation" and "revival" simultaneously, Li Keran has pushed Chinese landscape painting to a new height and formed the landmark "Li Family Landscape" style.Partial View of Imitating the Painting Style of Bada ShanrenThe Imitating the Painting Style of Bada Shanren presented in the "Transmission and Imitation: Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine Arts" is one of Li Keran's works that pays tribute to traditional masters. This painting draws on the unique style of Bada Shanren, reflecting a simple composition, a secluded artistic conception, and concise brushwork and ink. The rocks, trees, and the distant scenery in the work are all presented with simple lines and light ink colors. It not only has the aloof and austere temperament of Bada Shanren but also incorporates Li Keran's personal characteristics of solidity and tranquility. The painting reflects Li Keran's profound understanding of traditional art and his innovative expression. This painting is not only an inheritance of the spirit of Bada Shanren and traditional art but also a model work of Li Keran's reconstruction of classical art in a modern context.Transmission and Imitation Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine ArtsSponsor: Central Academy of Fine ArtsOrganizers: Chinese Painting Academy of Central Academy of Fine Arts, Art Museum of Central Academy of Fine ArtsExhibition Time: January 21, 2025 - March 16, 2025Exhibition Venue: Exhibition Hall on the Third Floor of the CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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: Good News at the Start of the Year | "There Is Always Poetry in Customs" Has Been Awarded as an Excellent Project Of The 2024 Exhibition Season

2025-02-24

Recently, the General Office of the Ministry of Culture and Tourism announced the "List of Excellent Projects of the 2024 National Exhibition Season of Exquisite Collections in Art Museums". The exhibition "There Is Always Poetry in Customs", hosted by our museum, has been evaluated as an excellent project after summarization and acceptance inspection.The exhibition "There Is Always Poetry in Customs" was held in Exhibition Hall A on the third floor of our museum from September 10th to October 11th, 2024. The exhibition carefully selected 51 sets (85 pieces) of works, spanning from Ming and Qing dynasty genre paintings to modern photography works. Among them, 60% of the collections were exhibited for the first time. During the exhibition period of more than 30 days, the number of offline visitors reached 33,000 person-times, and a total of 36 academic and educational activities were held both online and offline.The purpose of this exhibition is to vividly and innovatively display high-quality collections (traditional genre painting collections) and explore the value of traditional culture. It aims to guide modern audiences, through the art form of genre paintings, which is closely related to people's lives, to understand and resonate with the people-centered nature and poetic sentiments in Chinese civilization, as well as the tenacity and optimism in the Chinese character.In the exhibition planning, modern works and modern perspectives were introduced into the dialogue and display of ancient collections. Guided by the concept of the collision and dialogue between the ancient and the modern, more possibilities were proposed for the revitalization and high-level utilization of the collections. Through the lens of modern photography, the ingenuity and wonder of ancient genre paintings were discovered. And through ancient Chinese poems that are familiar to Chinese audiences, the poetic charm in the paintings and the poetry of life were understood.In the specific content, taking the two common types of genre paintings that depict social ceremonies and daily trivialities respectively and have different ways of depiction as the starting point, it is divided into two sections: Praising the Peaceful Scenery; Capturing an Ordinary Moment. It showcases the social portraits and bits and pieces of life, and includes common Chinese genre painting themes, such as the New Year's Day Picture, the Lantern Viewing Picture, Along the River During the Qingming Festival (the Spectacle of the Bian River Picture), the Bin Feng Picture, the Joyful Fishermen, the Characters in the Marketplace, and so on.In terms of visual presentation, the designer first utilized two fan genre painting collections in the exhibition as elements for font design, creating a font that is both highly interesting and distinctly design-oriented. At the same time, vivid figures from ancient paintings and modern photography were extracted and artistically processed, allowing them to rhythmically move through the main title of the exhibition, creating a sense of ancient and modern people meeting and gathering in the time and space of the exhibition hall.At the same time, considering that most genre paintings are horizontally placed long scroll works, the designer ingeniously set up two horizontal lines of sight in the exhibition hall: one is the ancient horizontal line of sight of the display cabinet, and the other is the modern horizontal line of sight for placing modern photography and capturing the details of genre paintings. This not only ensures the effective display of ancient genre paintings but also provides the audience with two parallel and interesting routes for visiting the exhibition, guiding modern audiences to review ancient genre paintings with the guidance of photography. Activity Review： Huang Xiaofeng: The Establishment of "Genre Paintings" in Ancient China Shi Hanmu: A Casual Talk on Ancient Chinese Genre Paintings Wang Huangsheng: Art Museums, Photography and Collection在展览的公共教育方面，美术馆针对不同类型的观众策划了系列活动，比如邀请美术史学者黄小峰和施含牧，围绕中国风俗画的源流发展、概念意涵举办专题讲座，邀请摄影研究学者王璜生，针对美术馆摄影收藏的历程进行了概述；利用闭馆日组织中国画学院学生临摹原作；举办硕博士参与的展览专题研究工作坊等等。
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: “Striving is like a song——The Revolutionary Journey and the Stories of the People in Art Works” Is Opening at MICA Art Museum

2025-02-21

The MICA Art Museum, the first contemporary art museum in Central China with an international perspective at its core, held a grand opening ceremony on February 18. The MICA Art Museum is an important part of the MICA International Culture and Art Center. It was designed by Pritzker Prize laureate Zaha Hadid and is constructed and operated by the Xiangjiang Group.The CAFA Art Museum and the MICA Art Museum carried out an inter-museum cooperative exhibition for the first time, titled "Striving is like a Song — The Revolutionary Journey and the Stories of the People in Art Works", which opened simultaneously as one of the four major opening exhibitions.Lin Mao, President of the Central Academy of Fine Arts, attended the opening ceremony and announced the opening of the museumPresident Lin Mao, together with the leaders and guests from Hunan Province and the city, visited the exhibitionLin Mao, President of the Central Academy of Fine Arts, was invited to attend the opening ceremony and announce the opening of the museum. Also in attendance at the opening ceremony were Li Aiwu, Deputy Director of the Publicity Department of Hunan Provincial Party Committee, Secretary of the Party Leadership Group and Director of the Hunan Provincial Department of Culture and Tourism; Tan Yong, Deputy Secretary of Changsha Municipal Party Committee, Secretary of the Party Working Committee of Hunan Xiangjiang New Area (Changsha High-tech Zone) and Secretary of Yuelu District Party Committee; Zhou Zhiyong, Member of the Party Leadership Group and Deputy Director of the Hunan Provincial Department of Culture and Tourism; Zhou Zhikai, Vice Mayor of Changsha; Zhou Fan and Tan Hai, leaders of Xiangjiang New Area; Florentijn Hofman, a Dutch international contemporary artist, and other artists and curators; and relevant persons in charge of the Central Academy of Fine Arts, Hunan Province, Changsha City and Xiangjiang New Area.Han Wenchao, Secretary of the Direct Party Branch of the Art Museum of the Central Academy of Fine Arts, on behalf of the Art Museum, signed a memorandum of strategic cooperation with the Meixi Lake Art MuseumAt the opening ceremony, Han Wenchao, Secretary of the Direct Party Branch of the CAFA Art Museum, on behalf of the CAFA Art Museum, signed a memorandum of strategic cooperation with the MICA Art Museum. Taking the opening of the MICA Art Museum as an opportunity, the two museums will carry out long-term and in-depth cooperation in aspects such as exhibition planning, public education, collection exchanges, academic exchanges, and operation resources, bringing a continuous stream of high-quality art experiences to the public.Gao Gao, Deputy Director of the CAFA Art Museum, participated in the opening seminar dialogue titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology"Hai Jun, Deputy Director of the CAFA Art Museum, participated in the opening seminar dialogue titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology"Gao Gao, Deputy Director, and Hai Jun, Deputy Director of the CAFA Art Museum, were invited to participate in the opening seminar titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology". During the session of "The Mission and Innovation of Public Cultural Spaces", they shared their thoughts on how the curation of art museums should break through traditional display methods to make museums more public-oriented. They also discussed how museums/art museums in the future can leverage technological innovation to create more cultural exchange models accessible to the public.The exhibition "Striving is like a Song — The Revolutionary Journey and the Stories of the Times in Art Works" makes use of the rich collections of the CAFA Art Museum and in-depth thematic planning. It unfolds in three sections: "Faith and the Lighthouse", "Monuments and Footsteps", and "The People and the Fertile Soil". Through 100 excellent artworks created by the teachers and students of the Central Academy of Fine Arts, it looks back on the changes of the times.The List of the Exhibition TeamGeneral Consultants: Lin Mao, Tan YongChief Planner: Jin JunExecutive Producers: Liu Xionghui, Zhang LigangExhibition Directors: Han Wenchao, Wang YingExhibition Coordinators: Gao Gao, Hai Jun, Zou DiyangCuratorial Team: Li Yaochen, Wang Jing, Li JieVisual Design: Ji YujieExhibition Design: Li HuanhaoExhibition Coordination: Liu Xiyan, Yi Yue, Xu XinchenCollection Management: Xu Yan, Wang Chunling, Ma Liang, Cui Ranran, Dou Tianwei, Li WeiExhibition Management: Jing Peng, Su ShicunMedia Promotion: He Yisha, Wu Jing, Du YinzhuPublic Education: Xiao Baozhen, Geng Jinghua, Wang JunFinancial Affairs: Yang Liu, Men Jing, Kou LeiAdministrative Support: Jiang Siyu, Yue JunyaoList of Participating Artists (Sorted by Birth Date)Qian Songyan, Jiang Zhaohe, Li Hua, Ye Qianyu, Song Buyun, Wang Henei, Sun Zongwei, Feng Fasi, Wen Jinyang, Zong Qixiang, Gu Yuan, Song Wenzhi, Situ Jie, Dai Ze, Liang Yulong, Huang Yongyu, Wu Biduan, Li Qi, Luo Erchun, Yang Li, Yuan Hao, Ma Changli, Wen Lipeng, Du Jian, Zhang Ping, Pan Shixun, Jin Shangyi, Weng Naiqiang, Cao Chunsheng, Yuan Yunsheng, Liu Bingjiang, Wang Tongren, Yao Zhonghua, Zhou Zhilong, Jia Youfu, Yang Lizhou, Wang Yingchun, Gu Gang, Sun Jingbo, Yang Gang, Dai Shihe, Wang Chui, Tang Yongli, Ding Yilin, Fan Di'an, Shi Guoliang, Long Liyou, Wang Shaojun, Yuan Wu, Su Xinping, Li Xiaolin, Ma Gang, Lü Pinchang, Wang Zhong, Liu Xiaodong, Li Yanxiu, Chen Shudong, Zhang Junming, Ma Xiaoteng, Ye Nan, Wang Wei, Yuan Yuan, Wu Xiaohai, He Yu, Huxidan Abudukelimu, Shi Yu, Wu Jiang, Li Ronglin, Wang Xiaowei, Mu Baiyan, Li Yang, Han Xiaodong, Yang Xiaogang, Xia Libin, Kong Liang, Lu Zhengyuan, Li Zhan, Dong Zhuo, Zhang Xiaoxue, Li Jun, Wang Mingze, Lu Biao, Zou Dawen, Wang Leqing, Sun Chao, Li Boyong, Liu Weihong, Luo Guilin, Shen Ganjun, Guo Yao, Xu Yimiao, Li Jingyi, Huang Siying, Hou YuThe Creative Team of the Sculpture Department, the Creative Team of the Mural Painting Department, the Creative Team of the Chinese Painting AcademyChief Editor / He YishaEditor / Du Yinzhu
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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
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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.