葛玉君:万物生——戴泽的艺术流变及其启示

摘要:戴泽先生一生勤勉、涉猎广泛,“国油双修”,兼擅书法。为人低调、淳朴,不急不躁。在近百岁高龄之际,方才开始陆续举办个展。诚如其恩师徐悲鸿所言,“从来艺境是佳境,尽力耕耘善保持”。一方面,戴泽几十年如一日默默耕耘,为艺处世不偏不倚,体现了一代大家风范;另一方面,戴泽将“艺境”与“佳境”相比拟,画面上总是充满着美好与感动。如他时常手书的“万物生”三字,戴泽的艺术探索饱含着对生命万物的无限热爱。他的艺术之旅也正是一个感受自然,向内心追问,在岁月变迁中寻求艺术与生活紧密关联的过程。在戴泽百岁诞辰之际,本文尝试从各阶段“作品”本身出发,对其艺术流变展开解读,在重新感悟戴泽艺术魅力的同时,以期探究其创作带给当下艺术发展的现实启示。

关键词:戴泽 徐悲鸿 中国油画 中央美术学院

中图分类号:J205  文献标识码A

 

戴泽是中华人民共和国美术发展的亲历者、参与者乃至推动者之一。近年来,由于连续几次个展,又将近百岁高龄的戴泽拉回公众的视野。[1]对戴泽艺术进行考察,首先要将其置于20世纪上半叶以及1949年之后美术发展的历史语境中展开探讨;其次,作为徐悲鸿先生的弟子,[2]还应从徐悲鸿教学体系延伸的个案角度来予以观照;再次,更为重要的是,戴泽的艺术创作涉猎非常广泛(媒介上有油画、丙烯、水墨、彩墨等,内容上有静物、风景、动物、植物等写生,以及重大历史题材创作和晚年的“实验性”绘画等),无论从他的创作动机、个性表达,还是风格语言,都呈现出一种既与时代发展息息相关,又若即若离的游走状态,具体到作品上则体现为一种“多元化”面貌下的个体性呈现。这不仅使得戴泽与同时代艺术家(包括“徐派”)拉开了差距,亦给我们提供了一个解读中华人民共和国成立以来美术发展的独特案例。[3]

 

一、“碎中见整”与“色中见型”(1942—1949)

 

戴泽1942年就读于中央大学艺术系,师从徐悲鸿、吕斯百、傅抱石、黄显之、秦宣夫、谢稚柳、陈之佛等名家,接受了系统专业的艺术训练。[4]戴泽在中大的求艺经历,无疑对他日后的创作起到了至关重要的作用。首先,此一阶段,树立了戴泽“写实主义”的创作观。在当时的中大,徐悲鸿将留学欧洲所接受的学院派体系带入教学实践,“在中大艺术系培植了严谨的写实的画风”[5]。正如秦宣夫所言,“现在都在骂学院派,真要来一个学院派,大家都佩服得五体投地”[6]。在徐悲鸿的主持下,中大的写实主义氛围深刻影响了戴泽的创作理念。其次,从自然出发,在创作中讲究“情调”。戴泽回忆道,黄显之时常讲画画要“有情调”[7]。韦启美在文中也写道,“黄先生在评讲我们的习作时,总是看是否含有‘情调’……‘情调’就这样成为我们行进中的第一个路标,使我们没有走到‘匠气’的岔路上去”。而戴泽的画,则“经常被黄先生肯定为‘蛮有情调’”[8]。再次,在“大关系”中探索“细微变化”。正如李瑞年先生所主张的,色彩上要“先画大块底色,再找细微变化。”而“在教学上要以启发式为主,由学生自己去画……”[9]。这种从宏观中探究微观表现力的理念,可以说贯穿了戴泽的整个创作生涯。最后,不墨守成规而勇于探索新知。戴泽至今牢记,“要画出博物馆不一样的画,不要模仿别人”“因为模仿只不过是老画多了一张”[10]。正是中大这样一种活跃的艺术氛围,使得戴泽一生持守“写实主义”的同时,在创作中则不仅注重情感的投入,更强调不断尝试“新”画,探索“新”知。

此阶段戴泽的创作主要有油画、纸本水彩与水墨素描等。中华人民共和国成立前,因材料工具等所限,油画教学相对滞后。对于戴泽而言,他并未像徐悲鸿、吴作人、吕斯百等前辈留学欧洲,接受过系统深入的西画训练。不过,这也使得青年戴泽的绘画表现出一种自我学习过程中的“个性化”探索,进而在创作上体现出诸多“土油画”的特征。近年来,关于“土油画”的研究颇多。一般意义上讲,“土油画”从技术上讲,有一定的缺陷,但从生活情感上讲,它又非常丰满。[11]具体到戴泽的作品中,至少从技法上表现出两个特点。其一,造型方法层面,于“写实性”话语体系中突出“表现性”元素;其二,色彩探索层面,则呈现出一种“低饱和与低明度”细微观照下沉稳的“色彩感”。

首先,从戴泽大量的纸本水彩创作可以看出,与同时代其他艺术家大多将“明暗”附以“固有色”进行创作不同,他对“素描”与“色彩”之间的关系有着更为充分的理解。李斛、戴泽、韦启美都是徐悲鸿所看重的学生,[12]但与李斛等人在创作中“注重写实性”“强调完整性”“着重对人物细节刻画”不同,戴泽的作品往往捕捉那些具有“动态感”的瞬间,利用“色彩关系”进行形体的塑造。在画面处理上,他并不太多关注细节,而是注重对整体气氛的把握;同时,在写实性的基调上,糅入表现性因素。如水彩画《重庆到南京船甲板上的大学生》(图1),是戴泽1946年夏天毕业后从重庆到南京,辗转六省,在船上的见闻。就像李瑞年对先画大块底色,再找细微变化的强调。戴泽基本上采取了一种在大笔触色块铺排的基础上,着力于细节调整,进而展开对空间感的营造。画面基本呈现为几个大的色域,如“甲板前景躺着的大学生”“中景盖着被子的大学生”,以及“远景中正在打牌的一组大学生”。而画面在注重大关系捕捉整体气息的同时,无论人物五官还是形体都舍弃了精微的刻画……《东单地摊》(图2)则是戴泽1946年由齐人陪伴去东单广场买洗漱用具时,对东单地摊的记录。这张水彩画同样没有清楚的交代人物细节,而是运用一种写意性笔法,塑造出地摊儿市场上热闹喧嚣的场面,于无形中见型。再如1949年的《长辛店打铁》(图3),这张受到齐白石赞扬的作品,则是戴泽同韦启美、韦江凡到北京长辛店机场的一幅写生。[13]尽管寥寥几笔,则以一种“碎中见整”的方法将整个儿打铁厂工人劳作的场景烘托了出来,凸显“色彩”对“形体塑造”的重要性。戴泽的“纸本水墨素描”创作,也不同于蒋兆和等艺术家将“毛笔”当作“铅笔”所进行的“黑白全因素素描”探索,而是以水彩、水墨技艺入画,强调黑白之间的游走关系,痛快淋漓之感跃然纸上。上述特征也体现在《乞丐》(1946)和《艾中信像》(1946)等油画肖像作品中,在显示出严谨人物造型训练的同时,更体现出“笔触摆排”等表现性的元素。无论是《艾中信像》还是《东单地摊》等创作,我们均可体会到戴泽以一种放松、自然、投入的创作状态,对周边世界进行着“真实”且带有“情调”的塑造。

从1944年戴泽在中央大学艺术系就读三年级起,徐悲鸿便时常到教室讲授构图课程,指导学生临摹名作,还曾亲自给戴泽改画。徐悲鸿知道戴泽喜欢苏联科托夫的作品,便专门送给他一本《科托夫画集》。作为徐悲鸿弟子,老师的“素描观”“写生观”“写实主义观”都对戴泽的艺术创作产生了直接影响。据戴泽回忆,在日常教学中,徐悲鸿常常提及,“要把颜色摆上去,不要拖拉”“不必用很多笔,两三支就行。”在用色上强调,“脏一点就对了,笔根上的颜色是最好的”[14]。所谓“脏一点”,就是色彩纯度、饱和度要降低,所谓“笔根上的颜色”也意味着“明度”有所降低。因此,戴泽此阶段绘画创作就色彩而言,一个重要特征便是,擅长在“低明度”与“低饱和度”中,探索细微关系的处理。这体现在《东总布胡同》(1947)(图4)、《国立北平艺专教具工作室一角·戴泽像》(1947)等作品中,尤其在1948年的《马车》里,戴泽将在这种对比关系下,所塑造出来的“沉稳”色彩感表现得生动自然。诚然,“酱油色”也属于这一类型,如韦启美所言,“印象派前的传统油画色彩便被讥之为‘酱油色’。而戴泽仍然不倦地发掘这‘酱油色’的表现力。……他的不少静物画的色彩显然是脱胎于‘酱油色’,沉着而不滞涩,生动而又冷静”[15]。如《老佟与列宁》(1946)等(画面颜色倾向于对法国画家夏尔丹静物画色彩的吸收)。这一特征一直延续到《农民小组会》(1949—1950)的整体基调。

该阶段戴泽的绘画呈现为一种“碎中见整、动中捕静”“色中见型、沉稳为调”的创作面貌。而这种面貌也透露出戴泽艺术探索的某种独特性与不确定性。“他作画只是沉浸于表现自己对对象的感觉和认识,而不是实践某种艺术理论或完成某种艺术规范”[16]。从中大、北平艺专、中央美院,一直到晚年,戴泽并没有将自己的创作固定为一个明确的路向,而自始至终主张以一种“开放性”抑或“包容性”的姿态,在日常思考中默默地尝试创新。

 

二、“历史叙事”与“民间(民族)属性”(1949—1976)

 

1949年后,戴泽的艺术创作迎来了新的生机,其绘画语言也随之发生变化。首先,在构图上,由早期那种“碎中见整”式的“表现性”构图,逐步转向注重写实性历史画场景的宏观叙事;其次,色彩方面,则由先前“低明度、低饱和度”的沉稳的色彩感,逐步转向具有“民间气息”的鲜活、明快、舒朗(高明度、高饱和度)的色彩表达;而在内容选择上,像无数艺术家一样,戴泽以一种欢欣鼓舞的心情,描绘新中国,讴歌新社会。值得注意的是,尽管这一阶段戴泽在艺术创作上取得了新的突破,但之前相对个性化的语言特征、风格样式,却似乎被削减或弱化了。

徐悲鸿在中大艺术系以及国立北平艺专一直倡导严谨写实的画风。据韦启美回忆,戴泽“保存的一张四年级时画的男人体素描,显示出他的基本功的面貌和功力,准确、简练、尊重感觉。他的其他作品,特别是课外作业,都体现了这种风格”。[17]显然,运用写实性语言表现新气象,对于戴泽而言,自然不在话下。早在第一次文代会期间,他的《欢迎解放军过长江》便参加了在艺专开幕的“艺术作品展览会”[18]。1949年底,戴泽以高涨的热情加入土地改革工作队,“天天和农民们开会讨论,经常是晚上谈白天所了解到的情况”[19]。通过深入一线的考察,戴泽创作出了《农民小组会》(图5)这件生活气息浓厚的作品。得到徐悲鸿、刘凌沧、侯一民等多位师友的肯定与表扬。而《农民小组会》在色彩上仍沿用了先前所谓的“低明度、低饱和度”的“脏”色。1950年,戴泽的《和平签名》《马车》两张作品入选“中国艺术展览会”,9月他随代表团[20]前往苏联莫斯科、列宁格勒以及德国柏林和波兰华沙考察。这次长达一年的欧洲之行,既是一次难得的学习之旅,同时也是一次消化与总结的良好契机。一方面,戴泽有机会与最原汁原味的欧洲艺术近距离接触,使得他对徐悲鸿古典写实主义绘画有了新的认识与切实的感受;另一方面,则将这种古典主义的元素逐步转化到对“新中国题材”的描绘上。

值得一提的是,在华沙期间,戴泽专门临摹了马特义柯(Jan Matejko,1838-1893)的《圣西吉斯孟德大钟》。马特义柯是波兰近代历史画的先驱,一生创作了大约100幅油画,其中主要是历史画。其历史画作品蕴含着鲜明的民族自豪感和强烈的爱国主义精神,并体现出浪漫主义和现实主义相结合的特征。这无疑与新中国美术所倡导的革命历史画创作相吻合。中国画家杨之光曾通过临摹列宾《查波罗什人写信给土耳其苏丹》[21],进而训练对宏大历史场景的把握能力。于戴泽而言,对《圣西吉斯孟德大钟》的临摹则不仅是一个技术学习、宏观场景处理等方面的经验积累,更是一次民族自豪感与爱国主义精神的洗礼。

这一阶段,戴泽创作了大量的革命历史画,如《农民小组会》(1950)、《小会计》(1955年)(图6)、《胜利的行列》(1957)(图7)等。尤其在1959年,先后创作了《淝水之战》《南昌起义》《廊坊大捷》《谅山大捷》等历史题材油画(作为历史教学挂图发行),成果颇丰。同时,为迎接中华人民共和国成立10周年大庆,他应中国历史博物馆之邀,赴宁波、上海进行素材写生,创作了《义和团》《张献忠除暴安民图》《太平军大败洋枪队》(图8)等代表作。《廊坊大捷》(1959)是戴泽同类题材中较有代表性的一幅。从构图上,与1957年创作的《胜利的行列》一样,我们可很明显地感受到其对古典主义绘画营养的汲取,如画面所采取的“X”形构图。“X”形构图的特点之一是透视感强,容易把观者的视线从四周引向中心,或从中心引向四周。既将画面的视觉中心突出表达出来,又使画面得到了一种古典主义韵味的稳定结构。在1959年的《太平军打败洋枪队》等作品中,我们也能感受到对大卫《劫夺萨宾妇女》、普桑《阿卡迪亚的牧羊人》等作品里稳定且具有灵活性的“X”形构图的借鉴。而在《大泽乡起义》(1971)、《岔沟之战》(1977)(图9)等作品中,戴泽则将这个“X”倾斜了一定的角度,使得稳定感得到了打破,整体呈“钝角三角形”构图,加强了画面的动感和层次感。这种对稳定性的强调,对人物形象的突出刻画,以及画面所饱含的情感,与中华人民共和国成立以来“为工农兵服务”的时代理想密不可分。1949年后迎来了革命历史画创作的高峰期,众多20世纪的经典革命历史题材画,皆出自此时期。这些作品提倡崇高,追求革命的现实主义与革命的浪漫主义相结合,强调庄重单纯的形式、严谨的造型,追求构图的均衡与完整。当然,从另一方面来讲,对笔触表现等个性化的艺术语言却并不重视……作为美术工作者,戴泽亦概莫能外。

从构图上讲,无论是《农民小组会》(1950)还是《小会计》(1955),都很容易让人联想起伦勃朗《杜拉普教授的解剖课》的构图。如对桌面中央光线的汇集,观者视线的不断聚焦,四周深色背景明暗对比营造的氛围感等。人物数量虽然众多,但主次有序,每个人的特征都被生动地表现出来。同时,戴泽在画面中保留了大量表现性笔触(如徐悲鸿所言“要把颜色摆上去”)。但在色彩的运用上,这两张画却大相径庭,在“色彩的饱和度”及“画面的明度”等方面都有所增强……不难看出,这一转变似乎较为明显地受到了“民间色彩”的影响,如画面中出现的大红大绿(蓝)等纯度很高的色彩。这是否与“新年画运动”[22]有关尚有待讨论,但这些充满喜庆的色彩,则无疑反映出戴泽对新时代的歌颂与热爱之情。

另外,倘若将《小会计》与《西藏春耕》(1964)进行比较的话,似乎又反映了戴泽创作中色彩观转变的另一倾向,即对“油画民族化”思潮的反思。1956年“双百方针”提出后,在“去苏联化模式,走中国式道路”的历史语境下,“民族化”思潮逐步兴起,在美术界则突出表现为“油画民族化”话语的形成。也正是部分基于此,中央美术学院油画系在1959年专门设立了以吴作人、罗工柳、董希文命名的工作室,加强油画教学中“民族化”的探索。戴泽曾任教于吴作人工作室(即油画系第一画室)[23],吴作人教学中提倡对传统艺术理论、画论的特别关注,罗工柳在教学中强调“学到手再变”,董希文早在1949年前便深入西部、少数民族地区进行“油画中国风”的探索,这都为油画创作向本土化倾斜提供了充足的养分。而在“油画民族化”思潮中,“边疆写生”亦是一条民族化的重要途径。1963年9月,戴泽受中国美协资助,同潘世勋赴西藏等少数民族地区为期一年的写生,先后途径中印边境、日喀则莎迦县、拉萨当雄县、拉萨市等地。创作了《三姐妹》《春耕》《林卡》《播种》以及《沙迦农民》《边防站长》等一批描写边疆题材的作品。在这些创作中,那蓝蓝的天空、朵朵纯洁的白云、张张红彤彤的脸蛋,所形成鲜明的对比感,凸显出一种以“高明度”与“高饱和度”为特征的具有民族本土特色的画面效果……在20世纪50年代,戴泽还就油画媒介做了详细的梳理与研究。[24]

值得强调的是,在戴泽每个阶段的绘画中,几乎各种媒介材质、风格样式都贯穿始终。因此,本文这种大的转变关系的梳理,更指向其不同阶段艺术创作流变的内在理路与现实语境。

 

三、“国油兼修”与“个体回归”(1978—2000)

 

改革开放以后,美术界在对“红光亮”美术展开反思的过程中,汹涌而来的’85新潮美术也对美术家们产生了巨大冲击。对此老先生有着各自不同的应对方式。有相对前卫的,如韦启美等,也有相对温和的,如戴泽、伍必端等。但在这一过程中,回归个体、挖掘内心,强调文化间的比较,突出人文精神关怀等似乎是大家的共识。相对于之前的艺术创作,此阶段戴泽逐步体现出,“文化比较意味”加深,“个体性叙事”增强,以及对“生命万物”的日常观照与“抒情性色彩”的自由表达等特征。

其一,“油画”与“国画”双管齐下几乎贯穿了戴泽的整个艺术生命。作为一位“国油双修”的艺术家,其中势必有着对两套系统的比较与反思。实际上,戴泽的水墨画尝试早在1949年之前就已开始,但成规模的水墨画创作,则主要集中在改革开放以来。徐悲鸿、吴作人等先生,都是“国油双修”的艺术家。“国油双修”,一方面与个人的艺术成长经历有关;另一方面,也代表着对艺术的一种立场或认知。徐悲鸿虽倡导“写实主义”,强调“素描是一切造型艺术的基础”,并在“新七法”中将“位置得宜”“比例准确”放在首位,而将“传神阿堵”置于末尾。但从徐悲鸿大量的中国画创作中,可以清晰地看到,对笔墨语言的重视,对中国画传统的持守。在徐悲鸿生活的那个年代,他对中国画的改良,对写实造型的强调,更多出于对美术发展状况的思考,以及艺术实用主义的挖掘,而并不意味着对笔墨等中国画传统元素的排斥。20世纪50年代,吴作人在谙熟西方美术教育体系的背景下,大力倡导中国传统文艺理论,接续徐悲鸿教学思路,展开对具有本土化倾向的新中国油画教学体系的建构(如十张纸斋[25]、吴作人工作室等)。改革开放以来,吴作人更是将主要精力放在水墨画的创作中,对他水墨艺术的挖掘、研究乃至再评,至今仍是一个值得探讨的话题。而吴作人对戴泽的影响显而易见,戴泽一直清晰地记着,十张纸斋“名字的由来是有一次讨论中国画改良的问题时,先生建议每人拿起毛笔宣纸画写生,每晚画十张,过一段时间我们开个画展。后来这个画展没开成。但董希文、李斛、王式廓画展中不少作品是在这里画的”[26]。戴泽也正是在老师的引领与影响下,进一步从“形式到内涵”,在比较之间体悟着两种艺术的关联。此时期,戴泽深入全国各地,进行了大量彩墨画写生实践,进一步探究墨与色、笔墨与笔触及文化间的相融共生。[27]

这里要提及的一点是,中华人民共和国成立后直至改革开放初期,对于“水彩”与“水墨”概念的理解。在老一辈艺术家中,水墨、水彩兼擅者众多,如萧淑芳、杨之光、戴泽、伍必端等。笔者曾就这个问题专门采访过杨之光,他的回答是,“水墨和水彩之间并没有什么区别”[28]。这或许代表了那个年代成长起来的部分艺术家所共同持有的艺术观点。虽然整体而言,戴泽既有倾向于水彩路向的系列创作,如《宁夏》(1991)、《黄石瀑布》(1994)、《烟台海边》(1994)等,亦有倾向于水墨路向的系列创作,如《绍兴青藤书屋》(1988)等,但更多是两者之间的融合互渗。我们将1984年的两幅作品,纸本设色《伊春小路》与纸本水彩《慕田峪》相比较,前者属于彩墨的范畴,后者则属于典型的水彩画。《伊春小路》对于色块、构图、透视以及笔触的处理,都与《慕田峪》相互贯通。反过来,包括《慕田峪》《绍兴青藤书屋》(图10)等,那种笔线勾勒的方式,宣纸浸淫的特殊效果以及意境上的表达,又与中国画传统相契合。再比如,其1980年创作的《乌蒙山雨》,可以更明显地感受到对于传统氛围的营造,对于笔墨语言的探索,整个画面扑面而来的是浓烈的水墨气息。与此同时,我们也能体会到色彩方面的西画倾向……换言之,在戴泽那里,“水彩”和“水墨”(“彩墨”)并非截然对立,而是“相互借鉴”“相互融合”“相融共生”的关系。

其二,改革开放以来,戴泽绘画中“个性化”特征有着明显的回归。首先是个人绘画语言的重塑。包括对中华人民共和国成立前那种“碎笔”笔触,以及“碎中见整”等表述方式的再尝试等。如在《云南大榕树》(1980)、《大鱼岛》(1981)、《一隅》(1980)、《版纳》(1980)、《古建筑》(1982)、《渡口》(1984)、《慕田峪》(1984)等作品中,对于局部与整体、近观与远景、透视与聚焦等关系的把握,以及在大色调基础上注重对丰富性的挖掘,在琐碎的枝节中注重对细微关系的调整,可谓“大中窥小”“小中见精”“由碎及整”“由整移情”。这或许已成为戴泽创作中娴熟且成熟的一套“方法论”。其次是对表现“对象”本身性格的剖析。如《维族大夫买丽亚》(1979)(图11)中对买丽亚日常生活状态的描绘,《彩云之南》(1980)中对少数民族姑娘内心淳朴、羞涩表情的刻画,《太原女青年》(1981)中对未来充满憧憬的女青年的解读,《圣诞场景》(1994)中对纽约女郎欢快、热烈的内在气质的挖掘等。再次,如《高原之春》(1981)、两张《玉树青年》(1983)、《藏地僧人》(1987)作品中,分别对藏民畅快心情的感受,对藏族小伙粗犷而又内敛性格的塑造以及对佛僧神秘、敬慕感的呈现等。整体而言,突出对不同“创作对象”个性特征的刻画与内心世界的挖掘。

其三,“抒情性色彩”的自由表达与“生命万物”的日常观照。如上所述,戴泽在色彩方面的尝试经历了几次转变。1949年之前,表现为所谓“低明度、低饱和度”的沉稳的色彩感;1949年之后,倾向于具有研究性质的关涉民间(民族)气息的鲜活、明快、舒朗(高明度、高饱和度)的色彩表达;改革开放以来,戴泽的色彩更呈现出一种具有“抒情性”的自由表达。如1980年《云南印象》(图12)等一系列创作中,所呈现出来的色彩饱和、纯度高、明亮光泽,以及诸多的风景创作多洋溢出来的对美好心情的抒发,而他大量的花卉作品更是反映出浓浓的生活气息与对自然的热爱之情。如1980年创作的《版纳》中的纯色、逆光;1996年《热带雨林》里,五彩斑斓色彩感中,灵动的点缀与兴奋的笔触游走。正如本文题目《万物生》所示,戴泽绘画中一个非常重要的地方,是对自然、生命乃至“万物”的热爱。如韦启美所言,“一丛野草,一片杂树,一块山坡,一角堰塘,几块水田,他仅用初学者的技巧便表现出它们蕴含的大自然的情趣”,“他把自然当老师,把写实当本分。在自然面前,他只是认真地看,诚恳地表达自己感到的形象。他对自然越真挚,自然给予他的便越丰富。他从走进艺术之门的第一天起,便是自然的忠实的学生。”[29]戴泽先后到新疆、西藏、云南、青海、宁夏以及美国纽约等地写生。除了人物以外,创作了大量风景、静物等题材作品,其中动物、植物题材更为突出。从这些对各种各样动物、植物的描绘中,我们能够感受到戴泽在日常化艺术创作过程中“情感性”的注入,同时更能够感受到他对“生命”本质的真切关注与思考。[30]回到徐悲鸿给戴泽的那句话,“从来艺境本佳境”。在戴泽的艺术视野里,在他“画你所见”的观念中,选择的是用一种美好、善良、淳朴的情感去捕捉身边世间“万物”,这不仅是戴泽艺术创作的重要特征之一,更是他对于艺术、对于生命的一种态度。

 

四、“文化观照”与“日常审美”(2000年至今)

 

2000年之后的戴泽,已逾80高龄。但他的艺术生命并未枯竭,而像一坛老酒一样,散发着特有的醇香,酝酿着下一个四季轮回。如戴泽自己所言,“李斛带着一腔不满在1975年去了,韦启美带着理想走了,卢开祥走了,我其实也该去了。现在好像是灵魂回来了”[31]。这种所谓的“灵魂”回来了,我想恰恰意味着此阶段戴泽开始了一种对过往文化艺术实践的理性反思,并在这一反思过程中赋予其当下的含义。这既是一个总结、凝练,更意味着一种新的开启。当然,这些在戴泽的创作中,皆表现为潜移默化、自然而然、平淡从容、水到渠成的一种状态。具体到画面上,则体现为对形式语言背后所蕴含意义的进一步挖掘。

实际上,戴泽早在20世纪50年代便开始关于东西方艺术的思考,这一方面与徐悲鸿、吴作人等前辈恩师的艺术观念与治学思想有关,另一方面也受到了民族化思潮的影响与启发。作为一位油画家,他在1957年还专门撰写了《关于明清美术的评价问题》一文。文中戴泽从理性研究的角度回应了当时正在喧嚣的对于“明清美术评价”的热潮。他首先梳理与分析了9种比较流行的说法,并在此基础上提出自己的观点。如明清时期的人物画,“已经明显的具备着对人物性格深刻的描绘,在宋画里是看不到的”,“除生动的姿态外,单就人体解剖的正确而论,也是前代未有的”。明清时期的有些传统雕塑,“摆在世界第一流的头像中,毫不逊色”[32]。而关于“东西方艺术”的关系,在他看来,东西方对于艺术的认定与期许,有着方向上的不同,“西方人对艺术的投资在未来,中国投资在过去。中庸之道磨去了中国人的棱角和锐气,社会上不鼓励未来的东西,注重已定座的,不重未定位的”。而向前展望,“未来数十年,东方的文化哲学会改变世界的面貌”[33]。可以说,戴泽在进行比较之后,进而认定“东方哲学文化”在未来发展中的作用与意义。他的这种判断并不完全来自理性的逻辑思维,更是出于一种艺术家感性的创作实践体悟。

带着这一认知,翻看戴泽的创作,我们会发现一个有意思的地方,那就是在戴泽晚期的作品中,出现了大量的对“古、今、中、西”艺术作品的临摹。如在西方绘画方面,他用水墨对鲁本斯的《美惠三女神》,达·芬奇的《最后的晚餐》以及马奈的《白牡丹》进行了临摹,同时他还对《洛可可教堂天使》进行了复制。在中国艺术方面,他的《汉墓壁画》《云冈石窟之角》《水浒叶子》更是表现出一种在临摹过程中对传统艺术展开的视觉化比较与研究,同类作品还有《戏剧人物》《拉萨灯节》等。[34]对于这些作品,我想我们并不能仅仅用“临摹”一词看待,更应以一种再研究、再思考、再创作的态度去审思。如果说,戴泽对于艺术的思考有其独特的地方,我想那就是一种“视觉之思”,他的作品,无论是创作、写生还是临摹,都体现了他思考的维度与思想的深度。

正是基于上述所谓的“临摹”与“再创作”,戴泽逐步在实践领域将这一倾向推向深入。在《泉之一》《泉之二》中,我们虽然已无法鉴别,究竟是一种笔触上的表现痕迹,还是一种抽象的水墨意味,但明显带有东西方文化元素的交融与互渗,进而流露出如黄宾虹晚年画面上的那种浑厚华滋的“新生”气息以及交融后新的可能性的萌芽与建构。相较比《泉之一》,《泉之二》(图13、14)更有一种混沌感、抽象感,抑或一种水墨节奏、生命律动,可谓“于无形中见有形”。尤其值得一提的是,这一阶段他很多创作由部分意义上的“温婉的表现性”,逐步转化为强调具有抽象意味的“较为强烈的表现性”,如《洛神》《钟馗嫁妹》《一念》等。这些作品更反映了戴泽对于东西文化观的当下思考。《洛神》中,显然运用了国画的韵味,但又采取了一种略带抽象的意向性表现手法。既反映了一种横向意义上的对比观照,又反映了一种纵向脉络上的当代性的转化。而作品《一念》,有笔无笔、有形无形、有黑无黑、有白无白,它本身的“形象”已经淡化,背后的“意义”正在凸显,而对这些“意义的表达”则成为驱动戴泽持续创作的核心动力。

晚年的戴泽少有外出写生的机会,他思考与创作的重心也渐渐转向内省。因此,对于那些看似平淡无常素材的不断描绘,其背后恰恰突出了其“对日常性审美体验”的关注。虽然,这一倾向在早期作品中就有所体现,但与晚年创作相比,有程度与诉求上的区别。如在《窗外》系列作品中(包括2000年的《窗外之一》、2009年至2010年的《窗外之二》、2013年的《窗外之三》和《窗外之四》)(图15—18),戴泽突出了日常性素材的那种微观性的生命感,甚至在不厌其烦中赋予了其永恒性的纪念意义——“王府井的煤渣胡同,我住了一辈子。我喜欢画窗外,静静地画我看到的,一张接着一张画下去”[35]。如将这4件作品对比起来,可以看到,媒介上从“布面油画”到“水墨”再到“水彩”,最后到“木板油画”,“法无定法”,似乎仍在不断的尝试和探索之中;另外,我们也从中可以窥到淡然、静谧之下,感受岁月变迁的心境,在一笔、一墨,一块、一组之间诉诸笔端,材料媒介已并不重要,而当时的感受、状态、思索留在画面上的“痕迹”无疑才是戴泽“心之所往”。2011年,戴泽创作了一幅描绘菊花作品,名为《繁花似锦》。如他感言,“我爱画花,因为不管何时的艰难困苦,人性不堪、潮起潮落,花一直都在开。我也喜欢画树,也许有一天我不在了,树在”。[36]他在描绘这些日常化的景物时,注入平淡又炽烈的情感,自然而然的流露,同时赋予了一种文化意义上的思考,并将这种思考上升到对生命的理解。这种对“日常化审美体验”的记录与反思的作品数量非常之多,如《案头静物》等作品中,所深刻的体现出的对岁月感、永恒性等主题的潜在表达。而我们从其中亦能感受到艺术家思考的维度与对生命的记录。

纵观戴泽的绘画,与同时期有着明显创作高峰阶段以及明确代表作的其他众多艺术家不同。从中大学习伊始,一路走来,直到暮年,戴泽始终处于一种立体式的、全方位的艺术探索过程中。无论是主题、内容、语言,还是思考、取向与判断,皆表现出极大的包容性、开放性与新的可能性。因此,对于其艺术的解读,我们也无法从一两件所谓的代表作或某个代表阶段中窥其全貌,而只能将其整个创作生涯作为一个“个案”来展开探讨。基于此,本文虽然将戴泽的艺术创作分为四个阶段,但也仅仅是以一孔之见梳理出每个阶段的大致倾向而已。对于戴泽艺术的解读,就像一本可以翻开,但却永远合不上的一本书。因此,对于研究者来说,亦如戴泽所言,“相信你的眼睛,写你所见到的真实”。[37]

“绘画是一生的事情,要不停地画,不教一日闲。绘画是内心的需要,如同呼吸一样,要把自己的感情融入进去,让画面同你一道呼吸”。在戴泽看来,艺术极其“平常”,就像每日的生活一般,但艺术又极其重要,如同“呼吸”一样,是他生命中不可或缺的东西。绘画是戴泽生命的一种呈现状态。作为一位艺坛百岁老先生,一位老艺术家,在他身上正体现出“感受平淡的日常体验”“静谧耕耘的真切心态”“文化交融的默默审思”,以及“对生命‘万物’的美好热爱”。正如戴泽所言,“对过去没有后悔,对现在很满意。我随着潮流来,随着潮流去。顺乎自然,心平气和”。[38]一语道出其人,不急不躁,不偏不倚,画你所见!——这不啻为一种领悟,更是一种人生智慧!

 

注释

[1]分别是“戴泽艺术展”(中国国家博物馆,2018)、“耕耘者——戴泽油画艺术展”(中央美术学院美术馆,2018)、“润泽无声——戴泽艺术展”(中国美术馆,2021)。

[2]戴泽可以说是徐悲鸿先生最为得意的弟子之一,在戴泽新婚之际,徐悲鸿还特赠送书法贺词,全文为“好把卿我塑作泥,仲姬孟頫语堪师。从来艺境是佳境,尽力耕耘善保持。三十七(1948)年八月 戴泽 碧茵两弟 嘉礼 悲鸿”。

[3]尚辉:《画你所见——戴泽笔下的师友、家人与百姓》,《美术研究》2022年第1期。文章主要通过“师友、同学与同事”“家与家人”和“平民百姓的日常”等方面,对戴泽以质朴的笔触记取身边的人物形象为主题,进行系统性的学术研究。本文则主要尝试对戴泽每个阶段的创作及其背后的艺术理念与价值诉求展开探讨。

[4]戴泽1922年出生,1941年毕业于重庆精益中学,其间王琦任美术老师,1942年入中央大学艺术系正式开启艺术生涯。

[5][8][15][16][17][29]韦启美:《一个尊重自然的画家》,《美术研究》1982年第4期,第18、18、20、18、18、18页。

[6][7][9][14]戴泽笔记《戴泽回忆中大问学》,家属提供。

[10]戴泽忆黄显之先生课堂教学。《戴泽回忆中大问学》戴泽笔记,家属提供。

[11]对于“土油画”的研究较多。“土油画”并非贬义词,在某种意义上,“土油画”象征了中华人民共和国成立前后一个阶段油画创作的面貌。“土”甚至成为特殊年代的一种美学特征。

[12]关于李斛,徐悲鸿曾说:“李斛是中国的安格尔。”(也有认为这是一种误传,据戴泽回忆,当时徐悲鸿说的是,“李斛是中国的荷尔拜因”。)1946年,李斛在徐悲鸿的鼓励下,连续举办个人画展,徐悲鸿为其画展题词,如“中国画向守抽象形式,虽亦作具体描写,究亦不脱图案意味。李斛弟独以水彩画情调写之,为新中国画别开生面”。“以中国纸墨用西洋画法写生,自中大艺术系迁蜀后始创之,李斛仁弟为其最成功者”。(详见《笔墨胜境——李斛作品集萃》,湖南美术出版社2015年版。)可见徐悲鸿对李斛的重视。(本人在《“徐氏体系”“徐蒋体系”“徐江体系”与“徐李体系”之辨》一文中亦有详细论述,见《美术研究》2020年第1期。)关于戴泽和韦启美,徐悲鸿曾在多篇文章中提到过他们的名字,并曾说“应该鼓励一个青年努力,去挖掘他的天才。像戴泽、韦启美两年轻画家,便是我发掘出来的”。以及“少年作家中,戴泽、韦启美,均在本展中大显身手”。(分别见徐悲鸿:《1948年4月29日徐悲鸿为北平艺专等三团画展事答记者》《介绍几位作家的作品》,王震编:《徐悲鸿文集》,上海画报出版社2005年出版,第230、140页。)韦启美在《一个尊重自然的画家》,也回忆道,“戴泽因他的勤奋、质朴,忠实于自然的画风而成为徐悲鸿赏识的学生之一”。

[13][19][31][33][35][36][38]王春法主编:《戴泽艺术》,安徽美术出版社,2018年4月,第187、153、261、270、276、266、291页。

[18]鉴于此次展览属“全国美协”和“全国文联”筹备和成立之际的综合性、全国性大展,后来被追溯界定为“第一届全国美术作品展览”简称“第一届全国美展”。

[20]“中国艺术展览会”代表团成员有王冶秋(团长)、彦涵、张全新、戴泽、李鸿庆等。详见王春法主编:《戴泽艺术》,安徽美术出版社,2018年4月,第302页。

[21]葛玉君:《杨之光》,高等教育出版社,2018年,第47—48页。

[22]1949年,由原文化部部长沈雁冰署名的文件《关于开展新年画工作的指示》于11月在《人民日报》公开发表,开启了新年画运动的序幕。为了进一步鼓励新年画创作,分别于1950年和I952年两次举行新年画评奖,反映了当时的文艺政策和发展方针。新年画的一个重要特色是无论从造型上还是色彩上,充分吸取民间年画的特征,进而展开题材内容的转变。而新年画运动中对民间年画从色彩及造型上的借鉴,也影响到其他画种,这对20世纪50年代后尤其六七十年代的油画创作产生了重要影响。

[23]胡建成主编:《春华秋实——(1959—2013)中央美术学院油画系第一工作室文献集》,人民美术出版社,2013年12月,第175页。

[24]如戴泽1959年撰写的《有关画布上的几个问题》,就从“画布”“三类办法”“模特儿”“吸油现象”“保护油画”等几个方面,从技法上对油画使用进行了详细的介绍。戴泽《有关画布上的几个问题》(手稿),1959年,中央美术学院档案。

[25]吴宁:《“十张纸斋”的目的及吴作人在“十张纸斋”中的艺术实践》,朱青生编:《美术学院的历史与问题》,广西师范大学出版社,2012年12月。     

[26]戴泽:《悼念吴作人先生》,《美术》1997年第6期,第13页。

[27]新时期以来,投入到水墨创作上的老先生有很多,如版画家周令钊、伍必端等。

[28]详见葛玉君《杨之光访谈录》(未发表),另见葛玉君《杨之光》,高等教育出版社,2018年。

[30]如《热带雨林》(1978)、《百合花》(1979)、《高原之花》(1979)、《龟背竹与夹竹桃》(1986),《驯鹿》(1984)、《睡》(1984)、《寡狮》(1984)、《猫头鹰》(1984)等,以及1991年的《宁夏骆驼》系列,1994年的《纽约动物》系列等。

[32]戴泽:《关于明清美术的评价问题》,《美术研究》1957年10月号,第105—107页。

[34]上述戴泽的作品有部分至今无法准确辨别其创作年代,或许一些创作于20世纪80年代、90年代,但其所传递出的思路显而易见。

[37]据戴泽长孙戴梦介绍,戴泽时常劝导其后人要“相信你的眼睛,画你所看到的”。

 

文章发表于《美术》2022年第11期。

 

相关链接/戴泽

1922年生,祖籍四川云阳。1942年考入中央大学艺术系。1946年毕业后应徐悲鸿邀请赴国立北平艺术专科学校,负责教具组。1948年被正式聘为讲师。中央美术学院成立后,担任讲师,负责基础课教学,为素描教研组成员,兼教具组管理。1950年随“中国艺术展览会”赴苏联交流。1959年任教于油画系第一画室。1987年从中央美术学院退休。现为中央美术学院教授,中国美协会员。代表作品有《和平签名》《农民小组会》《胜利的行列》《夏日树荫》等。作品被中国国家博物馆、中国美术馆、中央美院美术馆、江苏省美术馆、南京博物院、广东美术馆以及德国慕尼黑博物馆等国内外艺术机构收藏。

近期艺事

2022年10月13日至11月13号,由中央美术学院、中国美术家协会主办的“人生如画——戴泽先生百岁艺术展”在中央美术学院美术馆展出。

 


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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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