The Opening of the Grand Exhibition at the Central Academy Of Fine Arts: "Transmitting and Imitating" Activates the Contemporary Novelty of Chinese Painting Teaching CAFA Art Museum

The Opening of the Grand Exhibition at the Central Academy Of Fine Arts: "Transmitting and Imitating" Activates the Contemporary Novelty of Chinese Painting Teaching

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 speech

In 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 speech

In 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 speech

Mr. 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 speech

Qiu 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) _______________

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 1958

Lu 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

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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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.

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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).

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

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

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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.

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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.

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