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.

: In the Age of Prevalent AI, "The Maksimov Training Program" Remains Mainstream | "CAFAM艺术+" to Premiere on New Year's Day 2026!

2025-12-31

Pilot film"CAFAM艺术+"Re-examining "The Maksimov Training Program":In the Age of Prevalent AI, Traditional Approaches Remain MainstreamBroadcast Time: 14:00 on January 1, 2026Guests: Jin Jun, Cao Qinghui, Hai JunBroadcast channels are listed belowChief Editor / He Yisha Editor / Du Yinzhu
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: CAFAM New Year's Day Art Gift, Inviting You To Unveil 2026 | Open Announcement

2025-12-30

Dear Visitors,As the new year begins, may your days always bring fresh joy. As we welcome the year 2026, to accommodate public interest in visiting, our museum will remain open during the New Year holiday period (January 1-3, 2026). We look forward to seeing you as you begin this new year with fresh perspectives！In the meantime, to thank our visitors for your continued attention and support, we are delighted to launch our "New Year's Day Art Gift" event. Share your favorite piece from the CAFAM collection in our official WeChat account comments, and you could win one museum ticket. We will randomly select 20 lucky winners. The event ends on December 31st. You are not only viewers of art, but also participants and disseminators of artistic experiences. Join us in the comments section for an interactive experience!CAFA Art MuseumDecember 29, 2025On ViewDuring the New Year's Day holiday, the China Academy of Art Museum (CAFAM) will present multiple exciting exhibitions, covering the art from ancient to modern, and from traditional to contemporary. It will also specially plan public education activities on New Year's Day, which not only enrich the audience's viewing experience, but also integrate art into daily life.Editor-in-Chief / He YishaEditor / Du Yinzhu
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: Forum Summary | Origin And Prism – Realism, Modernism, And Contemporary Painting

2025-12-29

December 11th, the first session of the academic forum series "Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)", titled "Origin and Prism – Realism, Modernism, and Contemporary Painting", was held at the Auditorium of the CAFA Art Museum.This academic forum features artists Liu Shangying, Liu Xiaohui, He Jing, Song Jiayi, and Wang Guangle in a dialogue, with Wang Jing, Deputy Director of the Curatorial Research Department of the CAFA Art Museum, serving as the host. Liu ShangyingArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Oil Painting DepartmentTeacher Liu Shangying shared his understanding and comprehension of the former Soviet Union's oil painting teaching system and painting characteristics based on his own learning experience. The "Soviet school" of oil painting advocates a scientific and rigorous system of light and shadow composition, excels at depicting direct and vivid life experiences, and has strong realistic features. Its paintings are rigorous and orderly, making them very easy for audiences to understand and engage with. Liu Shangying elaborated on the mutually complementary and highly unified relationship between "color" and "form" in the oil painting teaching system of the Maksimov Training Class. This focus on integrity has also been integrated into the long-term teaching system of the Central Academy of Fine Arts, with far-reaching influence. Even today, it still plays an important role in training students' creative cognitive abilities of "observing, understanding, and expressing".Exhibition siteSong JiayiArtist, Director of the Oil Painting Department, Academy of Arts, Capital Normal UniversityTeacher Song Jiayi talked about the historical origin and practical influence of "Su-style" oil painting in the oil painting teaching system of New China. He believes that Soviet experts represented by Maximov introduced the realistic creative spirit and materialist view of history into China's oil painting creation, laying an important foundation for the construction of a systematic teaching methodology. Faced with the rich oil painting creation systems in the art world in the mid-20th century, the introduction of the positivist philosophical perspective contained in Su-style oil painting is beneficial for Chinese artists to sort out the development context in contemporary, experimental and diversified painting languages, and find a foothold that combines national traditions and the characteristics of the times in the classical and modern world. It can be said that the Su-style oil painting teaching system represented by Maximov has broadened and improved the historical vision of Chinese modern oil painting and helped Chinese artists find their own creative direction.Exhibition siteLiu XiaohuiArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Mural DepartmentTeacher Liu Xiaohui introduced the important guiding role of Soviet-style oil painting in his early learning and creative practice. He believes that the holistic color system of Soviet-style oil painting integrates the scattered and random form and color languages in modern Chinese oil painting creation. With the progress of history, even from a contemporary perspective, there is still huge room for continuous deepening of the understanding of Soviet-style oil painting creation, which can lead to new understandings in the process of creation and teaching.Exhibition siteWang GuangleArtist, Graduated from the First Studio, Department of Oil Painting, Central Academy of Fine ArtsTeacher Wang Guangle also shared the inseparable connection between his personal creative history and Soviet-style oil painting, and his experience is highly representative. Soviet-style oil painting was crucial for breaking the tradition of "local oil painting" and initiating a modern understanding of oil painting creation, helping China's early realistic oil painting creation reach a new level. In Wang Guangle's current creative practice focusing on contemporary and abstract art, the traditional plastic stance represented by Maximov still provides ideological and conceptual guidance for painting expression in the new historical period. As the "origin" of contemporary painting, it will not only not become outdated but also accompany the new generation of young artists to go further.Exhibition siteHe JingArt critic, curator, Assistant Professor at the Academy of Arts & Design, Tsinghua UniversityProfessor He Jing elaborated on her understanding of Maximov and Soviet-style oil painting from the perspectives of a theoretical researcher and critic. Soviet-style oil painting represents not only a specific creative school but also a kind of creative thinking and method. It decomposes the learning, training, and creation of oil painting into stages and procedures that are easy to understand and master in a scientific and rational manner. This set of procedures has profoundly influenced Chinese oil painting creation both at that time and later. Behind this highly scientific teaching and creation method, it also reflects the major historical background and demands of Soviet-style painting adapting to the industrialization and modernization of the Soviet Union. Therefore, from this perspective, it was also highly in line with China's practical needs and the historical context of that era. In addition, Soviet-style oil painting introduced the consciousness of "collectivity" into China's oil painting creation—whether it is collective creation or the expression of creative content related to specific classes or groups. From this perspective, we can understand why Chinese contemporary oil painting after the 1980s saw a pivotal shift towards a focused attention on "individual" consciousness and individual care. Therefore, we should examine the Soviet-style oil painting system and its historical significance with a dialectical and historical attitude.Exhibition siteWang Jing summarized Maximov's system and methods as a "toolbox" for oil painting creation. In the process from tradition to the contemporary era, and from the collective to the individual, artists have drawn on the strengths of various sources in their practice. They have combined their respective life experiences and subjective understandings, and utilized the valuable thinking methods and paths provided by this toolbox to address different artistic issues and express different spiritual pursuits. The "Maximov Training Class" is not merely a history of higher art education for the exploration of the modernity of Chinese oil painting, but also the starting point of a set of realist aesthetic methodologies concerning "how to see," "how to construct," and "how to narrate." In the subsequent exploration of diverse and specific painting formal languages, some artists have explored modernism, pursuing connections between psychology, abstraction, and structure; others have continued the realist tradition, depicting new themes and opening up new painting dimensions belonging to the contemporary era. All these are individual expressions unfolded in China's own context starting from this "origin," reflecting a rich and varied range of artistic colors.Looking back from the present, in an art environment that has undergone drastic changes and become increasingly complex along with the real world, the realities of globalization, visualization, and medialization present challenges where multiple contexts intertwine and value systems are fluid. How to address and express these complex modern situations, and achieve creative transformation and expression by integrating the characteristics of the times and contemporary values, is a crucial question facing contemporary artists. At this level, the systematic methodology emphasized by the "Maximov Workshop" – which prioritizes reality, observation, and personal experience – along with its inherent materialist and empirical rational perspective, provides an important ideological tool for navigating the fragmentation and chaos of contemporary visual culture. It teaches artists how to establish order amidst chaos, extract structure from phenomena; express contemporary situations and embody the spirit of the times.Exhibition siteToday, when we look back at the "origin," we are not seeking to replicate the historical style of Soviet-style oil painting, but rather to flexibly adapt the realistic ways of seeing and constructing it. This prism not only illuminates the path forward, but also refracts new directions toward the future. "Origin and Prism" signifies that history is not a closed legacy, but a resource that remains always open— in the modernist long march of Chinese oil painting itself, those fundamental questions of how to see, how to construct, and how to narrate still echo vividly at every moment.This exhibition will continue to be on view until January 3, 2026, and welcomes visitors.Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
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: No Need To Travel Far, Art Is Within Reach | The "CAFAM Gift Shop" Mini-program Is Officially Launched!

2025-12-26

A light touch of your fingertips, and art is at handCAFAM Gift Shop Mini ProgramOfficially launched todayNo need to travel far, let beauty be with youHere, what you encounter is not just cultural and creative products,but also an extension of the art museum's exhibitions and collections.Start your exclusive art journey right away,and integrate artistic inspiration into the warmth of daily life.CAFAM brand cultural and creative products01CAFAM LOGO Series ProductsContemporary Translation of Minimalist Letters"CAFAM" is not just a logo, but a set of design elements that can be disassembled and reassembled. The design inspiration for the "serrated M" graphic comes from the exterior facade of the art museum building. Rock slabs of different sizes are stacked and joined in an orderly yet staggered manner, presenting a unique planar compositional aesthetic. This allows it to exhibit a multi-layered beauty from different angles. The serrated shape，with its layered stacking, is combined with the letter M to create an exclusive graphic for the CAFA Art Museum. The CAFAM LOGO product series, with minimalism and functionalism at its core, transforms the letters from a two-dimensional logo into three-dimensional, usable objects. Each use strengthens the interactive relationship between the brand and users, endowing the brand symbol with a new practical significance.02CAFAM Architectural Series ProductsArchitectural art adorns lifeThe iconic three-dimensional curved architectural language of CAFAM has been abstractly translated into a variety of product materials. As a classic and timeless architectural artwork, the CAFAM building was designed by renowned Japanese architect Arata Isozaki. It is not only an artistic landmark in Beijing but also a classic case in the history of world architecture. Based on the unique structural form of the CAFAM building, through redesigns such as cartoon-style modeling, hollowed-out geometries, or combinations with famous paintings, its iconic geometric forms are recreated. These forms integrate with different design styles, creating a fusion of architecture and art. This symbolizes the convergence and presentation of artworks of different styles, concepts, and schools at CAFAM, fully expressing the museum's attribute as an "art container."03CAFAM Centennial Academy of Fine Arts Pocket MirrorThe elegance of the Academy of Fine Arts is hidden in a small spaceThe "Centennial Academy of Fine Arts" pattern is one of the "Centennial Academy of Fine Arts, Centennial Glory" patterns designed by designers for CAFA Art Museum during the centennial celebration of CAFA in 2018. It is still displayed on both sides of the entrance to the museum to this day. The decorative borders around the pattern are extracted from the architectural shape of the main entrance of the auditorium of the National Beijing School of Fine Arts on Jingji Dao before 1918. Inside the borders are scrolling grass and lotus patterns, which form an interlocking branch effect with the characters "Centennial Academy of Fine Arts". At the center of the pattern is a peony round flower pattern, symbolizing harmony, happiness, prosperity and thriving.CAFAM Collection Cultural and Creative Products01Collection Series Products - Sketchbook"The 'exhibition wall' is in place; creation is exhibition"Drawing inspiration from the collection of the CAFA Art Museum, in terms of design concept, the cover of the sketchbook is transformed into a "portable museum exhibition wall". Selected masterpieces of different styles and periods from the collection are chosen to ensure that each work presents the best viewing effect on the "exhibition wall".02Collection Series Products - NotebookModern Translation of Folk Art ElementsTraditional visual elements such as lions and tigers are extracted from the collected folk art works, and combined with gradient colors and modern graphic design language to form a integration of classical images and contemporary writing tools. This revitalizes ancient New Year paintings in daily stationery, making them a cultural carrier connecting traditional art and modern life, and sustaining the vitality of folk art visual elements in the context of contemporary design.03CAFAM Collection of Famous Paintings Series ProductsTreasures in the Palm, Walking with ArtThe brush and ink artistic conception, composition and color, philosophical connotations, as well as inscriptions and seals in ancient Chinese paintings are all unique traditional cultural symbols. By extracting and redesigning the visual elements from the ancient Chinese paintings in the CAFAM collection, we continuously activate the vitality of cultural relics, build a new bridge for the public to dialogue with traditional culture, and integrate the aesthetic elements and cultural implications of classical art into contemporary life through creative transformation.CAFAM ExhibitionLimited Edition Cultural and Creative ProductsCarry the time of the exhibition hall and continue the artistic touchPut the exhibition "into" your pocket, and everywhere you go is an art museumThe overall positioning of the cultural and creative product design for the Horse Training Class Exhibition is based on the Sino-Soviet design style of the 1950s. Whether it is the fonts, colors, or patterns, they all embody a strong Soviet-style aesthetics integrated with Chinese design aesthetics of the 1950s. All pattern designs are inspired by traditional Sino-Soviet patterns. With warm colors matched with gold craftsmanship, the brilliant sunshine of that era is transformed into today's accessible daily objects, which possess both a sense of historical heaviness and contemporary aesthetic appeal.Cultural and Creative Products of the Maksimov Oil Painting Training Class at the Central Academy of Fine Arts (1955-1957)Design Keywords: 1950s × Soviet Style × Sunshine × SplendorArt is inherently fluid,It has always been in life, being used and understood.With objects as a medium,CAFAM cultural and creative products connect art with the present.Editor-in-Chief / He Yisha Responsible Editor / Du Yinzhu Contributors / Yi Yi, Bu Wenhan Editor / Yan Yuxi
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: Take A Seat In The Front Row Of History: Discussing The Teaching Issues From The Maksimov Oil Painting Training Program (Live Stream Link Included)

2025-12-23

From The Maksimov Oil Painting Training Program — A Series of Academic Dialogues (Second Session)Take a Seat in the Front Row of History:Discussing the Teaching Issues From The Maksimov Oil Painting Training Program Time: 14:30-16:30 on December 23, 2025Venue: Academic Lecture Hall, CAFA Art MuseumGuest speakers: Dai Shihe, Sun Tao, Zhou Simin, Cao QinghuiHost: Li Yaochen...................................................................................................................................................The oil painting training Program at CAFA hosted by Maximov was a prominent reflection in the art world of New China's policy of comprehensively learning from the Soviet Union and vigorously cultivating talents in the 1950s. Its core value lies in its important role in imparting "methods". This learning and introduction of Soviet art education had a profound impact on Chinese art for decades to come.The exhibition presents such a specific and vivid historical case, bringing the vivid history of 70 years ago into reality, like a stone thrown into a calm pond, rippling in our hearts. It not only evokes precious historical memories that have sunk to the bottom of our memories, but also, like a montage shot, allows us to switch repeatedly between the present and history.The planning of this exhibition revolves around the questions raised by the students of the Maksimov Oil Painting Training Program: "How to learn, what to learn, and how to improve and create". Among these, "learning" has long been a topic regarding foreign arts such as oil painting within the Chinese context. Moving from the specific to the general, discussing the teaching issues related to "learning" from foreign sources is a topic of historical value and practical significance. This dialogue hopes that we can all "take a seat in the front row of history" to have an in-depth discussion and gain insights and rewards from it.Scan the code to make an appointmentParticipate in the eventTo enable a large number of online viewers to participate in this academic forum in real time, we have specially opened an online live stream channel. During this time, you can watch the entire forum via the live stream platform, and leave messages and ask questions in the interactive zone. We sincerely invite you to join us online and participate in this exchange and discussion about the "Maksimov Oil Painting Training Program".Guest of the conversationDai Shiheformer Dean of the School of Plastic Arts and Director of the Oil Painting Department at the Central Academy of Fine ArtsSun TaoDirector of the National Theme Creation Center, Central Academy of Fine ArtsZhou SiminDirector of the Basic Teaching and Research Section, Department of Sculpture, Central Academy of Fine ArtsCao QinghuiDirector of the Professor Committee of the School of Humanities, Central Academy of Fine ArtsHost:Li YaochenDirector of the Collection Department of the Art Museum of China Central Academy of Fine ArtsImported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He Yisha Editor /Du Yinzhu
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: Opening of The CAFA-Democratic League Member Artists' Exhibition Ding Zhongli Attends The Opening Ceremony

2025-12-22

On December 18th, the "Art for Life – Exhibition of Artworks by Members of CAFA Branch of the China Democratic League and Commemoration of the 75th Anniversary of the Establishment of the Central Academy of Fine Arts Branch of the China Democratic League" opened at CAFA Art Museum, guided by the Beijing Municipal Committee of the China Democratic League, hosted by the Party Committee of the Central Academy of Fine Arts and the Chaoyang District Committee of the China Democratic League, and organized by the United Front Work Department of the Party Committee of the Central Academy of Fine Arts and the Central Academy of Fine Arts Branch of the China Democratic League.Ding Zhongli, Vice Chairman of the Standing Committee of the National People's Congress and Chairman of the Central Committee of the China Democratic League, attended the opening ceremony. The opening ceremony was presided over by Cheng Hong, Member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, Vice Chairman of the Central Committee of the China Democratic League, Vice Chairman of the All-China Federation of Returned Overseas Chinese, and Chairman of the Beijing Municipal Committee of the China Democratic League. Wu Weishan, Deputy Secretary-General of the National Committee of the Chinese People's Political Consultative Conference, Vice Chairman of the Central Committee of the China Democratic League, and Vice Chairman of the China Artists Association, and Lin Mao, President of the Central Academy of Fine Arts, attended and delivered speeches.Wu Weishan stated that the Central Academy of Fine Arts is closely linked to the development of modern Chinese art. Members of the China Democratic League at the Central Academy of Fine Arts have created outstanding works and made remarkable contributions in various historical periods. This exhibition reviews and remembers the older generation of outstanding CDL artist members represented by Wu Zuoren, Liu Kaiqu, Jiang Zhaohe, Li Hua, etc., inspiring CDL artists in the new era to continuously forge ahead. It is hoped that the CDL Branch of the Central Academy of Fine Arts will continue to lead the majority of its members, actively engage in the construction of Chinese-style modernization, empower economic and social development through culture, and jointly contribute more efforts to Beijing's promotion of the construction of a national cultural center and the acceleration of building a culturally strong country.Lin Mao stated that this exhibition, with the theme "Art for Life", is not only an inheritance and promotion of the artistic propositions of Mr. Wu Zuoren, the first chairman of the Art College Branch of the Central Committee of the China Democratic League, but also a vivid review of the 75-year spiritual context of the branch. The branch has always adhered to the tradition of the China Democratic League of "advocating for national affairs and concerning about people's livelihood", stayed committed to the original aspiration and mission of "art for the people", and always resonated with the times. It is hoped that the branch will take this exhibition as a new starting point, guide the majority of league members to integrate their personal artistic ideals into the overall situation of national development, and make new and greater contributions to cultivating new-era artistic talents who are responsible for national rejuvenation and promoting the prosperity and development of Chinese art.This exhibition brings together masterpieces by 24 participating artists, covering diverse art forms such as painting, sculpture, architecture, video, design, and books, creating an artistic scroll spanning time and space. Among the exhibits, there are classic works by older generation democratic league art masters such as Wu Zuoren, Liu Kaiqu, Li Hua, and Dai Ze, which embody profound exploration of the essence of art; there are also works of dedication by retired league members like Jiang Caiping, Zhai Xinjian, Li Yang, and Xu Ping, continuing the artistic pursuit passed down from generation to generation; there are also innovative practices by middle-aged and young teachers, showing the sense of responsibility of league members in the new era.Mr. Wang Duowei, Deputy Minister of the United Front Work Department of the CPC Beijing Municipal Committee and Director of the Overseas Chinese Affairs Office of the Beijing Municipal Government; Mr. Wu Xiaojie, Secretary of the CPC Chaoyang District Committee of Beijing; Ms. Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts; Mr. Liu Xuejun, National Committee Member of the Chinese People's Political Consultative Conference, Deputy Chairman of the Beijing Municipal Committee of the Chinese Democratic League, and former Director of the China National Traditional Orchestra; Mr. Zhang Zhenjun, Standing Committee Member of the Central Committee of the Chinese Democratic League, Deputy Secretary-General of the Chinese People's Political Consultative Conference, Full-time Deputy Chairman of the Beijing Municipal Committee of the Chinese Democratic League, and First-Class Inspector; Mr. Hei Dekun, Standing Committee Member of the Chinese People's Political Consultative Conference and Deputy Director (Deputy Director-General) of the Service Center (Service Bureau) of the United Front Work Department of the CPC Central Committee; Mr. Zhang Feng, Deputy Secretary-General and Minister of the Publicity Department of the Central Committee of the Chinese Democratic League, and other leaders, as well as members of the leading 班子 of the Central Academy of Fine Arts, representatives of participating artists, representatives of family members, and representatives of teachers and students, attended the opening ceremony.Exhibition Works (Partial)Opening the history of the branch, its profound heritage and glorious journey are truly moving. In the early days of the founding of New China in 1950, the branch was born under the guidance of the Party's united front policy, with Mr. Wu Zuoren serving as its first chairman. At the very beginning of its establishment, many distinguished artists gathered here, including masters of art such as Liu Kaiqu, Jiang Zhahe, Li Hua, Zeng Zhusha, Li Zongjin, Hua Tianyou, Wei Qimei, Dai Ze, and Li Hu; and scholars of theory such as Chang Renxia, Shen Baoji, Cai Yi, Wang Xun, and Wen Jinyang. Mr. Zhang Anzhi, Xiao Shufang, Wei Zuyin, Luo Erchun, Tian Shiguang, and others joined one after another, making the branch a highland of talents with both creative excellence and academic depth, laying a solid foundation for the development of the art cause.For 75 years, through storms and hardships, the branch has adhered to the traditional spirit of the Democratic League of China – "Working for the country and caring for the people" – and remained committed to the original aspiration of "Art for the people". Under the leadership of the Party, it has written an epic that resonates with the times. In the 1950s, Mr. Liu Kaiqu, Wu Zuoren, Hua Tianyou, Zeng Zhusha, and others participated in the creation of the reliefs on the Monument to the People's Heroes. Mr. Wang Xun and Li Zongjin devoted themselves to the design of the national emblem, using art to forge the spiritual coordinates of the nation. In the 1980s, it took the lead in establishing the Beijing Calligraphy and Painting Art Research Association and organized the "Wen Yiduo Art Exhibition", injecting vitality into the recovery of the art cause. Entering the 21st century, it has delved deep into fields such as aesthetic education, national image design, and rural revitalization, serving national strategies with its professional expertise and vividly fulfilling the oath of "Creating for the people and documenting the times"."Art for Life" is not only an artistic proposition put forward by Mr. Wu Zuoren, but also the spiritual core inherited by the branch. It emphasizes that art should take root in the soil of the nation, reflect the style of the times, and serve the needs of the people, guiding generations of league members to move forward with certainty.—— Excerpted from the exhibition foreword by the Central Committee of the Chinese Democratic League Central Academy of Fine Arts BranchWu Zuoren, Camel, 1960, ink and color on paper, 87×46cmCollection of CAFA Art MuseumLi Hua, "Unity is Strength", 1947, monochrome woodblock print, 23×17.4cmCollection of CAFA Art MuseumLiu Kaiqu, Bust of Cai Yuanpei, 1986, Plaster, 24×32cmCollection of CAFA Art MuseumWei Qimei, River Snow, 1970s - 1980s, Oil on Canvas, 73×100.5cmCollection of CAFA Art MuseumDai Ze, Furong Town, Xiangxi, Hunan, 1986, watercolor on paper, 39.5×27.5cmCollection of CAFA Art MuseumWen Jinyang, Construction Site of Wuhan Yangtze River Bridge, 1954, oil on wood, 41.5×53.5cmCollection of CAFA Art MuseumXiao Shufang, Rainbow, around 2000, ink and color on paper, 68×71cmCollection of CAFA Art MuseumArt for Life – Exhibition of Artworks by Members of CAFA Branch of the China Democratic League and Commemoration of the 75th Anniversary of the Establishment of the CAFA Branch of the China Democratic LeagueOrganizers:China Democratic League Beijing Municipal CommitteeHosts:Party Committee of the Central Academy of Fine ArtsChina Democratic League Chaoyang District Committee of BeijingUndertakers:United Front Work Department of the Party Committee of the Central Academy of Fine ArtsBranch of the Central Committee of the Chinese Democratic League Central Academy of Fine ArtsCo-organizers:CAFA Art MuseumRetired Personnel Department of the Central Academy of Fine ArtsSupporters:China Democratic League Dongcheng District Committee of BeijingCentral Academy of Fine Arts School Office　　　　　Publicity Department of the Party Committee of Central Academy of Fine ArtsWork Department for Party Committee's Security and Stability of Central Academy of Fine ArtsExhibition Time: December 18, 2025 — December 29, 2025Exhibition Venue: First Floor, CAFA Art MuseumEditor-in-Chief / He YishaEditor / Du Yinzhu
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: Winter Solstice

2025-12-21

Winter Solstice
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: Art for Life--Exhibition of Artworks by Members of the Central Academy of Fine Arts Branch of the China Democratic League Debuts

2025-12-18

In 2025, the Branch of the Central Academy of Fine Arts of the China Democratic League will celebrate the 75th anniversary of its founding. Under the great attention and guidance of the Party Committee of the Central Academy of Fine Arts, with a sincere heart of respecting history and paying tribute to our predecessors, we will hold the "Art for Life – Exhibition of Artworks by Members of the China Democratic League at CAFA and Commemoration of the 75th Anniversary of the Founding of the Branch of the Central Academy of Fine Arts of the China Democratic League".The exhibition brings together the fine masterpieces of 24 participating artists, covering diverse artistic forms such as painting, sculpture, architecture, video, design, and books, constructing an artistic scroll that spans time and space. Among the exhibits, there are classic works by senior art masters of the China Democratic League such as Wu Zuoren, Liu Kaiqu, Li Hua, and Dai Ze, which embody profound explorations into the essence of art. There are also elaborate works by retired members like Jiang Caiping, Zhai Xinjian, Li Yang, and Xu Ping, continuing the artistic pursuit that is passed down from generation to generation. Additionally, there are innovative practices by young and middle-aged teachers, demonstrating the sense of responsibility and commitment of the China Democratic League members in the new era.Wu Zuoren, Camel, 1960, ink and color on paper, 87×46cmCollection of CAFAMLi Hua, Unity is Strength, 1947, Monochrome Woodcut, 23×17.4cmCollection of CAFAMLiu Kaiqu, "Bust of Cai Yuanpei", 1986, Plaster, 24×32cmCollection of CAFAMLooking back at the history of the branch, its profound heritage and glorious journey are deeply moving. In 1950, during the early days of the founding of New China, the branch was established under the guidance of the Party's united front policy, with Mr. Wu Zuoren serving as the first chairman. At the beginning of its establishment, the branch attracted a gathering of distinguished talents, including renowned artists such as Liu Kaiqu, Jiang Zhaohe, Li Hua, Zeng Zhushao, Li Zongjin, Hua Tianyou, Wei Qimei, Dai Ze, and Li Hu, as well as prominent theorists like Chang Renxia, Shen Baoji, Cai Yi, Wang Xun, and Wen Jinyang. Later, Mr. Zhang Anzhi, Xiao Shufang, Wei Zuyin, Luo Erchun, Tian Shiguang, and others joined successively, making the branch a talent hub with both high creative standards and profound academic depth, thus laying a solid foundation for the development of the fine arts industry.Wei Qimei, River Snow, 1970s-1980s, Oil on canvas, 73×100.5cmCollection of CAFA Art MuseumDai Ze, "Furong Town, Xiangxi, Hunan", 1986, watercolor on paper, 39.5×27.5cmCollection of CAFA Art MuseumWen Jinyang, "Construction Site of Wuhan Yangtze River Bridge", 1954, wood panel with oil paint, 41.5×53.5cmCollection of CAFA Art MuseumXiao Shufang, "Rainbow", around 2000, ink and color on paper, 68×71cmCollection of CAFA Art MuseumLuo Erchun, "Mountain Ridge", 20th century, oil on canvas, 73×92cmCollection of CAFA Art MuseumOver the past seventy-five years, through trials and tribulations, the branch has upheld the tradition of the China Democratic League of "advocating for national affairs and concerning about people's livelihood", adhered to the original aspiration of "art for the people", and under the leadership of the Party, has written an epic that resonates with the times. In the 1950s, Mr. Liu Kaiqu, Wu Zuoren, Hua Tianyou, Zeng Zhushao and other gentlemen participated in the creation of the reliefs of the Monument to the People's Heroes, while Mr. Wang Xun and Li Zongjin devoted themselves to the design of the national emblem, forging the spiritual coordinates of the country through art. In the 1980s, it took the lead in establishing the Beijing Calligraphy and Painting Art Research Association and held the "Wen Yiduo Art Exhibition", injecting vitality into the recovery of the fine arts cause. Entering the 21st century, it has made in-depth efforts in the fields of aesthetic education infiltration, national image design, and rural revitalization, serving national strategies with professional expertise and vividly practicing the oath of "creating for the people and writing a biography for the times"."Art for Life" is not only an artistic proposition put forward by Mr. Wu Zuoren, but also the spiritual core inherited by the branch. It emphasizes that art should take root in the national soil, reflect the style of the times, and serve the needs of the people, guiding generation after generation of league members to move forward steadily. Here, we would like to express our gratitude to the Central Committee of the China Democratic League, the Beijing Municipal Committee of the China Democratic League, the Dongcheng District Committee of the China Democratic League, and the Chaoyang District Committee of the China Democratic League. We also pay tribute to the Party Committee of the Central Academy of Fine Arts and various departments that have cared about the construction of the branch, which has enabled us to sort out the precious materials of our predecessors and present the artistic charm and spiritual demeanor of the ancestors in a complete manner.Standing at the new starting point of the 75th anniversary, may all members of the Central Academy of Fine Arts Alliance take this exhibition as an opportunity, under the strong leadership of the school's Party Committee, to carry forward the glory of our predecessors, bravely shoulder the mission of the times, devote themselves to creation and education with full enthusiasm and exquisite skills, and make greater contributions to the prosperity of China's fine arts in the new era and to the cultivation of artistic talents who are tasked with national rejuvenation!Branch of Central Academy of Fine Arts of the China Democratic LeagueDecember 2025主编 / 何一沙责编 / 杜隐珠
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: Is it snowing where you are? I invite you to CAFA to see a unique "snow"

2025-12-15

The "snow" here will not melt due to temperature. They are frozen on rice paper, flow among oil paints, and are inscribed in cloth. They carry the spirit of aesthetics and also reflect artists' profound perception of nature, history, and humanity. We invite you to temporarily bid farewell to the cold wind outdoors, step into this art palace, and search for those unique "snow scenes" together.In 1956, the Chinese-Soviet joint mountaineering team successfully summited Mount Muztagh Ata, which stands at an altitude of 7,509 meters, setting a world record at that time. This extraordinary feat greatly boosted the morale of the entire nation. At that time, Professor Jin Shangyi was studying in the "Maximov Training Class" hosted by the Soviet expert Maximov. Deeply moved, he decided to record this historical moment with his paintbrush. Climbing Mount Muztagh Ata is precisely his graduation work, which is not only a response to the historical event but also a concentrated practice and report of the oil painting techniques that Mr. Jin Shangyi had learned. This work is currently on display at the exhibition "Imported Oil Painting – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)". Visitors can go to the scene to experience this creation that combines the call of the times with personal artistic exploration.Jin Shangyi, Climbing Muztagh Ata, 180×270cm, oil on canvas, 1957The work skillfully employs three inverted triangular compositions: the interlaced ice crevasses at the bottom form the foundational triangle, the strenuous upward posture of the mountaineers creates a dynamic second triangle, and the majestic snow-capped peaks in the distance constitute a third triangle that stabilizes the painting. This superimposed and unstable triangular structure greatly enhances the sense of movement, precipitousness, and the rhythm of upward climbing in the painting. The use of an upward-looking angle immerses the viewer in a tense atmosphere as if they were present at the scene."Climbing Muztagh Ata" (Detail)Professor Jin Shangyi once mentioned that one of the greatest gains from the Maximov Training Class was understanding how to "think in terms of colors," especially grasping the cold-warm relationships of colors. In this painting, he uses cold-warm contrasts to depict the frigid environment of high altitudes and the tenacious vitality of the climbers. For example, the dark brown of the characters' clothing forms a strong contrast with the cold gray of the snow, which not only conforms to natural logic but also highlights the dominant image of the characters. The meticulous depiction of climbing equipment in the painting, such as backpacks, ice axes, and ropes, strives to restore historical authenticity. These details not only enhance the credibility of the painting but also carry the memories of a specific era.In Professor Jin Shangyi's artistic chronology, "Climbing Muztagh Ata" created in 1957 is undoubtedly a striking milestone and a model work of realistic oil painting in the history of New China's fine arts. However, when we shift our gaze from the figures struggling to climb on the canvas to the 23-year-old young artist behind the canvas, we hear such a clear and humble voice:"Climbing Muztagh Ata" (Detail)This is not an intentional act of modesty, but rather the most authentic inner monologue of a true artistic climber looking back on their journey after scaling the first professional peak. Just like the climber in the painting who feels awe and self-awareness in the face of towering snow-capped mountains, this is by no means a sign of weakness; on the contrary, it marks the spiritual altitude that a great artistic career already possesses at its starting point — never being complacent and always moving forward.Jin Shangyi, Portrait of a Man, 1957, 46*38cm, oil on canvas, collected by CAFA Art MuseumPerhaps, the greatest journey begins at the moment one acknowledges their "inability to achieve," and endures perpetually because of an unceasing "dissatisfaction." Professor Jin Shangyi has perfectly exemplified this through his artistic career spanning a century. And the starting point of all this can be found in the painting Climbing Muztagh Ata and his gentle words "I'm not satisfied," where we discover the initial spark and the most enduring motivation.Moving from the "Imported Oil Painting" exhibition hall to the "Collection Exhibition of the Central Academy of Fine Arts Art Museum — Ancient Chinese Art" exhibition hall is like opening a time tunnel. Here, there is a precious collection of Snowy Landscape by Zhang Fu, a painter of the Ming Dynasty. On the horizontal scroll, which is as long as four and a half meters, the painter uses ink and wash as his language to depict the winter snow scene, outlining the desolate and cold realm of overlapping mountains and winding rivers.Snowy Landscape (detail)The blank spaces and ink charm in the painting create an eternal winter scene where viewers can let their minds wander. It tells the philosophy of "winter storage," where all things accumulate strength under the snow, waiting for the sprouting of spring.※ ※ ※perhaps, this winter, there's no need to wait anxiously for the weather forecast.Come to the CAFA Art Museum, where the "snow" never ends.Chief Editor / He YishaEditor / Du Yinzhu
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: Starting from the "Maksimov Training Program" | Preview of the First Session of the Series Academic Dialogue (Live Streaming Link Attached)

2025-12-10

Origin and Prism:Realism, Modernism and Contemporary PaintingTime: 15:30-17:30 on December 11, 2025Venue: Academic Lecture Hall, CAFA Art MuseumThis dialogue aims to discuss the "Maksimov Oil Painting Training Program" within the context of China's exploration of oil painting modernity. The "Maksimov Oil Painting Training Program" is not only a part of the history of higher art education development but also the starting point of a set of realist aesthetic creation methodologies concerning "how to see," "how to construct," and "how to narrate." It is almost the starting point of academic training for all artists born in the 1970s and 1980s—including both technical aspects and the conceptual level of creative aesthetics. Since then, some artists have moved away from this realist origin and devoted themselves to exploring contemporary image themes and languages; some artists, while facing the contemporary era, have "returned" to the broader context of modernist experiments—psychologism, abstractionism, and a fascination with structure and reality; others have used methods and tools from the realist heritage—sketching, social presence, actions, etc.—to open up new painting dimensions belonging to the contemporary era. All these are personal expressions that have continuously unfolded with realist aesthetics as the initial origin within China's own social context, opening up the historical prism and evolutionary wormhole of Chinese oil painting and Chinese contemporary painting. This is also the significance of our revisiting the "origin" here and questioning the relationship between today and history.Scan the QR code to make an appointmentParticipate in the eventTo allow a large number of online audiences to participate in this academic dialogue in real-time, we have specially set up an online live streaming channel. At that time, you can watch the entire dialogue synchronously through the live streaming platform and leave messages and ask questions in the interactive section. We sincerely invite you to join us online and participate in this exchange and discussion about the "Maksimov Oil Painting Training Program".Guests in the conversationLiu Shangyingartist, Professor and Deputy Director of the Oil Painting Department at the Central Academy of Fine ArtsLiu Xiaohui,artist, professor at the Central Academy of Fine Arts, and deputy director of the Mural DepartmentHe Jingart critic, curator, and assistant professor at the Academy of Arts & Design, Tsinghua UniversitySong Jiayiartist, Director of the Oil Painting Department, Academy of Fine Arts, Capital Normal UniversityWang Guangleartist, graduated from the First Studio of the Oil Painting Department, Central Academy of Fine Arts Host: Wang Jingcurator, works in the Curatorial Research Department of CAFA Art MuseumRegarding the exhibitionImported Oil Painting-A Retrospective Exhibition Of The Maksimov Oil Painting Trainting Program At CAFA (1955-1957)Exhibition Time: November 15, 2025 — January 3, 2026Exhibition Venue: Exhibition Halls on the 1st Floor / 3A / 4th Floor, CAFA Art MuseumEditor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
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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.

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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.

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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

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.