Transmission and Imitation--Exhibition of Chinese Painting Copying Teaching Works from CAFA CAFA Art Museum

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: 中央美院中国画的百年探索：观300余件“传移模写”力作的传承与创新

2025-01-20

传移模写中央美术学院中国画临摹教学作品展2025年1月21月13:30开展中央美术学院美术馆三层展厅“传移模写：中央美术学院中国画临摹教学作品展”将于2025年1月21日13:30在中央美术学院美术馆开展。本次展览由中央美术学院主办，中央美术学院中国画学院、中央美术学院美术馆承办，展出央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作共300余件，旨在挖掘“传移模写”古法在当代高等美术院校中国画教学中的学理价值与时代新意，并探讨在全球化语境下中国画认知体系的深厚内涵与积极意义。传承经典继往开来新时代中国画教学的责任与使命林茂中央美术学院院长上个世纪初以来，传统中国画教学模式的发展与探索一直都是国内高等美术院校教学研究的重点。时至今日，这套以临摹、写生、创作“三位一体”教学方法为基础的中国画教学体系依然充满活力，在新时代文化艺术事业的建设中承担起历史责任与时代使命，并持续探寻中国画教学体系的未来发展方向。传承经典是中国画专业化、学院化教学的历史责任。中国画的发展创新，离不开对传统经典作品的传承。在20世纪50年代，叶浅予先生曾指出一个科学的教学模式应包含“由临摹到写生”、“由基本练习到创作”的序列性环节。1959年，在叶浅予、蒋兆和、李可染与郭味蕖等先生的共同努力下，明确提出了“三位一体”的教学结构，在方法上将临摹、写生与创作有机结合，从原则上使传统、生活与创作相统一。在该模式下，临摹被赋予了古为今用的价值观，从而使传统中国画在时代精神思潮中获得新的诠释、传承与发展。继往开来是中国画教学体系更新优化的时代使命。中国画如何在保持传统文化底色的同时，探索新的艺术语言与视觉形式，是中国画学科教学体系发展的重要问题。临摹教学不仅是挖掘耕耘的过程，更是一种植根于传统而服务于创作的文脉源泉。在全球化视野的文化语境下，不仅要积极探寻中国画发展的新路径，同时也鼓励与促进中国画跨学科、跨领域的交流探讨与理论研究，在保持中国画学科专业性与纯正性的同时，建设更具开放性的、可持续发展的艺术创作生态。学院历届教师对历代经典绘画临摹教程的教学探索与系统建构，塑造了百年中国画学科教学体系的基本框架，树立了学科建设发展和教学路径设计的基本理念。“传移模写：中央美术学院中国画临摹教学作品展”所展示的央美老一辈艺术工作者与在校师生的临摹作品、课徒示范及临创转化创作，呈现出较为系统完备的教学规划和学科建制，展示了近百年来中国画学科上绍古法、下启新制的责任担当和文化使命。展览作品通过对经典、遗产、精研、变化四大版块的生动展示，激活传统绘画程式语言在当下的审美价值与文化意义，对探索当前中国画学科的人才培养模式与话语体系建构有重要的启示性意义。中央美术学院中国画学院在百年传承下依然保持着朝气蓬勃的青春活力，与代代相传的学院学脉密不可分。希望学院在宏大的时代课题中，完善“专精”与“广博”相结合的育人格局，坚守新时代新艺术的责任与使命，不忘初心，勇猛精进，以山川浑厚之笔墨，写草木华滋之篇章，迈向“为中国画”的崇高艺术之旅的新征程。展览分为“典范”“遗产”“精研”“变化”四个单元，各展览版块之间相互关联，组成了系统性的中国画临摹教学体系。01典范展示20世纪50年代以来中国画专业师生的临摹作品，关注临摹教学的取法基础。齐白石《记八大山人画稿》纸本水墨 30.5cm×16.4cm 1907年北京画院藏齐白石临清朱耷《瓶花》纸本水墨 30cm×25.5cm 年代不详北京画院藏于非闇临传北宋赵佶《御鹰图》绢本设色 165cm×80.5cm 1954年北京画院藏王雪涛临明吕纪《雪梅斑鸠》纸本设色 165cm×81cm 1950年代王雪涛纪念馆藏李可染《仿八大山人图》纸本水墨 76cm×42cm 1943年李可染艺术基金会藏郭味蕖临元吴镇山水纸本水墨 117.5cm×26.5cm 1940年代郭味蕖美术馆藏刘凌沧临清殿藏本《王安石像》纸本设色 50cm×33cm 年代不详黄均临传唐韩干《牧马图》纸本水墨 33cm×37cm 1953年宗其香临德国铜版画纸本设色 60x105cm 1942年中央美术学院美术馆藏蒋采萍临传五代顾闳中《韩熙载夜宴图》局部绢本设色 28cm×77cm 1958年卢沉临宋佚名《朱云折槛图》绢本设色 128cm×66cm 1958年范曾临宋佚名《菊花》纸本设色 59cm×37cm 1959年周思聪临清殿藏本《萧何像》纸本设色 51cm×40cm 1959年郭怡孮临清任颐四条屏纸本设色 180cm×48cm×4 1960年邓林临唐韩滉《五牛图》纸本设色 21cm×147cm 年代不详贾又福临清龚贤作品纸本水墨 30cm×24cm 1963年02遗产展现历届学院师生对莫高窟、麦积山、永乐宫、法海寺等地壁画的考察临摹，以物质文明和社会文化的视角重构古代艺术遗产。邓白临麦积山石窟壁画飞天纸本设色 47cm×78cm 1953年中央美术学院美术馆藏叶浅予临敦煌石窟壁画珍禽瑞兽纸本设色 63cm×56cm 1954年中央美术学院美术馆藏吴作人临麦积山石窟壁画甲马局部纸本设色 72cm×87cm 1953年中央美术学院美术馆藏孙宗慰临麦积山石窟壁画伎乐纸本设色 58.5cm×38cm 1953年中央美术学院美术馆藏张仃临炳灵寺壁画《比丘像》纸本设色 37.5cm×29cm 1952年中央美术学院美术馆藏李斛临唐敦煌石窟壁画（二）纸本彩墨 59cm×63.2cm 1961年家属藏陆鸿年临麦积山石窟壁画佛像纸本设色 117cm×120cm 1953年中央美术学院美术馆藏陆鸿年、戴泽临麦积山石窟壁画《狩猎图》纸本设色 90cm×720cm 1953年中央美术学院美术馆藏陆鸿年临敦煌莫高窟57窟壁画局部纸本设色 98cm×67cm 1961年王定理临明法海寺壁画《水月观音》纸本金线描 136cm×69cm 1998年中央美术学院美术馆藏方增先、刘勃舒临敦煌石窟壁画《法华经变》局部纸本设色 56cm×65cm 1954年中央美术学院美术馆藏胡勃临唐代敦煌壁画《菩萨像》纸本设色 101cm×34cm×2 1979年03精研既展现民国以来传统主义画家在面临西方和现代艺术观念冲击过程中，对于深入研究自身文化艺术传统，继承文化艺术精神的自觉；又展示现代教育体系中，精研古法的传统经验与学院教育进一步融合。贺良朴山水画稿片纸本水墨 34cm×45cm×10 1920年代中央美术学院美术馆藏萧俊贤山水画稿片纸本水墨 28cm×33cm×5 1918-1922年中央美术学院美术馆藏汪鸾翔花卉稿片纸本设色 32cm×43.5cm×3 1924年中央美术学院美术馆藏陈师曾《山水册》纸本水墨 11.5cm×17cm×8 1917年中央美术学院美术馆藏萧谦中山水画稿片纸本水墨 28cm×31cm×4 32cmx45cmx2 1920年代中央美术学院美术馆藏邵逸轩山水画稿片纸本水墨 45cm×33cm 1926年中央美术学院美术馆藏王梦白花卉稿片纸本水墨 31cm×33cm×10 1922年中央美术学院美术馆藏
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: The "Ceiling" Of Chinese Painting Copying Teaching? Central America Uses These Works To Tell You The Answer!

2025-01-22

In the long history of the development of Chinese painting, when it comes to Chinese painting teaching, the Central Academy of Fine Arts undoubtedly stands at the top of the industry and sets a new benchmark. What is the secret of the Central Academy of Fine Arts? This has to start from the teaching method based on the "transmission, transfer, imitation, and copying" ancient method excavated by the Chinese Painting Institute in the past hundred years and taking the "trinity" teaching method of copying, sketching, and creation as the foundation... It not only inherits the essence of the ancient method but also radiates new vitality in the new era. Under this background, the "Transmission, Transfer, Imitation, and Copying: Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts" came into being, exhibiting more than 300 copying works, teaching manuscripts, and creations transformed from copying and creation in the Chinese painting copying teaching of the Central Academy of Fine Arts in the past hundred years.❗️Paradigms - Replicas by artists such as Qi Baishi, Yu Feisheng, Li Keran, Guo Weichuang, Liu Lingcang, Huang Jun, Jiang Caiping, Lu Chen, Yao Youduo, Fan Zeng, Zhou Sicong, Guo Yisheng, Deng Lin, Jia Youfu, etc.❗️Legacy - Mural replicas by artists such as Deng Bai, Ye Qianyu, Wu Zuoren, Sun Zongwei, Zhang Ding, Li Dendrobium, Lu Hongnian, Wang Shunli, Fang Zengxian, Liu Boshu and Hu Bo are on display.❗️ Jingyan - Jingyan exhibits the works of apprentices represented by He Liangpu, Wang Luanxiang, Xiao Qianzhong, Shao Yixuan, Wang Mengbai, Li Kuchan, Zhang Lichen and other painters.❗️ change - the works of Xiao Junxian, Chen Shizeng, Chen Banding, Hu Peiheng, Qin Zhongwen, Wang Xuetao, Wu Jingting and other painters and teachers and students of the School of Chinese Painting.👉Entering the exhibition hall, one after another familiar works copied by famous artists come into view, as if starting an artistic dialogue through time and space. From ancient masterpieces to various important style schools, each copy embodies their profound understanding and respect for the original works.👉The works for teaching apprentices are another major highlight of the copying teaching at the Central Academy of Fine Arts. These works are excellent demonstration pieces carefully drawn by teachers for students in the teaching process. They show various links from composition, modeling to the use of brush and ink in a clear and understandable way.👉What is more distinctive is the Linchuang transformation works displayed by Zhongmei. These works witnessed the teachers' bold innovation and breakthrough on the basis of copying. They skillfully combined traditional techniques with personal style and the spirit of the times to create new works with unique artistic value.This is a deep excavation and innovative application of traditional learning methods of Chinese painting. I hope that through this exhibition, I will explore the academic value and new ideas of the ancient method of "transfer and mimicry" in the teaching of Chinese painting in contemporary higher art institutions, and explore the profound connotation and positive significance of the cognitive system of Chinese painting in the context of globalization. I also hope that the audience will also gain something!Exhibition time: January 21-March 16, 2025Venue: The 3rd floor of CAFA Art Museum
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: 丘挺：“传移模写”是艺术家的终身功课，是精神内化的津梁

2025-02-08

“传移模写：中央美术学院中国画临摹教学作品展”正在中央美术学院美术馆展出。本次展览由中央美术学院主办，中央美术学院中国画学院、中央美术学院美术馆承办，呈现央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作共300余件，旨在挖掘“传移模写”古法在当代高等美术院校中国画教学中的学理价值与时代新意，并探讨在全球化语境下中国画认知体系的深厚内涵与积极意义。●○美国社会学家爱德华·希尔斯（Edward Shils）在《论传统》一书谈到传统的意义，说：“它使代与代之间、一个历史阶段与另一个历史阶段之间保持某种连续性与目的性，构成了一个社会创造和再创造自己的文化密码，并给人类生存带来秩序和意义。”近百年来，中国画的发展一直是在挤压中生存。在当下文化多样化的世界里，当我们讨论中国画乃至宏观把握中国整体艺术的问题时，不仅面对“新”与“旧”的问题，还有如何通过其内部结构的研究、挖掘与再认识，将它的自律性和外部拓展两个方面进行有效统一。作为六法之一的“传移模写”，不仅是学院教学中临摹、写生、创作三位一体的课程开始阶段，更是艺术家在艺术里学习认知的终身功课，是程式、造化、心源不断流变的动态过程。王铎在他的晚年，还坚持“一日临帖，一日应请索”，五十年矻矻不辍，深耕传统，何以如此？我想大概是通过临摹不断地体悟品格趣味之精微，时时警觉风格化中的习气。可见临摹除了流布递传、摹写技巧之外，还是精神内化的津梁。在今天的全球化语境之中，多元文化和艺术形式相互交融与碰撞，更要深入自身传统语言的研究与把握，才能在文化多样性中保持独特性和识别度，因此中国画的语言方式、笔墨理法的研究、基础性的训练尤为重要。此次展览从北平艺专一直到当下央美的临摹教学，以“经典”“遗产”“精研”“变化”四个板块对中央美院百年中国画作一次梳理，讨论当今传移模写的重要性和对未来的启示。展览的每一个板块都呈现出不同时期、不同年代对经典的认知和阐释，见证不同时代摄取古法的细微差异。代与代之间的艺术存在传承，也存在竞争，代与代之间的风尚摇摆，往复循环，这是风格史中常例。这种有趣的学术风景常见于绘画史和音乐史中，就像北宋末年的李公麟、王诜、米芾、徽宗等人奉行带有道统的复古思潮；元初钱选和赵孟頫不满于南宋流行的刻露画风，转而追步唐宋古意；董其昌批评盛极一时的吴门画派“甜俗”，对高古之境的“心想而推之”；黄宾虹试图以唐宋之法臻于浑厚华滋，都藉由历史的审美意识拮抗流行风尚，建立起新的范式。在今天，我们同样需要这种对经典的回望，它使我们得以与时代保持张力，坚守自身对时代的凝视，在全球化多元文化语境中将中国画推向更为宽广的未来，展现中国画在当代世界的独特价值。因此，我们希望通过此次展览，挖掘传统典范中的新知识与新启发，探究中国画理法的当代重构。中国画环环相扣的笔墨程式，不是僵硬的程式化，而是可以“以应无穷”的通变之道。《文心雕龙》云：“变则其久，通则不乏。望今制奇，参古定法。”这是中国画生生不息的源泉。丘挺中央美术学院中国画学院院长部分参展作品齐白石《记八大山人画稿》纸本水墨 30.5cm×16.4cm 1907年北京画院藏齐白石临清朱耷《瓶花》纸本水墨 30cm×25.5cm 年代不详北京画院藏于非闇临传北宋赵佶《御鹰图》绢本设色 165cm×80.5cm 1954年北京画院藏李可染《仿八大山人图》纸本水墨 76cm×42cm 1943年李可染艺术基金会藏蒋采萍临传五代顾闳中《韩熙载夜宴图》局部绢本设色 28cm×77cm 1958年郭怡孮临清任颐四条屏纸本设色 180cm×48cm×4 1960年邓白临麦积山石窟壁画飞天纸本设色 47cm×78cm 1953年中央美术学院美术馆藏吴作人临麦积山石窟壁画甲马局部纸本设色 72cm×87cm 1953年中央美术学院美术馆藏
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: Plant the “seed” of desire in one minute

2025-02-12

One-minute #Recommendation! Don't miss the "Transmission and Imitation — Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts". It displays approximately more than 300 works in total. The exhibited works include: the copying works represented by painters such as Qi Baishi, Yu Feian, Li Keran, Guo Weiqu, Liu Lingcang, Huang Jun, Jiang Caiping, Lu Chen, Yao Youduo, Fan Zeng, Zhou Sicong, Guo Yicong, Deng Lin, Jia Youfu, etc.; the mural copying works represented by painters such as Deng Bai, Ye Qianyu, Wu Zuoren, Sun Zongwei, Zhang Ding, Li Hu, Lu Hongnian, Wang Dingli, Fang Zengxian, Liu BOShu, Hu Bo, etc.; the teaching works for students represented by painters such as He Liangpu, Wang Luanxiang, Xiao Qianzhong, Shao Yixuan, Wang Mengbai, Li Kuchan, Zhang Lichen, etc.; and the works of transformation from copying to creation represented by painters such as Xiao Junxian, Chen Shizeng, Chen Banding, Hu Peiheng, Qin Zhongwen, Wang Xuetao, Wu Jingting, as well as the teachers and students of the Chinese Painting Academy.Chief Editor / He Yisha Editor / Du Yinzhu
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: The Opening of the Grand Exhibition at the Central Academy Of Fine Arts: "Transmitting and Imitating" Activates the Contemporary Novelty of Chinese Painting Teaching

2025-03-03

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

2025-03-12

C A F A MAt 14:00 on Wednesday, March 12thOn Douyin, WeChat Channels, Xiaohongshu, and BilibiliFollow the official account of @CAFAMFour keynote speakers from the Central Academy of Fine ArtsWill from the perspective of the exhibition planning conceptCombined with the teaching and creative experience of Chinese paintingIntroduce the contemporary significance of "Transmission and Imitation"———————————————————C A F A MLive Broadcast Introduction ——————————————————————————————————————| Guided Tour Guest |Qiu TingXu HualingChen XiangfengCong TaoIntroduction of the Guided Tour Guests ————————————————————————————————————— Qiu Ting ◢ Dean, Professor and Curator of the School of Chinese Painting at the Central Academy of Fine Arts. Xu Hualing ◢ Professor of the School of Chinese Painting, Central Academy of Fine Arts. Chen Xiangfeng ◢ Director of the Creative and Research Department of the School of Chinese Painting at the Central Academy of Fine Arts, Professor, Assistant Curator. Cong Tao ◢ Postdoctoral Fellow in Faculty of Central Academy of Fine Arts, Assistant Curator.传移模写中央美术学院中国画临摹教学作品展主办单位：中央美术学院承办单位：中央美术学院中国画学院中央美术学院美术馆展览时间：2025年1月21日-4月16日展览地点：中央美术学院美术馆三层展厅Chief Editor / He YishaEditor / Du YinzhuEditor / He Yifei
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: Preview of the CAFAM Lecture | The Harmony of the Heart and the Image -- A Brief Discussion on the Imagery of Chinese Traditional Painting

2025-03-18

The Harmony of the Heart and the Image -- A Brief Discussion on the Imagery of Chinese Traditional Painting| Sponsored by |School of Chinese Painting, Central Academy of Fine Arts| Co-organized by |CAFA Art Museum| Lecture Time |March 18, 2025 (Tuesday), 18:30 - 20:30| Lecture Venue |Academic Report Hall, CAFA Art Museum| Lecturer |Tian LimingProfessor at the Chinese Painting Academy of the Chinese National Academy of ArtsDirector of the Chinese Painting Art Committee of the China Artists AssociationPresident of the Chinese Painting Society| Host |Qiu TingProfessor at the Central Academy of Fine ArtsDean of the School of Chinese Painting, Central Academy of Fine Arts| 参与方式 |扫描二维码预约讲座提要中国艺术源远流长，中国画作为中国文化重要载体，其意象美学形成了其独特审美理念，中国画以澄怀观照，寓物取象，立象尽意的人文体验，注重比德观物，返朴归真，借意生象的审美表达，传颂着中国文化本源。讲座以传统绘画通过立格，品物，返照，形神，心象五个层面体会其蕴含“诗言志”的艺术情感，传达创作者的心性和中国画笔墨语境。嘉宾介绍Tian LimingBorn in Beijing in 1955. In 1991, he graduated from the Department of Chinese Painting at the Central Academy of Fine Arts with a master's degree. His supervisor was Professor Lu Chen. Currently, he is a professor at the Chinese Painting Academy of the Chinese National Academy of Arts. In the 1980s, he created boneless figure paintings such as "The Little Stream", "The Old River" and "The Prairie", presenting the painting concept of the integration of human beings and nature. In 1991, upon graduating from the postgraduate program, he created works like "Sunflowers" and "Azaleas". He integrated the concept of light expression into the use of brush and ink, and explored the techniques of blending dyeing, connected body method and surrounding ink method. Through rural themes, he explored the Chinese cultural concept of nature. In the 1990s, he created works such as "The Boy Swimming in the Sunlight", "Three Swimmers", "Summer", "Water Waves" and a series of works featuring noble scholars and village girls. These works depicted the survival state of simple and honest people in the relationship between human and nature, in the city and by the lake, and their understanding of the humanistic concepts of sunlight, air and water. At the same time, he began to turn to thinking about urban culture with urban series works such as "Urban People" and "The Automobile Era", presenting people immersed in the urban state. Entering the 21st century, guided by the concept of Chinese painting in the contemporary era, he created major theme paintings such as "The Peach Blossom Spring", "Chang'e Flying to the Moon", "Master Xuanzang" and "The Development of Pudong in Shanghai", showcasing a new style of painting language. With the aesthetic ideal of "harmony", Tian Liming integrates traditional Chinese Confucianism, Taoism and Buddhism, forming the aesthetic concept of pursuing simplicity and innocence in his works. He is proficient in ink figure painting, taking the harmony between human and nature as the creative principle. Over the years of creation, he has gradually explored, systematically extended and developed the boneless painting technique in traditional Chinese painting. At the same time, his ink figure paintings adhere to the humanistic concept that human beings are part of nature and nature is an extension of human beings. With sunlight, air and water as the themes, his works show a vivid sense of the times and have formed his own painting concepts and artistic styles.丘挺中央美术学院教授、中国画学院院长。上海大学美术学院博士生导师。中国艺术研究院博士生导师。长期致力于中国画语言的探索与理论研究，注重各艺术门类的比较研究，尤其在水墨探索中与不同文化“对话”中寻找传统的开放边界。作品被波士顿美术馆、故宫博物院、中国美术馆等单位收藏。田黎明作品《老河》纸本水墨 156.6cm × 77.2cm 1987年《绿色的河》纸本水墨 180cm × 90cm 1987年《西藏阳光》纸本水墨 208.6cm × 123.6cm 2001年《静听》纸本水墨 180cm × 95cm 2003年《玄奘法师》纸本水墨 200cm × 400cm 2017年《土地》纸本水墨 45cm × 60cm 2020年《红》纸本水墨 70cm × 40cm 2020年《山高品淡图》纸本水墨 80cm × 50cm 2021年《登高临云图》纸本水墨 80cm × 50cm 2021年《清晨照人图》纸本水墨 180cm × 97cm 2023年《天高云淡图》纸本水墨 180cm × 97cm 2023年《一缕阳光》纸本水墨 210cm × 97cm 2024年《温厚的山》纸本水墨 210cm × 97cm 2024年《申纪兰事迹插图之一》纸本水墨 52cm × 69cm《申纪兰事迹插图之二》纸本水墨 52cm × 69cm主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
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: CAFAM圆桌派 · 第一期 | 王鲁湘、丘挺、吴洪亮、杭春晓对谈“思古求新”

2025-03-24

CAFAM圆桌派 · 第一期思古求新传移模写《CAFAM圆桌派》是由中央美术学院美术馆媒体部主导策划的文化类脱口秀节目，节目以多人对谈的形式展开，第一期即将启幕。在全球化与数字技术重塑文化形态的当下，“传移模写”这一源自中国画传统的创作方法论，正以新的姿态叩击着当代文化创新的命题。本期圆桌派特邀四位专家学者王鲁湘、丘挺、吴洪亮、杭春晓，以深厚学养与风趣谈锋，围绕艺术创作中的“思古求新”展开跨界对话，与观众共赴古今交融的文化之约。What's on the table?CAFAM圆桌派主编 / 何一沙责编 / 杜隐珠
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: CAFAM说 | 十余位国内外学者聚焦探讨“传移模写与中国画的演进”（内附直播通道）

2025-04-09

“传移模写：中央美术学院中国画临摹教学作品展”国际学术研讨会主办：中央美术学院承办：中央美术学院中国画学院中央美术学院人文学院中央美术学院美术馆会议召集人：丘挺黄小峰时间：2025年4月9日9:00开幕地点：中央美术学院美术馆学术报告厅由中央美术学院主办的“传移模写：中央美术学院中国画临摹教学作品展”正在中央美术学院美术馆展出。本次展览对中央美术学院中国画百年教学创作进行历时性的多维度梳理与研究，回溯中央美术学院中国画教学的文脉精神与学脉传承。为进一步挖掘“三位一体”教学方式的学理特征与思想内涵，展览以“临摹”为切入点，展示央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作，通过研究“传移模写”在当代高等美术院校中国画教学中的学理价值与时代新意，从中国画的本体根源上讨论传统视觉图像、程式语言与笔墨理法在当下的纯正性、启示性与开放性。与“传移模写：中央美术学院中国画临摹教学作品展”同期，围绕“中国画的演进模式与文明特质”“临摹在中国画演进中的意义”等主题举办国际学术研讨会，特邀请专家学者莅临中央美术学院，展开研讨与交流。直播通道抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆线下报名预约4月9日门票即可参与学术活动会议流程9:00 开幕致辞主持人：丘挺致辞：吕品晶9:20 第一场主持与评议：黄小峰毕斐：“传模移写”辨 [意] 毕罗（Pietro De Laurentis）：《集王圣教序》集字过程中的摹写与润饰丘挺：“纸抄纸”——王蒙青卞山水与沈周、董其昌、王翬三家之程式转换与笔墨承变10:20 Q&A 10:45 茶歇11:05 第二场主持与评议：朱万章陈韵如：画稿与摹本：探索画院运作机制的迴路张震：试析董邦达、金廷标的摹写——以三希堂张贴的两幅绘画为中心11:45 Q&A 14:00 第三场主持与评议：陈韵如朱万章：苏轼画像的摹写与传播——以赵孟頫画本为中心吴雪杉：鹊华秋色：明清“仿赵孟頫”山水与文人画的“主体间性”王中旭：仿古如参禅：禅对董其昌绘画之影响15:00 Q&A 15:25 茶歇15:45 第四场主持与评议：尹吉男陈婧莎：《清明上河图》后期版本与宋本关系的猜想黄小峰：婴戏图的摹仿与创新陈相锋：从观物方式、形理关系到创作转化——宋元绘画临摹与三位一体教学反思16:45 Q&A17:10 会议总结/闭幕致辞会议总结：黄小峰闭幕致辞：尹吉男嘉宾介绍毕斐，山东荣成人。曾就读于山东大学、中国美术学院。现为中国美术学院美术史教授、博士生导师、浙江省古籍保中心专家委员会委员。出版专著《历代名画记论稿》，译著《书法与古籍》等，点校本《王曰申摹刻砚史手牍》《明嘉靖刻本历代名画记》，发表论文《张彦远家世的历史——以士族家学为中心的考察》《张彦远笔下的长安画家与画迹》等。朱万章，香港故宫文化博物馆研究员，从事书画鉴藏与美术史研究、书画策展等，著有《从吾所好：书画鉴藏与美术史研究》、《书画鉴真与辨伪》、《过眼与印记：宋元以来书画鉴藏考》、《画外乾坤：明清以来书画鉴藏琐记》、《画里相逢：百年艺事新见录》、《图以载道：传统绘画的图像叙事》、《应物而祥：明清花鸟画的另类视野》和《尺素清芬：百年画坛书札丛考（正续编）》等，兼擅书画。毕罗（Pietro De Laurentis），意大利汉学家，中国国家级人才项目入选者、广州美术学院教授、博导、中外书写文化与美术交流研究中心负责人、清华大学伟伦特聘访问教授。多年来主要从事书法学研究。使用意大利语、英语、汉语三种语言出版了多部著作和论文。代表作有《一觞一咏：〈兰亭诗集〉研究》（Bevendo e poetando tra monti e ruscelli nell’antica Cina）、《以书护法：〈集王圣教序〉研究》（Protecting the Dharma through Calligraphy in Tang China: A Study of the Ji Wang shengjiao xu）和中文专著《尊右军以翼圣教》，译著有张天弓《中国书法主要术语的释读与研究》（Understanding Chinese Calligraphy: 35 Key Concepts）。丘挺，中央美术学院中国画学院院长，教授。中国艺术研究院博士生导师、上海大学博士生导师、浙江大学艺术与考古委员会委员。曾参与多项国家级重要创作，多次参加国际重要学术展并获奖。长期致力于中国画语言的探索与理论研究，作品被故宫博物院、中国美术馆、波士顿美术馆、加拿大安大略省博物馆、浙江美术馆、广东美术馆等机构收藏。出版的专著及画册有《山水画笔墨技法详解》《宋代山水画造境研究》《丘园养素——丘挺书法作品集》等。《延月梳风—丘挺作品集》获2023年中华印制大奖，2022年中国出版政府奖等。黄小峰，中央美术学院教授、人文学院院长。主要研究中国美术史，致力于中国古代绘画的研究。著有《货郎图：小商贩肩挑大历史》《虢国夫人游春图：大唐丽人的生命瞬间》《古画新品录：一部眼睛的历史》《西园雅集：两宋人物画》等，译有柯律格《大明：明代中国的视觉文化与物质文化》。吴雪杉，本科、硕士、博士均就读于中央美术学院美术史系，2003—2015年任教于中央民族大学，2016年调入中央美术学院。研究领域为中国美术史与视觉文化研究，著有《长城：一部抗战时期的视觉文化史》（2018年）、《大河颂：中国现代美术中的黄河》（2023年）、《图像的焦虑：中国现代美术的12个观察》（2024年）。张震，浙江大学艺术与考古学院艺术史系研究员、博士生导师，北京大学人文社会科学院邀访学者，2020年2月至今在浙江大学工作，主要从事中国书画史、书画鉴藏史的研究；2004年8 月至2020年1月在故宫博物院书画部工作，主持策划多项专题展，主编、参与编写图录十余本，出版专著《“因画名室”与乾隆内府鉴藏》，在《故宫博物院院刊》、《新美术》、《美术研究》、《台湾大学美术史研究集刊》、《华夏考古》等发表论文、文章40余篇。陈韵如，台大艺术史博士，现任台大艺术史研究所教授。1997-2019年任职于台北故宫博物院书画处。曾获奖助至日本东京大学东洋文化研究所（2005年）、美国大都会博物馆亚洲部（2014-15年）短期学术访问。主要研究方向为中国绘画史、画论知识与鉴藏史、宫廷画院运作机制等，近期探讨视觉叙事与东亚图绘交流等课题。陈相锋，字南元。现为中央美术学院教授、博士生导师，中国画学院创研部主任，西泠印社社员，中国美术家协会会员，中国工笔画学会会员。出版专著《徐三庚篆刻及其刀法》《菊花白描技法精讲》《五代黄筌写生珍禽图》《陈相锋白描写生课徒作品》《游心方外：陈相锋作品集》《陈相锋花鸟画范例》《宋元墨竹》等10种，编著《中国画技法图典》花鸟篇等13种共计16册，主编《宋元之眼：历代花鸟名品临摹技法丛书》第1、2辑共计14册。陈相锋，字南元。现为中央美术学院教授、博士生导师，中国画学院创研部主任，西泠印社社员，中国美术家协会会员，中国工笔画学会会员。出版专著《徐三庚篆刻及其刀法》《菊花白描技法精讲》《五代黄筌写生珍禽图》《陈相锋白描写生课徒作品》《游心方外：陈相锋作品集》《陈相锋花鸟画范例》《宋元墨竹》等10种，编著《中国画技法图典》花鸟篇等13种共计16册，主编《宋元之眼：历代花鸟名品临摹技法丛书》第1、2辑共计14册。陈婧莎，广州美术学院研究生院副院长、绘画艺术学院副教授。本、硕、博均毕业于中央美术学院人文学院美术史系，主要从事中国古代绘画史研究。著有《宋本之外：〈清明上河图的〉传播与再生》，于《文艺研究》《美术研究》等杂志发表论文多篇。与会者名单（按姓氏拼音排序）毕斐　　中国美术学院艺术人文学院教授[意] 毕罗 Pietro De Laurentis　　广州美术学院教授、博士生导师、美术教育学院中外书写文化与美术交流研究中心负责人、清华大学伟伦特聘访问教授陈婧莎　　广州美术学院副教授、研究生院副院长陈相锋　　中央美术学院中国画学院创研部主任、教授陈韵如　　台湾大学艺术史研究所教授黄小峰　　中央美术学院人文学院院长、教授吕品晶　　中央美术学院党委常委、副院长、教授王中旭　　故宫博物院书画部副主任、研究馆员吴雪杉　　中央美术学院人文学院美术史系主任、教授丘　挺　　中央美术学院中国画学院院长、教授尹吉男　　中央美术学院教授、广州美术学院图像与历史高等研究院院长张　震　　浙江大学艺术与考古学院教授朱万章　　香港故宫文化博物馆研究员传移模写中央美术学院中国画临摹教学作品展主办单位：中央美术学院承办单位：中央美术学院中国画学院　　　　　中央美术学院美术馆展览时间：2025年1月21日—4月16日展览地点：中央美术学院美术馆三层展厅主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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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

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.