Collection Of CAFA Art Museum——Ancient Chinese Art CAFA Art Museum

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: It can't be hidden anymore! Get a sneak peek at the "treasures in storage" revealed for the first time by CAFA Art Museum

2025-01-18

The exhibition opens on January 21st, 20252A Gallery, CAFA Art MuseumThe CAFA Art Museum is one of the key national art museums. Upholding the academic concept of "inclusiveness and continuity, building on the past to create the future", it has made great efforts in the construction of contemporary public cultural spaces and the collection of artworks, and is committed to constructing a unique art history narrative. The "Art of Ancient China" exhibition that is opening this time is the second part of the permanent display of the CAFA Art Museum. The first part, "Art of Modern China", opened in July 2024."Ancient Chinese Art" displayOver 200 ancient art exhibits from the museum's collectionIt is divided into two major categories: "utensils" and "calligraphy and paintings".The time span is two thousand yearsThe exhibition is further divided into nine sub - categories: bronze mirrors, portrait bricks, figurines, ceramics, religious statues, figure paintings, flower - and - bird paintings, landscape paintings, and calligraphy, covering the main types of ancient Chinese art. Most of the collections in the "utensils" category are being exhibited for the first time.Ancient Chinese art serves as the foundation for constructing Chinese cultural aesthetic concepts, a channel for understanding the inheritance of the Chinese nation's spirit, and an inspiration source for contemporary artistic innovation. In terms of selecting collections, based on the opinions of the Appraisal Group for Ancient Chinese Calligraphy and Painting in 1983 (Xie Zhiliu, Qi Gong, Xu Bangda, Yang Renkai, Fu Xinian, Liu Jiuan, Xie Chensheng) and the Appraisal Group of the Central Academy of Fine Arts in 2024 (School of Humanities, Center for Art Archaeology of the Central Academy of Fine Arts), the art museum has selected more than 200 collections for exhibition, with a time span of two thousand years, according to the standards of aesthetic taste, ritual and music systems, and cultural connotations.Booth - setting TidbitsIn terms of innovative displays, the art museum has organically integrated with courses related to digital media art research, ancient calligraphy and painting research, art archaeology research, and traditional art restoration at the academy. It has conducted in - depth explorations in the digital simulation restoration of traditional culture and immersive interactive experiences. Different types of digital cultural relics in the exhibition hall create an atmosphere of cross - temporal dialogue between modern digital art and ancient traditional art.Artworks are a mirror of the times, reflecting the social features and people's emotions from ancient times to the present. They serve as a visual clue for us to interpret history. Through this art collection exhibition, visitors can experience the artistic characteristics of different eras and explore the spirit and essence that have always permeated ancient Chinese art.The exhibition will open on January 21st, 2025, and be permanently displayed in Exhibition Hall A, on the second floor of the art museum. Interested visitors are welcome and should not miss it.Collection Of CAFA Art Museum -- Ancient Chinese ArtExhibition Time: Starting from January 21st, 2025Exhibition Venue: 2A Gallery, CAFA Art MuseumChief Editor / He Yisha Editor / Du YinzhuOn - site Photos / He Yifei
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: TA is here！TA is finally here！More than 200 ancient Chinese art treasures in the collection were unveiled

2025-01-22

Exhibition siteTA is here！TA is finally here！After a whole year of meticulous preparation and planningon this occasion of the New Year's Evethe complete appearance of“Collection of CAFA Art Museum--Ancient Chinese Art”is shockingly unveiled today!"Ancient Chinese Art" section A total of 217 treasures from the collection are on permanent display.From the initial germination of the conceptTo countless creative collisions and adjustmentsTo the final selection of exhibits and layout design Every step of the process has gathered the efforts and wisdom of the planning team.We dig deep into the essence of artWe carve every detail with care Strive to present the most beautiful collection to the audienceWe hope you will feel the sincerity of CAFAM's workExperience the ultimate pursuit of artExhibition siteThe "Collection of CAFA Art Museum" includes the first appearance of the "Ancient Chinese Art" part and the exhibition hall after the renewal of the "Modern Chinese Art" part. The "Ancient Chinese Art" section exhibits 217 items, and the "Modern Chinese Art" section exhibits 247 items.CAFA Art Museum is one of the national key art galleries, adhering to the academic concept of "inclusiveness, inheriting the past and opening up the present", it has made great efforts in the construction of contemporary public cultural space and art collection, and is committed to constructing a unique narrative of art history. The "Ancient Chinese Art" exhibition launched this time is the second part of the collection exhibition, the first part "Modern Chinese Art" have been launched in July 2024.Exhibition siteSince the 1950s, CAFA Art Museum has been carrying out collection work in a continuous and orderly manner, and has accumulated more than 20,000 pieces of various kinds of collections, which are rich in variety, involving the ancient and modern, taking into account the Chinese and Western, and encompassing various fields of art. General Secretary Xi Jinping emphasized in his reply to the old experts and artists of the National Art Museum of China in 2023 that "efforts should be made on high-quality collection, high-level utilization, and high-quality service", and CAFA Art Museum has always attached great importance to the excavation, organization and utilization of classic collections, and has carried out a series of academic researches, exhibitions, educational promotion and foreign exchange activities around the collections, the museum has launched a series of academic research, exhibition, education promotion and foreign exchange activities around the collection. The launch of this long-term display is not only an important exploration of the museum's classic collection, but also a stage-by-stage summary of the collection and research work, a positive response to the national cultural policy, and a demonstration of the core values of the museum in the new era. The ancient Chinese art on display this time is one of the features of the collection. During the more than 100 years of the college's development history, several generations of scholars have accumulated a number of ancient collections for the college for the purpose of serving teaching and scientific research, covering the main types of ancient art, and there are many fine works in calligraphy and painting, bronze mirrors and other types, especially 110 ancient paintings included in the Catalogue of Ancient Chinese Calligraphy and Painting. Ancient art is the foundation for the construction of the aesthetic concept of Chinese culture, the channel for understanding the spiritual inheritance of the Chinese nation, and the source of inspiration for current artistic innovation. At the beginning of the art museum's planning and display of collections, ancient art was regarded as an important cornerstone, as the main part of the display and the source of innovation.To this end, the museum draws on the results of historical research and actively integrates them into the various new dynamics of contemporary research. In the selection of the collection, the museum based on the 1983 Chinese ancient painting and calligraphy appraisal group (Xie Zhiliu, Qigong, Xu Banda, Yang Renkai, Fu Hinian, Liu Jiu'an, Xie Chensheng) and 2024 Central Academy of Fine Arts appraisal group (School of Humanities of the Central Academy of Fine Arts, Central Academy of Fine Arts, Fine Arts and Archaeology Research Center), to the aesthetic interest, the rites and rituals of the system and cultural connotation of the criteria, selected more than 200 pieces of collections, "artifacts" and "calligraphy and painting" as two major types of display, "objects" and "painting", and actively incorporate various current research trends. The exhibition is organized in two major categories, namely "artifacts" and "calligraphy and painting", and includes nine subcategories of bronze mirrors, portrait bricks, figurines, ceramics, religious statues, human figure paintings, bird and flower paintings, landscape paintings, and calligraphy, with a period spanning 2,000 years.In terms of innovative display, the museum and the college's courses related to digital media art research, ancient painting and calligraphy research, art archaeology research, and traditional art restoration have been organically combined, and in-depth exploration has been carried out in the digital analog restoration and immersion interactive experience of traditional culture. Different types of digital cultural relics in the exhibition hall create an atmosphere of cross-temporal dialogue between modern digital art and ancient traditional art.Simulation restoration demonstration of some cultural relicsIt can be said that the display of "ancient Chinese art" is not only a display of art and aesthetics in the past, but also a reflection on the relationship between current technology and tradition. It is also a visual expression of the spirit of Chinese art.We hope that through these ancient cultural relics containing historical memory and this artistic journey across time and space, the audience can truly feel the social customs, moral beliefs and ideological interests from ancient times to the present, and truly appreciate the Chinese people's spiritual outlook of advocating etiquette, reverence for nature and cultural confidence.Exhibition siteCAFAMAncient Chinese ArtImportant collections01bronze mirrorBridge Button Feather Wing Mosaic Pattern Four Mountain Mirror, Warring States (Chu) Collection of CAFA Art MuseumRound - knob Four - bird Flower - twig Bronze Mirror, Tang Dynasty, Collection of CAFA Art Museum 02portrait brickPortrait Brick of Rice - pounding, Han Dynasty, Collected by CAFA Art MuseumPortrait Bricks of Cars and Horses Crossing the Bridge, Han Dynasty, Collection of CAFA Art MUseum03FigurinePottery horse, Han Dynasty, Collected by CAFA Art MuseumPainted civil official figurine, Tang Dynasty, Collected by CAFA Art Museum04Religious statueGilt - bronze seated Sakyamuni statue with a screen - shaped back, Style of the mid - Ming Dynasty, Collected by CAFA Art MuseumGilt-bronze seated statue of Sakyamuni, Imitated in Qing Dynasty after Yuan Dynasty, Collected by CAFA Art Museum05ceramics Longquan celadon plate, Ming Dynasty, Collected by CAFA Art MuseumMulticolored censer with two dragons playing with a pearl pattern, Qing Dynasty, Collected by CAFA Art Museum06Figure paintingRen Bonian, "Portrait of Yicheng", Ink and color on paper, 1877, Collected by CAFA Art Museum07Flower and Bird PaintingZhu Da, "Picture of Pine, Crane and Mushroom Stone", ink and color on silk, Qing Dynasty, collected by CAFA Art Museum08Landscape paintingZhang Yu (attributed), "Landscape Painting", ink and color on silk, Yuan Dynasty, collected by CAFA Art MuseumShen Zhou, "Clouds and Waters Hut Picture", color on paper, 1503, collected by CAFA Art Museum09CalligraphyWang Duo, Running Scripts and Five-character Poems, Ayamoto Ink Painting, 1645, Collected by CAFA Art MuseumCollection Of CAFA Art Museum-- Ancient Chinese ArtExhibition time: From January 21, 2025Venue: Hall A, 2nd Floor, CAFA Art MuseumExhibition Planning and Working Groups General Counsel: Xu YangAcademic Director: Lin MaoOverall guidance: Liu Peiyuan, Wang Xiaolin, Lv Pinjing, Pan ChenghuiAcademic guidance: Su Honor, He Xilin, Zheng Yan, Zhang Wei, Qiu Ting, Shao Yan, Wang Yun, Zhang Nan Nantian, Sun Yue, Zheng Yi, Guo Huaiyu, Gou HuanChief Curator: Jin JunCuratorial Director: Han WenchaoCuratorial Advisors: Huang Xiaofeng, Geng Shuo, Wang Liming, Sun Zhou, Wang XiminCuratorial Hosts: Gao Gao, Hai JunCuratorial Executors: Liu Xiyan, Li Yaochen, Yi Yue, Wang Ruobing, Xu XinchenDesign Director: Ji YujieExhibition Production Director: Wu PengScheme Planning and Preparation: Wang Jing, Li Jie, Hu Xiaolan, Chen Guanshi, Sun Yimei, Yang Linsi, Wang SizheCollection Management: Li Yaochen, Xu Yan, Dou Tianwei, Wang Chunling, Ma Liang, Cui Ranran, Li Wei, Mei Qi, Jiang NanDesign Coordination: Min Zhiyi, Liu Yuhan, Chen Jiayi, Li Shuangting, Pang Minghao, Yang YongchunExhibition Management: Su Shicun, Jing PengCultural Relic Interpretation Writing: Wang Ziyi, An Yuemeng, Ding Simin, Li Xinyi, Meng Yuening, Zhou Ziyu, Tang Yirui, Wang Ying, Zhang Han, Qu Shufan, Li HaoDigital Display Development: Chang Yuqing, Liu Cui, Liao Zude, Li Wentao, Sun Yue, Yang Jie, Ren Zhiying, Zhang Tuo, Sun Yulong, Wang Zihan, Bu Yitong, Liao JintingCollection Restoration: Dou Tianwei, Yang Jing, Zhang Zhenyu, Luo Yongchong, Yang ZiqiMedia Promotion: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding YiPublic Education: Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Xi HuaweiDevelopment and Promotion: Sun Wei, Yi Yi, Liu Xingling, Jin JianruAdministrative Support: Jiang Siyu, Yue Junyao, Zhang Qian, Guo XuFinancial Affairs: Yang Liu, Men Jing, Kou LeiLogistics and Security: Chen Xiaohua, Lü ZhifaSpecial thanks to:Exhibition academic cooperation: School of Humanities, Central Academy of Fine Arts, Central Academy of Fine Arts Art Archaeology Research CenterDigital Art Collaboration: School of Design, Central Academy of Fine Arts, Department of Mural Painting, Central Academy of Fine ArtsCollection Restoration Cooperation: The Sixth Studio of the Sculpture Department of the Central Academy of Fine ArtsExhibition professional lighting sponsor: AKZU (Shenzhen Exu Lighting System Co., Ltd.)Exhibition space architectural design consultant: China Academy of Building SciencesProfessional low-reflection display materials support: Taibo (Qingdao) Optoelectronic Technology Co., LtdChief Editor / He YishaEditor / Du YinzhuOn-site Photos / He Yifei
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: Is there any art museum without a "conspicuous bag" yet? Audience: It must have a name

2025-01-26

Walking into major museums and art galleries today, you will find an interesting phenomenon - those pottery figurines and other pottery products with different shapes and interesting shapes are grabbing the audience's attention in an unprecedented manner, and have become "conspicuous bags" in art galleries.Certainly, CAFA Art Museum is no exception. Upon entering the exhibition hall of "Collections Display of CAFA Art Museum", one can immediately catch sight of those vivid and interesting pottery figurines. Some of them are standing or sitting, with some holding weapons, looking majestic; while others are bowing their heads in deep thought, as if telling the stories of thousands of years. These pottery figurines are not only lifelike in shape but also rich in expressions, making people can't help but stop and admire. It is worth mentioning that all the pottery figurines on display this time are meeting the public for the first time.● Singing and dancing rap from the Han DynastyDuring the historical period of social stability and frequent cultural exchanges in the Han Dynasty,Music and dance have flourished.A variety of tombsRap, music and dance, play figurinesAnd so it started.From left to right: Comic Figurine, Han Dynasty; Music and Dance Figurine, Western Han Dynasty; Hunting with Bow and Arrow Figurine, Eastern Han Dynasty; Dancing Figurine, Eastern Han Dynasty● "Small BBQ" from the Han DynastyPottery stove, Han DynastyThe pottery stove is one of the most common model objects in the tombs of the Han Dynasty. There is a circular fire mouth on the stove surface, which is higher than the stove surface. The right side of the fire door is a small bottle, and the left side is a person kneeling and burning the fire. The stove surface is moulded with fish, forks, fire pestles and other patterns. It is rich in a rich atmosphere of life and can be intuitively understood. The cooking methods, food types, and content of the sacrifice stove of the people in the Han Dynasty.● The warrior figurine that exudes an aura of powerThe warrior figurines in the Northern Wei Dynastyhad mostly the same shape and costumes,either holding swords or pressing shields, all of which were powerful in appearance and contained powerful and powerful charactersTerracotta Warriors, Northern DynastyTerracotta Warriors, Tang ● Yingying rides a horse byDuring the Sui and Tang Dynasties, the riding figurines had rarely seen the image of cavalry wearing armor, but mostly used officials, tricks, Hu people, and maids as riders. The female riding figurines in the exhibition hall smiled, wearing narrow sleeves and skirts. The shape of the horse was also very vivid, with smooth lines, reflecting the openness of the social atmosphere at that time, showing the freedom and vitality of that eraFemale Figurine on Horseback, Sui Dynasty● The royal traveling honor guardGreen glazed figurines (ceremonial figurines, drum figurines, palanquin-carrying figurines, child servant figurines) MingThe ceremonial figurines of the Ming Dynasty were mainly unearthed in the tombs of royal family relatives and high-ranking officials, covering a variety of roles, with bright colors.The civilian tombs were not buried figurines, or buried zodiac figurines, etc. Most of them had no grade restrictionsThere are also many "eye-catching bags" in the exhibition hall waiting for you to explore on the spot. They are like a group of lively and cute elves, telling the story of thousands of years in a unique way and conveying the power of cultureWe hope that the audience can enjoy a relaxed and enjoyable experience while enjoying art, and inspire everyone's love and inheritance of traditional culture. So, next time you walk into the Central Academy of Fine Arts Museum, you might as well slow down and carefully appreciate the surprises brought by these "conspicuous bags"!Collection Of CAFA Art Museum-- Ancient Chinese ArtExhibition time: From January 21, 2025Venue: Gallery 2A, CAFA Art MuseumEditor-in-Chief/He YishaEditor/Du Yinzhu
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: 有趣的灵魂万里挑一 | 你没看错！我是来自汉代的“滑稽俑”

2025-02-11

你是否好奇，两千年前的汉朝人，如何用陶土塑造出令人捧腹的瞬间？你能否想象，雄浑厚重的汉代艺术中，也藏着如此鲜活有趣的灵魂？其实，在汉代社会安定、文化交流频繁的历史时期，乐舞百戏得到了蓬勃发展，墓葬中各式各样的说唱、乐舞、百戏俑也随之兴起。在“中央美术学院美术馆藏陈列“中，呈现了几组汉代的陶俑，让我们一起领略其生动的造型、夸张的表情和诙谐的动态。01“说学逗唱”的俳优俑
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: Spanning Thousands Of Years, Savor The Graceful And Yet Charming Demeanor Of The Prosperous Tang Dynasty

2025-02-01

The "Collection Of CAFA Art Museum" is currently on display at CAFA Art Museum. The section presenting ancient Chinese art in this exhibition is one of the characteristics of the museum's collection. More than 200 pieces of collections have been selected and exhibited in two major categories: "Artifacts" and "Calligraphy and Paintings". These collections include nine subcategories: bronze mirrors, portrait bricks, figurines, ceramics, religious statues, figure paintings, flower-and-bird paintings, landscape paintings, and calligraphy works, spanning a time period of two thousand years. This article focuses on the female figurine collections that showcase the charm of the Tang Dynasty, aiming to let you experience the spiritual outlook of that era.Maidservant figurines and court lady figurines are common themes among the burial figurines in Tang Dynasty tombs，some scholars believe that a significant change in the production of figurines during the Sui and Tang dynasties is that a large number of dancing and musical performer figurines and maidservant figurines replaced the armored soldier and horse figurines that were popular in the Northern Dynasties. This reflects the changes in social mentality and aesthetic preferences. From the early Tang Dynasty to the late Tang Dynasty, the style of female figurines changed from slender in body shape to plump and graceful, which is a relatively intuitive indicator demonstrating the social aesthetic preferences of that time.Court Lady Figurine, No. 2236, Tang Dynasty, Collected by the CAFA Art MuseumThe Court Lady Figurine, No. 2236, on display at the CAFA Art Museum, has its sleeves folded. It stands on a thin, irregularly shaped base plate, with its face slightly turned to the left. Although it is in an upright standing posture, it exudes a sense of dynamism. It has coiled hair and a drooping bun, a round face, delicate facial features, and its eyes are slightly closed. It wears a long robe with wide sleeves, and a silk scarf drapes around the shoulders and hangs down in front of the body. Below, it is dressed in a chest-length long skirt, with the hem of the skirt reaching the ground and revealing one shoe.The figurine is made of red pottery with a white coating applied. It might have originally been painted with colors, but now the colors are no longer extant.Court Lady Figurine, Number 2236, Tang Dynasty, Collected by the CAFA Art MuseumIn terms of style, this female figurine has a graceful figure and a plump body, reflecting the fashion of regarding plumpness as beauty after the prosperous Tang Dynasty. In fact, the Tang Dynasty did not always pursue a plump figure. Female figurines in the early Tang Dynasty generally had a slender figure and a delicate and pretty face, showing the lingering charm of the Wei and Jin dynasties. It was not until the 8th century that female figurines with a plump body and loose clothing began to be popular. During the Tianbao period, the figures of female figurines became even plumper. The changes in the figures of female figurines in different periods of the Tang Dynasty reflect the continuous changes in the aesthetic concepts of that time.Female figurine of the early Tang Dynasty, unearthed from the tomb of Liu Kai in Yanshi, Tang Dynasty.Court lady figurines from the Tianbao period, unearthed from the Tang Dynasty tomb in Hansasai, Xi'anThe hairstyle of coiled hair with hanging buns and the attire of loose robes and long skirts were the favored outfits of women in the Tang Dynasty. In Tang poetry, a woman's attire was described as "The skirt trails like six lengths of the waters of the Xiang River, and the sideburns are coiled like a stretch of clouds over Mount Wu." Similar images can also be seen in the works of Zhang Xuan, a painter of the Tang Dynasty.The Spring Outing of Lady Guo Guo by Zhang XuanCourt lady figurines are not of the same category as the more common "maid figurines". They usually wear more magnificent and luxurious clothes, with their hands clasped in front of them or their sleeves covering their hands, as if they are not engaged in any labor. Their sizes are also larger than those of other female figurines, which seems to imply their noble status. Some scholars believe that this type of female figurine may represent the "concubines" in the Tang Dynasty system. They do not represent specific individuals, but symbolize the status of the tomb owner. The greater the number of these figurines, the more noble the status of the tomb owner is.The court lady figurines enable us to still appreciate the graceful charm of the prosperous Tang Dynasty, which was plump yet charming, even after a thousand years. At the same time, their appearance is also closely related to the concept in the funerary customs of the Tang Dynasty that increasingly emphasized the imitation of real life.The Maid Figurine with a Wind Hood, Number 574, Tang Dynasty, Collected by the CAFA Art MuseumAnother exhibited maid figurine with a wind hood, numbered 574, has a beautiful appearance. Its face is plump, dignified, with thin eyebrows, long eyes, and a slight smile. It wears a wind hood on its head. The top of the hood is pointed on the left and slanted on the right, and it is tied at the back of the head. It is dressed in a narrow-sleeved shirt, with silk scarves draped over both shoulders, and a long skirt that trails on the ground. The skirt belt is knotted above the chest, and the ends of the belt hang down. There was originally red colored painting on it. The left arm hangs down naturally, and the long sleeve reaches the knee. The right arm is bent halfway with the sleeve hanging down. This kind of image has also been unearthed in other Tang Dynasty tombs, such as the Tang Dynasty tomb in the brick factory at Goutoukou, Yanshi County, Henan Province (whose dating is also considered to be around the reign of Emperor Gaozong, the early Tang Dynasty period), the tomb of Jia Dunyi in Luoyang, Henan Province in the first year of Xianqing (656 AD), and the tomb of Zhang Shigui in Liquan, Shaanxi Province in the second year of Xianqing of Emperor Gaozong (657 AD).The maid figurine wearing a wind hood was unearthed from the tomb of Jia Dunyi in Luoyang, Henan ProvinceJia Dunyi served as the Prefect of Luozhou during his lifetime. The epitaph of Zhang Shigui states that he was titled "Grand General Assisting the State, Military Governor of Jingzhou, and Duke of Guo State". Many of the funerary objects in the Tang Dynasty tomb at the Goutoukou Brick Factory in Yanshi County, Henan Province are considered to be similar to those in the tombs of Zhang Shigui and Zheng Rentai. The social status of the tomb owner is likely to be relatively high as well. Moreover, the approximate dating of these three tombs is all during the reign of Emperor Gaozong. Therefore, it is speculated that this type of maid figurine with a wind hood was quite popular in the tombs of a relatively high social class in the Luoyang area of Henan Province during the reign of Emperor Gaozong.Similar images are also used for maid figurines. For example, a maid figurine with a similar pose was unearthed from the tomb of Jia Dunyi. The only difference between it and the maid figurine with a wind hood lies in their clothing. This kind of image might have been a relatively popular template in the production of pottery figurines at that time.The maid pottery figurine was unearthed from the tomb of Jia Dunyi in Luoyang, Henan ProvinceThe female pottery figurines of the Tang Dynasty have various postures. This maid figurine wearing a wind hood reflects the social aesthetic of the early Tang Dynasty when plumpness was not yet pursued. The slender and narrow sleeves and the slightly pointed wind hood exhibit the lingering charm of the Northern Dynasties, serving as a record of the popular clothing culture and female images of that time. It is a historical specimen that reflects the style exchanges and transformations in the early Tang Dynasty, and also important physical materials for studying the ancient social life, art, and culture of that era.Painted Maid Figurine with Double Buns, Number 874, Tang Dynasty, Collected by the CAFA Art MuseumThe Painted Maid Figurine with Double Buns, Number 874, in the exhibition hall has its hair styled in double buns. It wears a narrow-sleeved short blouse on the upper body and a long skirt that reaches the ground on the lower body. There are some traces of painted patterns on the skirt. The pottery figurine is not glazed and it should have originally had painted decorations. Four similar maid figurines were unearthed from the tomb of Liu Kai in Yanshi, Henan. The painted works outline red lips, and a square low collar is painted on the chest. The long skirt is decorated with red vertical stripes. The figurine has a round face and a slender figure. Its left hand hangs down with the long sleeve reaching the leg, and its right hand bends at the elbow and is placed in front of the abdomen. A long silk scarf is hung on the crook of the arm. There is no base, and it has the characteristics of the early Tang Dynasty.Maid Figurine with Double Buns, unearthed from the tomb of Liu Kai in Yanshi, Henan Province, in the Tang DynastyThis type of clothing is quite common in the images of maid servants. For example, the clothing of the maid servants in the murals of the tomb of Princess Xincheng of the Tang Dynasty is very similar to it. In terms of style, it often features narrow sleeves and occasionally exposes the chest, demonstrating the changes in the status of women during the prosperous era, as well as the inclusive and culturally diverse open atmosphere of the Tang Dynasty. This type of clothing is quite common in the images of maid servants. For example, the clothing of the maid servants in the murals of the tomb of Princess Xincheng of the Tang Dynasty is very similar to it. In terms of style, it often features narrow sleeves and occasionally exposes the chest, demonstrating the changes in the status of women during the prosperous era, as well as the inclusive and culturally diverse open atmosphere of the Tang Dynasty.Mural of Maid Servants, unearthed from the tomb of Princess Xincheng of the Tang Dynasty in Liquan, XianyangIf you are eager to explore the elegance and splendor of the prosperous Tang Dynasty,Don't miss that touch of charm in the exhibition hall.The female pottery figurines of the Tang Dynasty that bear witness to history.They stand there quietly,Carrying the stories and amorous feelings of a thousand years,Waiting for your arrival.Editors: Wang Ziyi, Meng YueningInstructor: Geng ShuoCollection Of CAFA Art Museum-- Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: Gallery 2A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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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.