Xu Beihong: Living Art Forever | Special Exhibition for the Centennial Celebration of CAFA

  • Dates:2018-03-16 - 2018-04-22
  • Location:3F and 4F, CAFA Art Museum
  • Opening:2018-04-01
  • Organizer(s): Central Academy of Fine Arts
  • Co-Organizer(s): China Artists Association CAFA Art Museum Xu Beihong Memorial Museum
  • Chief Curator: Fan Di'an
  • Exhibition Support: Beijing Municipal Administration of Cultural Heritage National Library of China, Tianjin Museum Peking University Library Zhonghua Book Company Wu Zuoren International Foundation of Fine Arts Mei Lanfang Memorial Museum Saône Chang Studio of Dunhuang Art Designs
  • Art Director: Su Xinping
  • Curators: Zhang Zikang Hong Mei

Details

Xu Beihong was an outstanding painter and art educator. He was considered the pioneer and the founder of Chinese art history who started a new trend in the twentieth century. Throughout his life, Xu devoted himself to “reviving Chinese art”. He advocated the artistic expression of Realism and encour... More
Xu Beihong was an outstanding painter and art educator. He was considered the pioneer and the founder of Chinese art history who started a new trend in the twentieth century. Throughout his life, Xu devoted himself to “reviving Chinese art”. He advocated the artistic expression of Realism and encouraged the reform of traditional Chinese painting by introducing and spreading Western art styles of sketch painting and oil painting. He was also regarded as one of the firsts to create large-scale history paintings of modern significance and promoted Chinese art in the international arena. In the historical turning point of Chinese art shifting from tradition to modernity in the twentieth century, Xu always occupies an important position.

Xu achieved epoch-making historic accomplishments in art ideology, artistic creation, art education, artistic activities and so on. Nowadays, his artworks remain a treasure trove in Chinese art circles, waiting for our continuous efforts for in-depth excavation and study.

Based on Xu’s historic achievements in oil painting, Chinese painting, sketch painting, calligraphy, art education, personal collection of ancient Chinese calligraphy and painting, the exhibition was divided into six sections: cares for people (oil painting), affections for home (Chinese painting), greatness and refinement (sketch painting), elegance and magnificence (calligraphy and seal), lifelong teacher (art education), preservation for essences (personal collection).

The exhibition brought together more than 200 important paintings of Xu Beihong and showed a variety of precious documents for the first time. Most of them were carefully selected from the collections of nearly 3,000 works belonged to Xu Beihong Memorial Museum, covering almost all the representative works of different periods throughout Xu’s life, including those well-known paintings, especially the most treasured painting collected by Xu Beihong – The Scroll of Eighty-seven Immortals, also regarded as “Beihong’s life”. The exhibition received support from multiple institutions providing related documents and many scholars and specialists who give academic advices.

After its first opening at the CAFA Art Museum, the exhibition will take a tour to different cities for a broader audience, respectively in the China Art Museum in Shanghai, the Jiangsu Art Museum in Nanjing, the Inner Mongolia Art Museum, the Guan Shanyue Art Museum in Shenzhen, the Sichuan Art Museum in Chengdu and the Hubei Museum of Art in Wuhan. The traveling plan of the exhibition has been received a reward fund from the “2018 Communication and Promotion Project” by China National Arts Fund.

2018 is the 100th anniversary of the Central Academy of Fine Arts. In this important historical moment, it was of both historic and realistic significance to have a comprehensive and systematic sorting out of the remarkable and irreplaceable contributions made by the CAFA with its predecessor, the National Beiping Art School, in the development process of Chinese art in the twentieth century. While combing through the president Xu Beihong’s historic contributions thoroughly was very important to the CAFA itself, it also had a profound meaning to the clarification of the historical context of Chinese art in the twentieth century as well as the development of contemporary Chinese art.

Preface

“Bei Hong Sheng Ming (Beihong: Living as Art)” is the annotation Xu Beihong wrote on his collection Scroll of Eighty-Seven Immortals. As we look back on his life-long art pursuit, learn from his glorious achievements, we can say: it is the “Bei Hong Sheng Ming” that his art essentially reveals!


Looking back through history, we could reminisce about some national backbones during difficult time. They stuck firmly to their ideals, confronted with the obstacles in life, explored, contemplated, endeavored, moved forward, writing new episodes of historical progress and social development. As the grandmaster of 20th century Chinese Art, and founding father of modern Chinese art education, Xu Beihong is a true excellent model. He held fast to his dream and aspirations, spared no effort in his performance of duty, and devoted all his life and enthusiasm to art.


The soul of “Bei Hong Sheng Ming” lies in the devotion of life to his aspiration. Xu Beihong received education in ancient paintings and calligraphy in his early years, studied intensively and diligently famous masterpieces from ancient times. He responded to the calling from the Modern Chinese New Cultural Movement, determined to reform and revive Chinese art, and searched for the new art path in a rapidly changing Chinese society. Against the historical background of the first half of the 20th century, he cared about rises and falls of the nation and sufferings of the people. With his large paintings like Tian Heng and His Five Hundred Followers, Behind Me, Draft of The Foolish Old Man Moves a Mountain and Jiu Fanggao, he pushed forward the development of realism in China. His works, either western paintings or Chinese paintings, being either realistic historical paintings or expressive sketches, are brimmed with awareness of potential crisis and deep contemplations. As for the exploration of artistic language, he endeavored to draw on the experience of western art, and persisted in combine the western and the Chinese style, which echoes to his artistic ideas. On the development of Chinese paintings, he always believed and practiced in “the reform of Chinese paintings”, proposing detailed exposition on the theme and content, form and language, and criteria of Chinese paintings, based on the genre’s realistic significance and modern forms. He established his own school by uniting the realistic style and the brush-and-ink expressions. By merging traditional Chinese culture, western painting system and realistic concept, Xu Beihong had deep influence on the development of modern Chinese art.


The soul of “Bei Hong Cheng Ming” is in the persistence in his mission. Since when he was hired as a tutor for the Society of Painting Technique by Cai Yuanpei, till he devoted himself into art education after returning from abroad, and became the principal of the National Beiping Art School, which later became Central Academy of Fine Arts, Xu Beihong always treated education as his career, committing all his enthusiasm to it. He took art education as the key to the enhancement of national quality and transformation of the old culture, and was dedicated to cultivating new talents. He introduced western learning into Chinese education, underlining rational spirits like “science” and “realism”, treasuring the value of sketching as modeling foundation, and formed systematic art education methodology and a set of examples, cultivating and influencing a group of skillful and innovative artists. Meanwhile, he recruited talents widely, uniting a group of outstanding artists with various identities, schools and ideas to build the edifice of art education, and pushed forward Chinese modern art education.


The soul of “Bei Hong Sheng Ming” exists in his wholehearted promotion of national culture. As a leading figure of 20th Century Chinese Art, Xu Beihong earnestly practiced in the inheritance of and preservation of traditional culture and national art. He vigorously participated in social activities, gathered resources from cultural, political and social fields, and became the pioneer of the promotion of new culture. He committed himself to the collection and preservation of ancient Chinese paintings and calligraphy despite his limited power. The wide variety of his collection and the difficulty of the collection process have become a legend through word of mouth. His collection and preservation of cultural heritage has way surpassed an individual’s pursuit of classics, and has risen to a level of protecting and reviving traditional national culture. He took part in exhibitions in or outside China, held lectures all around the world, trying his best to promote Chinese art, and facilitating the wide social influence of new Chinese art culture.


Upon the 100th anniversary of Central Academy of Fine Arts, we pay respect to generations of Chinese art masters’ devotion to the development of Chinese art and art education, and feel proud of the profound academic tradition and excellent academic spirit that accumulated in CAFA in the past century. Only in one’s social commitment that one’s life shines, and only through history that one’s life value becomes evident. In front of Xu Beihong’s art, we could learn so much more than the works themselves.


Fan Di’an

Director of Central Academy of Fine Arts

March 2018

“Bei Hong Sheng Ming (Beihong: Living as Art)” is the annotation Xu Beihong wrote on his collection Scroll of Eighty-Seven Immortals. As we look back on his life-long art pursuit, learn from his glorious achievements, we can say: it is the “Bei Hong Sheng Ming” that his art essentially reveals!


Looking back through history, we could reminisce about some national backbones during difficult time. They stuck firmly to their ideals, confronted with the obstacles in life, explored, contemplated, endeavored, moved forward, writing new episodes of historical progress and social development. As the grandmaster of 20th century Chinese Art, and founding father of modern Chinese art education, Xu Beihong is a true excellent model. He held fast to his dream and aspirations, spared no effort in his performance of duty, and devoted all his life and enthusiasm to art.


The soul of “Bei Hong Sheng Ming” lies in the devotion of life to his aspiration. Xu Beihong received education in ancient paintings and calligraphy in his early years, studied intensively and diligently famous masterpieces from ancient times. He responded to the calling from the Modern Chinese New Cultural Movement, determined to reform and revive Chinese art, and searched for the new art path in a rapidly changing Chinese society. Against the historical background of the first half of the 20th century, he cared about rises and falls of the nation and sufferings of the people. With his large paintings like Tian Heng and His Five Hundred Followers, Behind Me, Draft of The Foolish Old Man Moves a Mountain and Jiu Fanggao, he pushed forward the development of realism in China. His works, either western paintings or Chinese paintings, being either realistic historical paintings or expressive sketches, are brimmed with awareness of potential crisis and deep contemplations. As for the exploration of artistic language, he endeavored to draw on the experience of western art, and persisted in combine the western and the Chinese style, which echoes to his artistic ideas. On the development of Chinese paintings, he always believed and practiced in “the reform of Chinese paintings”, proposing detailed exposition on the theme and content, form and language, and criteria of Chinese paintings, based on the genre’s realistic significance and modern forms. He established his own school by uniting the realistic style and the brush-and-ink expressions. By merging traditional Chinese culture, western painting system and realistic concept, Xu Beihong had deep influence on the development of modern Chinese art.


The soul of “Bei Hong Cheng Ming” is in the persistence in his mission. Since when he was hired as a tutor for the Society of Painting Technique by Cai Yuanpei, till he devoted himself into art education after returning from abroad, and became the principal of the National Beiping Art School, which later became Central Academy of Fine Arts, Xu Beihong always treated education as his career, committing all his enthusiasm to it. He took art education as the key to the enhancement of national quality and transformation of the old culture, and was dedicated to cultivating new talents. He introduced western learning into Chinese education, underlining rational spirits like “science” and “realism”, treasuring the value of sketching as modeling foundation, and formed systematic art education methodology and a set of examples, cultivating and influencing a group of skillful and innovative artists. Meanwhile, he recruited talents widely, uniting a group of outstanding artists with various identities, schools and ideas to build the edifice of art education, and pushed forward Chinese modern art education.


The soul of “Bei Hong Sheng Ming” exists in his wholehearted promotion of national culture. As a leading figure of 20th Century Chinese Art, Xu Beihong earnestly practiced in the inheritance of and preservation of traditional culture and national art. He vigorously participated in social activities, gathered resources from cultural, political and social fields, and became the pioneer of the promotion of new culture. He committed himself to the collection and preservation of ancient Chinese paintings and calligraphy despite his limited power. The wide variety of his collection and the difficulty of the collection process have become a legend through word of mouth. His collection and preservation of cultural heritage has way surpassed an individual’s pursuit of classics, and has risen to a level of protecting and reviving traditional national culture. He took part in exhibitions in or outside China, held lectures all around the world, trying his best to promote Chinese art, and facilitating the wide social influence of new Chinese art culture.


Upon the 100th anniversary of Central Academy of Fine Arts, we pay respect to generations of Chinese art masters’ devotion to the development of Chinese art and art education, and feel proud of the profound academic tradition and excellent academic spirit that accumulated in CAFA in the past century. Only in one’s social commitment that one’s life shines, and only through history that one’s life value becomes evident. In front of Xu Beihong’s art, we could learn so much more than the works themselves.


Fan Di’an

Director of Central Academy of Fine Arts

March 2018

Artworks

Artworks

Photographs

Photographs

Related essays

“致广大,尽精微”——“悲鸿生命:徐悲鸿艺术大展”侧记 ...

2018-10-16

为迎接中央美术学院百年校庆, 2018年3月16日至4月22日,在中央美术学院美术馆举办“中央美术学院百年校庆特展:悲鸿生命——徐悲鸿艺术大展”(以下简称:徐展)。我是在2017年5月初召开的第一次徐悲鸿大展筹备会上接到范迪安院长指定的策划任务的,6月,张子康先生履职中央美术学院美术馆馆长职务,举全馆之力全力支持和推进徐展的策划与实施工作。接到任务后,我的思考是,这个展览将为学术界、社会公众呈现一个什么样面貌的徐悲鸿,才有历史与现实的双重意义?作为 20世纪中国美术史上开创一代新风的先驱者和奠基人,徐悲鸿始终矗立在20世纪中国美术由传统走向现代的历史转折节点上。作为杰出的画家、美术教育家,他一生致力于“复兴中国艺术”,为此而改良中国画,引进、传播外来画种素描、油画,提倡写实主义艺术道路,开创现代意义的大型历史画创作先河,形成系统的美术教育观念,从而在艺术思想、艺术创作、艺术教育、艺术活动等方面取得了划时代的历史成就,至今仍然是中国美术界的一座宝库,有待我们持续而深入地挖掘和研究。问题在于,我们今天如何对待他为中国美术史留下的庞大遗产?我们又如何看待和评价他对于他所面对的历史问题做出的回应?考虑到徐悲鸿是一个家喻户晓的公众人物,他的一部分代表性作品在展览及出版方面曝光率极高,小型、专题展览也屡见不鲜;学界对徐悲鸿的研究也相对深入,以至于有些学者甚至认为“徐悲鸿研究已经到了无耻的地步”。这些情形普遍给大家“非常熟悉”的印象,这些印象又多于片面化、碎片化,尤其长时间以来将他符号化、意识形态化,不免令人忧虑;然而另一方面,关于徐悲鸿大型、综合、全面、客观、带有回顾性质、具有研究深度的学术展览方面,多年来似乎差强人意,这在我们对徐氏的认知上,造成了“非常熟悉”,“实则陌生”的现象。而我们的展览,希望打破这个壁垒,为学界和社会公众呈现一个“看似熟悉,实则陌生”的相对真实、立体、鲜活的徐悲鸿。策展人红梅副教授在展览现场布置文献为此,在展览策划过程中,我们通览了徐悲鸿研究的海量文献,从徐悲鸿纪念馆藏近3000件作品中精选出200余件,此外,还从国家图书馆、天津博物馆、北大图书馆、中华书局、吴作人基金会、梅兰芳纪念馆、常沙娜敦煌图案研究设计工作室等机构借得大量文献资料。多件作品及大量文献将首次公开展出,以方便学者对新文献的梳理和深究。在徐悲鸿纪念馆选择文献策划过程中,考虑到徐悲鸿首先是一位画家,他通过自己在多个艺术门类中的创作实践,以系列作品回答了中国美术从传统走向现代的历史转折节点上的艺术问题;以此为核心,联接他丰富多彩的美术活动、美术教育、收藏行为等,重点强调徐氏在油画、国画、素描、书法、印章篆刻、美术教育、典藏中国古代书画、收购各类图书丰富学养教书育人等方面的历史性贡献,同时兼顾展览呈现及公众观展的便利与美感,我们将展览分为6个版块,分别是:民生关切(油画篇),家国情怀(国画篇),致广尽精(素描篇),儒雅沉雄(书法篇),终生为师(教育篇),典守精粹(藏画篇)。 民生关切——油画篇20世纪上半叶的中国内忧外患,身在其中的知识分子面对历史向他们展开的时代任务时作出不同的抉择。性格鲜明的徐悲鸿深受新文化运动影响,在中国美术发展由传统向现代转型的历史节点上,徐悲鸿选择了用写实主义手法“以艺报国”,这奠定了他“艺为人生”的艺术思想。他以“独持偏见,一意孤行”的决绝之心,与当时远离民族危难、不问天下苍生而一味囿于绘画形式趣味的传统国画派和追随西方现代艺术的油画家们进行长期的辩论,并在此历史发展过程中,形成了自己成熟而完善的艺术思想,不但奠定了写实主义油画在中国的发展,推进了中国油画肖像画的发展,尤其开创了现代意义的大型油画历史画先河,《田横五百士》、《徯我后》、《愚公移山》等,是徐悲鸿以艺术创作的方式,掷地有声地回答了一个民族、一个国家、一个个人在国难当头、民族危亡的时刻所应该具有的气节!观者可以从徐悲鸿的油画探索之路,管窥他“艺为人生”理想的宏阔及实践的脚踏实地。这个版块呈现多件从未公开展出过的徐氏油画,如其中从国家图书馆借展而来的《傅增湘像》[i],创作于1935年,从中可以管窥徐悲鸿“滴水之恩,涌泉相报”的“爱憎分明”之心。又如油画《徯我后》的大幅素描创作稿,学者和公众可以通过比较素描创作稿与油画创作之间的复杂关系,进一步探讨徐氏开创的大型历史画创作之路。最引以为豪的,是将巨幅国画版《愚公移山》和巨幅油画版《愚公移山》及创作素材、相关文献悉数并列展出,学者和公众可以全面立体地体验及追问为什么徐氏对《愚公移山》倾注如此巨大的心力和时间。家国情怀——国画篇革命与改良,不但是20世纪初中国社会发展的主要问题,而且是中国美术发展的核心问题。作为忧国忧民,以艺报国的代表性艺术家,徐悲鸿对他所处时代灾难深重的祖国身怀拳拳之爱,青年时代即立下以艺救国的宏愿,他深受新文化运动影响,敏感到中国社会的历史变革,追随康有为、梁启超、陈独秀改良中国传统书画的艺术主张,第一个以画家身份24岁英年即发表《中国画改良之方法》,确立了自己的艺术观念,矢志一生致力于以写实主义改良、改革中国画,推进“衰微”的人物画, “复兴中国艺术”[ii],从而建立“新艺术”——“现代之艺术。”[iii]具体方法为:“古法之佳者守之,垂绝者继之,不佳者改之,未足者增之,西方画之可采入者融之。”[iv]为取得写实主义真经而远赴法国8年,精心研习素描、油画。归国后以写实主义手法开创了现代意义的巨幅国画历史画创作,代表作《九方皋》、《船夫》、《巴人汲水》、《会师东京》、《泰戈尔像》、《愚公移山》、《群奔》及现实题材的《世界和平大会》等,此次将悉数展出以飨观众。徐悲鸿创作了如此多的巨幅“新中国画”后,曾总结说:“总而言之,写实主义,足以治疗空洞浮泛之病,今已渐渐稳定。此风格再延长二十年,则新艺术基础乃固。”[v]徐悲鸿为改良中国画而上下求索,他所开辟的中国画改良之路,以及之后所倡导的彩墨画、新中国画改造,为中国画从传统向现代的转型,提供了历史的可能性和可行性探索,尤其留给后人至今仍然研究、争论的学术话题。此次展出从新加坡藏家借展的多幅徐氏水墨小品,其中“十二生肖图”为目前所知徐氏最早一套,这批作品精美绝伦,难得一见。 致广尽精——素描篇“致广大,尽精微”作为徐悲鸿的艺术准则和理想,可以说是他自1918年以来矢志改良中国画,建立“新艺术”,“复兴中国艺术”宏愿的进一步深化。这一观念最早在《悲鸿自述》中完整提出:“吾国古哲所云尊德性,崇文学,致广大,尽精微,极高明,道中庸者,期百世艺人之准则乎。”[vi]他又于1931年6月为齐白石编辑《齐白石画册》并做序中指出老人由正而变,“因其艺至广大,尽精微也”。随后又在《悲鸿自传》中强调:“吾主张:尊德性,崇文学,致广大,尽精微,极高明,道中庸。又认为:真气远出,妙造自然,为绘画应有之诣。”[vii]之后更是请名印家杨仲子为他治朱文方印一枚:“尊德性好文学致广大尽精微极高明道中庸。”凡他满意且珍爱之作,多钤此印。他也经常为好友题写此句以共勉。徐悲鸿的得意弟子艾中信曾撰文[viii]指出:“他(徐悲鸿)把‘致广大而尽精微’用在素描教学上,借以指导观察,分析、综合造型的工作,从而有效地掌握造型能力。” 这是艾中信对徐悲鸿自1947年9月在国立北平艺专提出的“无论学油画、雕塑还是国画,均需学习一二年素描”教育教学的总结。徐悲鸿一项重视素描,曾说:“我学于欧洲既久,知艺术家之基础惟素描······。”[ix]“研究绘画者第一步功夫即为素描,素描是吾人基本之学问,亦为绘画表现唯一之法门。”[x]“素描为一切造型艺术之基础。”[xi]“艺术家应与科学家同样有求真的精神。研究科学以数学为基础;研究艺术以素描为基础。”[xii]从1919年赴法留学至1953年离世,徐悲鸿始终坚持素描创作,一生留下大量素描作品。此次展出的近60件素描精品,是从徐悲鸿纪念馆藏近800件素描中精选而出。从这些精品中,我们可以看到徐悲鸿在素描领域取得的极高的艺术造诣及先驱性探索之路,正是他,奠基了素描这一外来绘画手法在中国的门类化、学科化及在20世纪至今艺术院校教育教学中发挥的重要作用及深远影响。众所周知,这些深远影响中包含非常尖锐的批评的声音,正是这些不同声音的对话和碰撞,更突显了徐氏在建构20世纪中国美术面貌中的独特贡献。 儒雅沉雄——书法篇 对徐悲鸿书法的认识,一般常见于他作品的题跋,很少在展览中看到他单独的书法作品,为此,本次展览将集中展出徐悲鸿各时期各种形态的书法精品,主要包括楹联、信札、扇面、诗词等共计50余件,以方便学界及公众对徐悲鸿书法艺术有一个综合而全面的了解。徐悲鸿自7岁起跟随父亲徐达章习字,21岁成为康有为的入室弟子,在康氏家中遍览名碑,深受康氏书法及书学主张影响。为方便观者考察徐悲鸿与康有为的书法渊源,本次展览特别展出徐氏珍藏1919年他赴法前夕康氏送他的“写生入神”墨宝。此外,还将展出徐悲鸿精研且珍藏的《虢季子白盘》、《散氏盘》、《石鼓文》、《爨宝子》、《爨龙颜》《经石峪》、《张猛龙》、《石门铭》等名碑拓片及出版物,以使观者综合理解徐悲鸿书法探索、精研之路。徐悲鸿早年随父习帖,故并不囿于碑学,进而取法帖学,碑帖互用而相合的书风之路,使徐悲鸿的书体将行草的洒脱妙曼一变而为儒雅,将篆隶的浑厚端庄一变而为沉雄,自成一家。作为20 世纪上半叶文艺界有影响力的重要人物,徐悲鸿的社会交往极为丰富,文艺活动也非常频繁,他与社会各界著名人士之间的书信往来,无论其内容还是书体,一直深深吸引学界和公众的浓厚兴趣,此次从天津博物馆、中华书局、吴作人基金会、常沙娜敦煌图案研究设计工作室等机构借展徐悲鸿与友人们的信札若干,多为第一次公开展出。这批信札不但可从生活化的文化视角呈现鲜活的悲鸿形象,尤其具有极高的艺术价值和文献价值,从中可见20世纪上半叶知识分子的社会习性,文化人之间的交往风气。 终生为师——教育篇徐悲鸿在理论与实践中形成了一套明确而完整的艺术主张,被后来的学者称为写实主义体系[xiii],徐悲鸿曾多次强调他的艺术实践坚持教学第一,创作第二,终生致力于美术教育,徐悲鸿通过创办美术学校、任教、带师生外出写生、演讲、发表文章、在国内外举办展览等多种活动推行写实主义美术教育主张,亲自培养和扶助了一批有成就的艺术家,如吴作人、王临已、吕斯百、孙宗慰、齐振杞、冯法祀、艾中信、韦启美、侯一民,李斛、宗其香等等。徐悲鸿建基起来的美术教育体系,在20世纪发挥过巨大的历史作用,至今仍具有强大生命力。徐悲鸿的美术教育体系,在形成过程中,明确而有针对性地回答了历史性艺术发展的核心问题,在油画教学与创作中,徐悲鸿提倡写实主义,抨击形式主义,为此与徐志摩展开了著名的“二徐之争”;在国画教学与创作中,徐悲鸿一贯坚持以写实主义和师造化改良-改造-革新中国画,反对固守笔墨的传统派。这些以学术论战的姿态呈现的“战士”徐悲鸿,在推行自己的艺术主张和美术教育思想时,性格倔强,爱憎分明,从此留下了徐氏反对西方现代主义艺术、拖历史后腿的形象。本次展览的文献中,展示了徐氏在留法期间,极为困厄的生活环境下,购买的大量印刷精美的画片、画册、艺术书籍、大部头艺术词典等出版物,其中有几乎所有印象派画家的专辑画册、马蒂斯、凡高的画册等。这些文献都是第一次公开出版,尤其是徐氏所购大量日文艺术图书,更是第一次公开出现在学者及公众视野之内,从徐氏所购图书切入研究徐氏艺术新视角,这些文献将有所裨益。典守精粹——藏画篇徐悲鸿终其一生对中国传统民族文化、古代书画的保护、收藏不遗余力,在有限的财力支撑下积累了蔚为可观的收藏,可谓如“悲鸿生命”一样珍贵。这与他终生未了之夙愿——在中国建立美术馆以典藏守护中外精品杰作不无关系。公众也可从徐悲鸿的书画收藏的独特视角,管窥徐悲鸿的艺术观——重写实画风,所藏人物画居多。轻名重品——徐悲鸿所藏作品不太看重是否出自名家之手,而是看作品的艺术水平高低。此次展览从他所藏12000余件中国历代书画中,精选60余幅精品,涵盖从唐、宋、元、明、清,直至徐悲鸿同时代的名家作品。其中有充满传奇色彩、艺术价值极高的《八十七神仙卷》。此次将是有史以来第一次全卷展开展示《八十七神仙卷》,同时展示徐氏两枚与此卷关系密切的印章以及两封信札原件,以方便学者进一步研究徐氏与此卷的复杂关系。此卷真迹将与经王季迁督制的等大高仿《朝元仙仗图》并列展示,以方便学者和公众对比研究和观看这两件在艺术史上极为重要的道教题材的白描精品。徐氏典藏的中国古书画中,特辟专区专栏重点悉数展示入选大名鼎鼎的24卷《中国古代书画图目》[xiv]中录入的13件徐悲鸿藏品中的精品,以飨观者,这是有史以来第一次公开集中展示这13件精品。徐氏所珍藏典守的这些作品,不但承载着漫长历史的沧桑,驻留和封存了多少代多少人观赏研习的目光!尤其饱含着徐悲鸿以艺救国,献身教育的拳拳之心。正是这些藏品,充分参与到徐悲鸿美术教育的实践中,使无数艺术学子开阔了眼界。此次还将展出徐悲鸿常用印章30枚,皆为民国时期治印名家所刻,如齐白石、杨仲子、陈子奋、乔大壮、彭汉怀、方介堪、简经纶等,既有极高的艺术价值,尤其可见当时徐悲鸿对篆刻艺术及艺术家的重视。徐悲鸿曾写信请福建著名印人陈子奋为失而复得的《八十七神仙卷》补刻一枚朱文印“悲鸿生命”,可见徐悲鸿对这件作品的珍爱程度,视之为生命。此信原件得天津博物馆支持,得以首次公开展出。此次展览的命名,范迪安院长即取“悲鸿生命”,以突显“悲鸿生命”的历史性延续,全面立体呈现悲鸿以艺术为生命;以保护人类文化精髓为生命;以推进民族艺术新发展为生命;以发展美术教育事业、培养艺术人才为生命的杰出形象,他的每一件作品,都是他的心血,他的生命。配合展览,我们同时策划了系列专题讲座,及“徐悲鸿研究新视野”的学术论坛,邀请北大、清华、中国艺术研究院、北京画院、中央美院、法国巴黎高等美术学院等学术机构的学者,分享他们的最新研究成果,并邀请国内外专家学者撰文,于2018年9月结集出版,同时出版大型同名画册,以推动徐悲鸿研究、中央美术学院校史研究、20世纪中国美术史研究的最新进展。该展览在策划过程中,荣获国家艺术基金2018年度传播交流推广项目基金及荣誉,在中央美术学院美术馆首展结束后,将于2018年5月-2019年1月,在全国6所美术馆进行巡回展览以飨全国公众,分别是:上海中华艺术宫,南京江苏省美术馆,内蒙古美术馆,深圳关山月美术馆,成都四川美术馆,武汉湖北美术馆。2018年将迎来中央美术学院的百年校庆,在这百年一遇的重要历史时刻,全面而系统梳理中央美术学院及其前身国立北平艺专在20世纪中国美术发展历程中所作出的独特、卓越而不可替代的重大贡献,具有历史及现实的双重意义。而其中,全面而深入梳理建国后首任院长徐悲鸿的历史贡献,非常必要和及时,徐悲鸿的艺术人生轨迹与20世纪前半叶中国近现代历史紧密联系在一起,这不仅因为他的艺术创作实践、艺术教育事业和艺术活动是20世纪中国美术史的重要组成部分,而且还因为他的艺术思想和主张对中国近现代美术的发生、发展产生的重要影响。因此,全面考察和研究徐悲鸿的艺术观念、艺术经历、艺术创作、艺术教育和艺术活动,对我们了解20世纪中国近现代美术发展历程,认识当前中国美术现状及其产生的历史原因,甚至对我们进一步讨论未来的艺术发展,都意义深远。2018年1月18日 撰文/红梅(“悲鸿生命:徐悲鸿艺术大展”策展人,中央美术学院副教授,硕士生导师,中央美术学院美术馆理论出版部主任文章来源/《美术观察》,2018年5月,第30-32页。[i]傅增湘曾为北洋政府教育部长,就是傅增湘批准徐悲鸿以官费生资格赴法国留学。[ii][中]徐悲鸿,《复兴中国艺术运动》,天津《益世报》1948年4月30日。早在1927年由法回国不久的11月中旬,徐悲鸿就曾应上海艺术大学外国文学教授田汉之邀赴艺大讲学时“殷切希望在座的同学立下复兴中国美术事业的大志,遵循‘外师造化,中得心源’的道路,要敢于另辟溪径,形成自己流派风格……”。此后又多次在讲学及著文时提及。如原载1947年9月4日重庆《世界日报》发表的《世界艺术之没落与中国艺术之复兴》一文中指出:“我所谓中国艺术之复兴,乃完全回到自然师法造化,采取世界共同法则,以人为主题,要以人的活动为艺术中心······”。 [iii][中]徐悲鸿,《复兴中国艺术运动》,天津《益世报》1948年4月30日。“所谓复兴者,乃继承吾先人之遗绪,规模其良范,而建立现代之艺术。”[iv][中]徐悲鸿,《中国画改良之方法》,北京《北大日刊》1918年5月23、24、25日。[v][中]徐悲鸿,《新艺术运动之回顾与前瞻》原载1943年3月15日重庆《时事新报》。 [vi][中]徐悲鸿,《悲鸿自述》,上海《良友》1930年4月第46、47期。实际上是徐悲鸿对《中庸》第二十七章“修身”一节的变体理解,《中庸》原文如下:“故君子尊德行而道问学,致广大而尽精微,极高明而道中庸,温故而知新,敦厚以崇礼”。 他又于1931年6月,在亲自为齐白石编辑《齐白石画册》并做序中指出白石老人由正而变,“因其艺至广大,尽精微也”。 [vii][中]徐悲鸿,《悲鸿自传》,上海《读书杂志》1933年1月第3卷1期。 [viii][中]艾中信,《尽精微致广大:略论徐悲鸿的素描见解》,《中国美术》1979年第一期。 [ix][中]徐悲鸿,《普吕东画集》序,1925年。 [x][中]徐悲鸿,《在中华艺术大学讲演辞》,上海《申报》1926年4月5日。 [xi][中]徐悲鸿,《新国画建立之步骤》1947年10月,据在北平记者招待会书面发言、传单,王学仲教授供稿。 [xii][中]徐悲鸿,《当前中国之艺术问题》,天津《益世报》1947年11月28日。 [xiii]又称为“徐蒋体系”,代表性学者是马洪增。 [xiv]1983年6月始,国家文物局组织全国七位著名书画鉴定家成立鉴定小组,对中国大陆重要的文博单位及有关大学所藏书画作品进行了史无前例的调查、鉴定和编写出版目录、图录,为期8年,其主要成果是24卷《中国古代书画图目》,自1985年至2001 年出版完毕。该套丛书发表了35700 件书画作品的图片,第一卷包括有13件徐悲鸿纪念馆的藏品(1件宋画罗汉、10 件明画、2 件清画)——李凇,“论《八十七神仙卷》与《朝元仙仗图》之原位”。 |展览现场|中央美术学院领导及嘉宾在徐悲鸿大展开幕式上徐悲鸿大展开幕式策展人红梅为热情的观众导览 More

“徐君倾胆”与“倾胆徐君”——徐悲鸿和中央美术学院 ...

2018-10-16

撰文/红梅摘要:本文以中央美术学院百年校庆特展:悲鸿生命——徐悲鸿艺术大展为切入点,梳理徐悲鸿与中央美术学院及其前身国立北平大学艺术学院和北平艺专的关系,管窥徐悲鸿艺术主张、艺术理想、教育教学革新在中央美术学院及其前身的历史发展轨迹。以此尝试全面而深入梳理中央美术学院首任院长徐悲鸿在廓清20世纪中国美术发展的历史脉络、追溯20世纪中国美术基本面貌的形成中作出的独特贡献,从而确定走到百年这一节点的中央美术学院自身发展的意义,以及对于发展当下的中国美术事业的启迪。 2018年是中央美术学院的百年校庆,在这百年一遇的重要历史时刻,全面而系统梳理中央美术学院及其前身在20世纪中国美术发展历程中所作出的独特、卓越而不可替代的重大贡献,具有历史及现实的双重意义。其中,全面而深入梳理首任院长徐悲鸿的历史贡献,不仅对于走到百年这一节点的中央美术学院自身意义重大,对于廓清20世纪中国美术发展的历史脉络,对于追溯20世纪中国美术基本面貌的形成,对于发展当下的中国美术事业,皆意义深远。为此 ,中央美术学院于2018年3月16日至4月22日,在中央美术学院美术馆举办首任院长徐悲鸿先生的综合、全面、立体、鲜活的大型回顾展:“悲鸿生命:徐悲鸿艺术大展”,作为中央美术学院百年校庆特展。徐悲鸿是20世纪中国美术史上开创一代新风的先驱者和奠基人,是建构20世纪中国美术基本面貌的关键性人物,是杰出的画家、美术教育家、书法家、收藏家,他一生致力于“复兴中国艺术”,力倡写实主义艺术主张,改良中国画,振兴衰微的人物画,开创彩墨画,将素描、油画这些外来画种引进、传播到中国,开创现代意义的大型历史画创作先河,竭尽所能收藏典守中国古代书画精品,并在国际舞台传播弘扬中国艺术,始终矗立在20世纪中国美术由传统走向现代的历史转折节点上。徐悲鸿在艺术思想、艺术创作、艺术教育、艺术收藏、艺术活动等各方面皆取得了划时代的历史成就,至今仍然是中国美术界的一座宝库,有待学界持续而深入地挖掘和研究。此次大展根据徐悲鸿在油画、国画、素描、书法、美术教育、典藏中国古代书画方面的历史性贡献,分为6个版块,分别是:民生关切-油画篇,家国情怀-国画篇,致广尽精-素描篇,儒雅沉雄-书法篇,终生为师-教育篇,典守精粹-藏画篇。“徐君倾胆”与“倾胆徐君”就是从典守精粹-徐悲鸿藏画篇中一件引起学界广泛关注的作品款识中演绎而来。[1]这件作品是徐悲鸿1200件珍贵藏品中特殊的一件,为白石老人1932年所作的一幅稀罕的山水画,从款识上得知此作为白石老人郑重赠与徐悲鸿并答谢徐君知遇之恩之作。这不由使我们想起徐悲鸿两次任职中央美术学院及其前身校长期间,三顾茅庐请画匠身份的白石老人任职一事。仿佛是一个意味深长的隐喻,徐悲鸿与中央美术学院的关系,由此而展开。 徐悲鸿与北平大学艺术学院33岁的徐悲鸿从留学八年之久的法兰西归国刚过一年[2],正是踌躇满志,希冀大展宏图之时,1928年11月15日,他由南京只身北上,正式接任国立北平大学艺术学院[3]院长之职[4]。履职期间放手进行教育教学改革,在国画教学上以写实主义改良中国画,以写生代替临摹芥子园画谱,受到很大阻力;期间多次拜访白石老人,恭请白石老人到中国画系任教,亦被传统派国画家所排挤鄙薄。在整顿教学纪律方面,徐悲鸿对在职教员进行严格考察,甚至辞退部分教员,从而引发教员反对,尤其是萧俊贤、陈半丁的辞教事件,通过发动并联合学生,从而暴发学潮,致使徐悲鸿的“新派”教学主张无法实施。无奈之下,在任职不到两个月后,孤掌难鸣的徐悲鸿于1929年1月24日被迫辞职返回南京,继续在南京中央大学艺术科西画组任教。看来,“徐君倾胆”的北平大学艺术学院“倾胆传统书画”,并不“倾胆徐君”的中国画改良。第一次北上北平大学艺术学院即遭败北,这对于刚刚留学而归,打算一展宏图的徐悲鸿的打击之大可想而知,尤其联系他创作于期间的几幅作品,则更可印证他的落寞心绪。《田横五百士》[5]和《徯我后》[6]始创作于徐悲鸿留学回国后第二年的春天,也就是回国半年以后,即着手创作这两件巨幅油画。目前学界对这两件作品普遍持以下两点共识:皆为其代表作;皆是忧国忧民之作。然而我认为这两件作品可以说是徐悲鸿的第一次人生与艺术宣言!这对于徐悲鸿意义重大。《田横五百士》历时3年,于1930年完成,而《徯我后》直到1933年才最终完成,这之间无论是徐悲鸿身处的国土,还是他本人,都经历了非常大的变化。正如前面所述,此时段的徐悲鸿北上任职受挫,败北而归,而当时的林风眠则正好被蔡元培长期重用,先是请林风眠执掌国立北平艺专,政府权力南移后,又被蔡元培调其南下筹备和领导处于新权力中心不远的杭州国立艺专[7]。徐悲鸿一方面要与自己改良中国画,“复兴中国艺术”[8]的雄心壮志做耐心的思想斗争,一方面要正视和面对自己回国后相对不被重用的尴尬处境。这大概是他创作《田横五百士》和《徯我后》较为接近历史真实的另一种推论。这两件油画是当时尺幅最大的绘画作品,开创了现代意义上大型历史画创作的先河,并开创了现在所谓的“主题创作”的先河。《田横五百士》中的田横宁死不屈、凛然大义的品格,为徐悲鸿所讴歌和赞颂,而自己身着黄服[9],报恩心切的豪侠之心及知恩图报的个人情怀表露无遗;《徯我后》中与其说是对日本帝国主义侵占我国东三省事件的回应,对治理国家明君早日出现的热切盼望,不如说是对赏识自己的伯乐的急切找寻和期盼。这种寻求赏识自己的伯乐之心如此迫切,以至于1931年所画的《九方皋》[10],直接就在呼吁能够赏识自己才华的伯乐早日出现了。从这件作品款识中可见,他在回国后短短4年时间里,竟然频繁创作九方皋题材作品达7次之多,这种“求伯乐若渴”之心,实在非常人所能体会。也是在1931年,徐悲鸿还构思了《秦琼卖马》以寄托这一英雄落魄、虎落平川之叹。[11]某种程度上,徐悲鸿的第一次宣言成功了,1930年1月1日,中央美术会画展在南京开幕,《田横五百士》和《徯我后》两件作品参加了展览,引起了巨大轰动和好评,被时人称为“美术复兴第一声”。尽管也有少许批评的声音,但并未影响徐悲鸿建立巨大的声誉。不过也仅此而已,徐悲鸿的个人处境并未得到更好的改善,当局对他并未给予他自己期待的更高的平台和更好的发展环境。看来,当时,当局不是“倾胆徐君”,而是“倾胆林君”。这一挫折之后的十余年间,徐悲鸿并未消沉,而是积极进行丰富的艺术活动。除在南京中大艺术科教学以外,还辗转大江南北,在各地讲学、办学、创作、写作、发表文章、在国内外组织展览,从事各种艺术活动,并于1942年10月,47岁之际,在朱家骅资金支持和协助下,于重庆磐溪筹办了一个具有艺术创作、探讨和研究性质的社团,名字叫“中国美术学院”。筹备处设在重庆,活动地点主要在磐溪。徐悲鸿任院长兼研究员,并制定聘请研究员约法三章。[12]另聘研究员齐白石、张大千,副研究员吴作人、张安治、黄养辉、王临乙、吕斯百、陈晓南(兼徐悲鸿秘书)、费成武、张倩英、李瑞年、宗其香、孙宗慰、冯法祀等画家,助教为艾中信[13]。此社团不招收学生,不进行教学活动,而主要是上述画家在一起进行写生、创作、艺术探讨、研究活动及展览活动。同年,李斛和戴泽、次年梁玉龙分别考入重庆国立中央大学艺术系及南京国立中央大学艺术系,师从徐悲鸿。徐悲鸿主持“中国美术学院”四年时间中,以频繁的写生、创作、艺术探讨和研究活动、发表文章阐述自己写实主义的艺术主张而团聚了上述约20余人的核心团队,这为他日后二次北上任教奠定了良好的师资队伍基础。 徐悲鸿与国立北平艺专及中央美术学院1946年7月31日,已经51岁的徐悲鸿抵达北平,二次北上任职国立北平艺专校长,这一次,他不再是单枪匹马,而是直接先带着亦徒亦友的吴作人,抵达北平,就任国立北平艺专校长。这一次,面对阻挠他推行艺术教育主张的反对者,他也不再是孤掌难鸣,无力回天,因为,他已经不再是刚回国时候的徐悲鸿了。徐悲鸿此次就职距离1928年已经过去18年,距离他留学法国归国也已经过去19年。在近20年的艺术生涯中,徐悲鸿已经成为公认的艺术大师和具有广泛影响力的教育家。他的艺术创作、教育教学、展览、出版、讲座、发表文章、雅集、笔会等丰富多彩的艺术活动,更是遍及大江南北,国内国际。尤其在油画这一外来画种的引进、传播、教育教学、培养油画专业人才等方面,已经取得很高的成就。他自己的巨幅油画创作,也开创了当时油画巨大尺幅的先河,开创了具有现代意义的大型历史画创作的先河,以及“主题创作”的先河;在将素描从当时只是个别中国画家搜集素材的手段独立为一个艺术门类方面具有开创和奠基之功,徐悲鸿自己的素描也具有极高的艺术造诣,是当时屈指可数的素描大师;在中国画改良之路上,由于他“独持偏见,一意孤行”的以写实主义的技巧和观念改造传统的中国画,使得他站在了20世纪中国美术发展从传统向现代转型的历史节点上,他明确而又针对性地回答了他所处时代艺术发展的核心问题——在油画教学与创作中,徐悲鸿提倡写实主义,抨击形式主义,为此与徐志摩展开了著名的“二徐之争”;在国画教学与创作中,徐悲鸿一贯坚持以写实主义和“写生——师造化”来改良-改造-革新中国画,反对固守笔墨的传统派,反对摹古派,反对临摹芥子园等诸画谱派。徐悲鸿在与传统国画派和形式主义派的常年论战中,吸引了数量众多的忠实追随者以及志同道合者,这些追随者和志同道合者在他二次任职北平艺专校长时,先后被聘请到北平艺专,作为骨干教师发挥巨大的教学作用。尤为重要的是,徐悲鸿此次复任北平艺专校长,是信心十足并充满历史感的,这在他1946年6月1日写给吴作人的信中表露无遗:“教部将聘我为北平艺专校长,故必请弟为我助,此事关系中国艺术前途至大幸,弟勿辞。”他的这种底气一方面来自于他当时巨大的社会影响力,也来自于团聚在他身边的近30余位当时在油画界、国画界的革新派的核心力量。徐悲鸿就职以后,首先将被开除的进步学生一律恢复学籍,且将教员中教学水平低的和曾失节投奔日本帝国主义的人一律停聘。他的民族大义之举快速赢得了师生的好感和拥护。随即,他立即进行了大幅度的教员任职变动和教学改革。改革阻力主要来自于传统力量强大的中国画系,于是他大刀阔斧地进行教员整编,先停聘反对他以写实主义进行中国画改良教学主张的吴镜汀、溥松窗、溥雪斋、胡佩衡等国画家。继而新聘叶浅予为中国画系主任,[14]白石老人、李苦禅、李可染[15]、李斛、宗其香为中国画系教授,聘黄宾虹教授中国画理论。这些骨干教员与徐悲鸿都是亦师亦友的关系。而在没有什么障碍的西画和雕塑系,他聘请吴作人为西画系主任兼教务长,并聘从敦煌归来不久的董希文为西画系副教授[16],聘滑田友为雕塑系教授[17]。尤为重要的是,徐悲鸿如愿以偿,将呕心沥血、苦心经营的重庆中国美术学院众多师生好友,几乎悉数纳入北平艺专。因为在1947年10月8日,中国美术学院因经费短缺,徐悲鸿又北上无暇顾及该社团,教育部遂下令,将重庆中国美术学院北迁,并入北平艺专。[18]至此,重庆中国美术学院几乎全部班底——张安治、黄养辉、王临乙、吕斯百、李瑞年、孙宗慰、冯法祀、艾中信、戴泽、梁玉龙、韦启美等全部云集北平艺专,分别被聘为副教授、助教及教员,这对徐悲鸿来说,如虎添翼,极大充实完善了北平艺专的核心教学队伍。[19]重组后的北平艺专加大教育教学改革,1947年5月,徐悲鸿提出,北平艺专的学生,无论学习油画、雕塑还是国画,都需要先学习1-2年素描课,以便提高造型基础,打好基本功。这一教学改革立即引起北平传统派画家的反对和抵制,10月2日,北平艺专国画教员秦仲文、李智超、陈缘督三教授以罢课相威胁和阻挠徐悲鸿的教学改革。这一幕太熟悉了,早在19年前,徐悲鸿就因为教员阻挠教学改革罢课而被迫辞职南返。然而,面对这一次教员罢课,徐悲鸿不但组织全校教员、学生在记者招待会上与传统国画派辩论,而且从中华全国美术会中独立出来,并带走了200多会员,组成北平美术作家协会,于1947年10月16日举行成立大会,徐悲鸿被推举为主席,他随即聘白石老人为名誉主席。徐悲鸿以新成立的北平美术作家协会这一组织的力量展开论战,并连续发表文章《新国画建立之步骤》[20]和《当前中国之艺术问题》[21]阐述自己改良中国画,推动新中国画运动的决心和意义。早自此之前的1947年1月3日,徐悲鸿就在天津《益世报》积极创办了《艺术周刊》并亲自题写刊头[22],该刊每周五出版,成为徐悲鸿持续宣扬、推行写实主义教育体系,改良中国艺术的强有力舆论阵地。从 1947年创刊到1953年去世,徐悲鸿公开发表的文章共56篇,其中很大一部分发表在天津《益世报》的《艺术周刊》上。 除了重视舆论宣传,徐悲鸿还非常重视社团建设, 一度,徐悲鸿经常以国立北平艺专、北平美术作家协会和中国美术学院三个团体的名义组织各种艺术活动,展览活动。事实上,这三个团体的核心人物是同一批人,即都是后来学者所命名的“徐悲鸿写实主义体系”,又叫“徐蒋体系”的核心成员[23]。徐悲鸿就是利用天津《益世报》的《艺术周刊》和上述三个社团,与传统派进行了旷日持久的“国画之争”大战。最终,以三教授离职,徐悲鸿在北平艺专顺利推行写实主义教育教学体系和素描基础功训练为胜利标志。此次,离开北平艺专的,是别人,留在北平艺专的,则是徐悲鸿;此次,北平艺专开始“倾胆徐君”。这一胜利对徐悲鸿意义重大,可以说是他自1918年以来近30年颠沛流离进行艺术革新坎坷之路的一次决定性胜利,这一胜利证明了他矢志不渝将中国艺术从传统走向现代之路的历史抉择的正确性。尤为重要的是,这一胜利成果的发生地是在即将成为权力中心的北平发生,这一点意义尤为深远,因为,很快,徐悲鸿将成为中国历史上从民国走向新中国的新历史时期艺术界的翘楚。 目前学界对徐悲鸿在解放前夕去留问题上,多数意见倾向于并强调他是在共产党积极争取和劝说下留下的,我个人认为,他留下来,更本质的动力来自于他自己内心的抉择,这可以从他一系列社会活动中管窥。徐悲鸿从任职之日即开始为北平艺专寻找合适的新校舍,直到1948年2月19日,才由原来的旧王府迁至帅府园的校尉胡同5号,这一次安家,一安就是近半个世纪。[24]如今,“校尉胡同5号”已经成为几代央美人的文化记忆。1948年徐悲鸿在北平发起组织了一个大型综合艺术团体——“一二·七”艺术学会,被推为会长。[25]学会宗旨是团结组织北平美术界人士,准备迎接北平解放,迎接新中国到来。12月23日,徐悲鸿又与北平各界名流成立“文物保护会”。也是在这个寒冷的12月,徐悲鸿将国民政府发放他迁北平艺专入南京的“应变费”,发放给教职员工度过严冬。同时,共产党也捎来口信,希望他不要南迁,留在北平。1949年1月初,徐悲鸿出席傅作义召集的北平大专院校校长会议,商议北平战事及去留问题,徐悲鸿第一个发言,声明留在北平迎接解放,并说出著名的话:“北平是驰名中外的古都,不战则可以保存这个名城。” 看来,他是“倾胆北平”、“倾胆北平艺专”、“倾胆共产党”的。1月31日,北平和平解放。3月3日,徐悲鸿出席华北人民政府文化艺术工作者委员会和华北文艺界协会的茶会,并被安排在第四位发言,之前是茅盾、田汉、郭沫若发言。3 中旬,他被选为世界拥护和平大会代表并出席在捷克布拉格的会议。回国后,在庆祝北平和平解放宴会上,周恩来挽留徐悲鸿单独进行长久交谈。7月,他当选中华全国美术工作者协会第一届主席。9月21-30日,他出席中国人民政治协商会议。10月5日,他被选为中苏友好协会理事。11月29日,徐悲鸿请毛泽东主席题写“国立美术学院”。[26]12月16日,中央人民政府政务院第十一次政务会议,任命徐悲鸿为国立美术学院院长。4月1日,国立美术学院更名为中央美术学院,徐悲鸿任首任院长,并在成立大会上致辞。概而言之,徐悲鸿自从1946年任职北平艺专校长以来,可以分为三个大的时段:第一个时段是从1946年7月-1947年底,是他重组北平艺专师资,推行教育教学主张的时期;第二个时段是从1948年春到1951年,是徐悲鸿荣誉等身,走向人生巅峰的时期。某种意义上说,他成为了新中国艺术界的第一人——他是新中国第一任美协主席,是新中国最高艺术学府的首任院长——这,恐怕是他从1927年回国后一直企盼的目标,这目标不是为了证明什么,得到什么,而是为了有一个足够高的平台,一个足够大的舞台,让他能够实现他的“复兴中国艺术”,建立“现代之艺术”的雄心壮志及历史责任。在民国时期,他始终未到过当局如此高的重视,因此他的作品经常充满积愤,这些积愤之情之前只被学界认为是单纯的忧国忧民,爱国之心的表现。其实,这些积愤之作还透露了他英才不被重用,不被赏识,遍寻伯乐无着的失落之意。只有到了新中国,他本人才被如此重视,才被如他所期待那样得到重用。他孤军奋战了一生的写实主义才被新的文艺政策接受,他对毛泽东等国家领导人,对新中国,充满由衷的热爱和拥护。[27]只可惜,他的生命已经走向暮年,接下来的两年里,他的身体极为衰弱,最后竟在主持第二届文代会期间突发脑溢血而不治身亡,享年58岁。徐悲鸿生于乱世,一生颠沛流离,且因选择了将20世纪中国美术发展从传统转向现代之路而备受重重阻隔。好在他一生面向历史,努力践行,且以“独持偏见,一意孤行”的决绝之心,回答了他所处时代摆在他这一代人面前的中国艺术发展之路的选择。尽管他生前如此之“悲凉”,死后却极尽哀荣,新中国几乎是给他举行了国葬,并给予他至高的评价。这是徐悲鸿得之无愧的,他终其一生为“复兴中国艺术”而上下求索,矢志不渝。这,就是中央美术学院首任院长短暂而又辉煌的一生!值此百年校庆之际,系统梳理首任院长徐悲鸿与中央美术学院及其前身的关系,应该是央美学人责无旁贷的历史责任;认真梳理、认识、反思徐悲鸿留给后人的丰富文化遗产,更是央美学人重要的历史使命;站在新世纪回望过去百年来以徐悲鸿为代表的中央美术学院前辈几代央美人为中华民族的伟大复兴所进行的不懈的探索之路、创新之路,以及他们留给后人的丰富而又宝贵的文化遗产,有助于我们清晰自己所处时代的历史课题,树立前行的目标,明确中国当代艺术发展的内在逻辑;站在百年校庆的历史节点上,回望中央美术学院百年历程中参与建构20世纪中国美术发展的辉煌历程,有助于央美人明确第二个百年的历史目标,面向历史进行新时代民族文化的建设,进行艺术创作、教育教学,推动中国文化和艺术向新的历史高度发展。值此百年校庆之际,得范迪安院长信任,张子康馆长支持,全馆同事协助,有幸策划了耗时近一年的“悲鸿生命:徐悲鸿艺术大展”,呕心沥血之作如今得到学术界、社会各界强烈的社会反响,聊作央美人热爱母校,“倾胆徐君”的百年献礼! 红梅徐悲鸿大展策展人中央美术学院副教授、硕导、博士中央美院美术馆理论出版部主任2018年4月1日-12日,截稿于午夜中央美术学院美术馆 [1]此作名为《山水诗画》,齐白石,纸本墨笔,72x29cm   ,1932年,徐悲鸿纪念馆藏。上有两段款识,下段款识:少年为写山水照,自娱岂欲世人称。我法何辞万口骂,江南独(有老)徐君倾胆。谓吾心手出异怪,鬼神使之非人能。最怜一口敌(反)万众,使我衰颜满汗淋。白石山翁并题,新句非题此画句也,借以补空。钤印:阿芝、齐大 。上段款识:前题句中谓徐君即谓悲鸿先生也,因补记赠之。壬申冬,璜时居京华。钤印:老白。[2]1927结束长达八年的留法生涯,年9月初回到上海,暂住黄震之家。[3]1927年,北京九所国立高等学校北京大学、师范大学、女子师范大学、工业大学、农业大学、法政大学、医科大学、女子大学、艺术专科学校,合并为京师大学校,北平艺专更名为京师大学校美术专门部。 1928年,京师大学校更名为国立北平大学,北平艺专更名为国立北平大学艺术学院。 [4]1928年11月4日,全国主要报纸均报道了徐悲鸿被北平大学校长李石曾聘为北平大学艺术学院院长的消息。——王震 编著《徐悲鸿年表长编》,上海画报出版社,2006年。[5]《田横五百士》,徐悲鸿,1928-1930年,197x349cm,油彩布面,徐悲鸿纪念馆藏。[6]《徯我后》,1928-1933年,也有一说:1930-1933年,230x318cm,油彩布面,徐悲鸿纪念馆藏。[7]1925年林风眠回国后出任北平艺术专科学校校长兼教授。1926年受中华民国大学院院长——蔡元培之邀出任中华民国大学院艺术教育委员会主任,1927年受蔡元培之邀赴杭州西子湖畔创办杭州国立艺术院并任首任院长。[8]徐悲鸿,《复兴中国艺术运动》,原载1948年4月30日天津《益世报》。早在1927年由法回国不久的11月中旬,徐悲鸿就曾应上海艺术大学外国文学教授田汉之邀赴艺大讲学时“殷切希望在座的同学立下复兴中国美术事业的大志,遵循‘外师造化,中得心源’的道路,要敢于另辟溪径,形成自己流派风格……”。此后又多次在讲学及著文时提及。如原载1947年9月4日重庆《世界日报》发表的《世界艺术之没落与中国艺术之复兴》一文中指出:“我所谓中国艺术之复兴,乃完全回到自然师法造化,采取世界共同法则,以人为主题,要以人的活动为艺术中心······”。[9]在《田横五百士》中,身着黄色服饰立于画面中央的青年为徐悲鸿的自画像,身着黄服寓意自己别名“黄扶”,为报答早年两位黄氏(黄警顽、黄震之)恩人的扶助之恩。[10]《九方皋》这一题材被徐悲鸿一画再画,从这件作品的款识上看,已经是他第七次画此题材了。款识:“辛未初冬,第七次写此,并纪念廉南湖先生,感喟无极。悲鸿时授徒中央大学,居丹凤街。”   [11]徐悲鸿甚至还曾将《秦琼卖马》作为绘画考题的题目。[12](1)须有可见人之作品五十件以上;(2)文笔流畅;(3)须有利人之事实,至少与人知其倾向,应聘以后,更有详细之义务及权利规定,不欲国妄费一钱,亦不加任何不合理之束缚于艺术家。————主要参考:王震 编著《徐悲鸿年表长编》,上海画报出版社,2006年。及朱青生修订编辑《徐悲鸿年谱》待定本,(未出版)。[13]1943年,艾中信被聘为副研究员。——朱青生修订编辑《徐悲鸿年谱》待定本,(未出版),第268页。[14]徐悲鸿本聘请庞薰琹为图案室主任,因为庞另有他任,未能成行。——王震 编著《徐悲鸿年表长编》,上海画报出版社,2006年。第282页。[15]李可染同时接到北平艺专和杭州艺专的聘书,最终选择追随徐悲鸿,任职北平艺专。——吴洪亮,《重回历史的现场——大雅宝胡同甲2号的艺术生态研究》,原载《美术研究》2016年年10月刊,第27页。[16]聘请董希文时间在1947年。[17]聘请滑田友时间在1947年。[18] 王震 编 《徐悲鸿书信集》,第224页。[19] 到了1948年7月份,北平艺专又新聘了兼任教员2位,主要有:蒋兆和、孙怀民、李宗津、萧淑芳、王青芳、陆鸿年、田世光等。——朱青生修订编辑《徐悲鸿年谱》待定本,(未出版)。第315页。[20]徐悲鸿,《新国画建立之步骤》1947年10月,此文是徐悲鸿在北平记者招待会回应三教授罢课问题的书面发言,以传单形式发放——王学仲提供。[21]徐悲鸿,《当前中国之艺术问题》,原载1947年11月28日天津《益世报》。[22]王震 编著《徐悲鸿年表长编》,上海画报出版社,2006年。第287页。[23]徐蒋体系代表性学者为马洪增先生。[24] 1995年由校尉胡同5号迁至北京市朝阳区酒仙桥附近的无线电二厂临时校舍。简称“二厂时期”,到2002年,从二厂迁至现在的花家地南街8号。[25] 因此协会成立的时间是在1948年12月7日,因此而得名。——王震 编著《徐悲鸿年表长编》,上海画报出版社,2006年。第310页。[26] 毛泽东回信“悲鸿先生,来示敬悉。写了一张,未知可用否!顺颂教祺!毛泽东一九四九年十一月二九”。毛泽东亲笔题写校名原件现藏于中央美术学院美术馆。[27]徐悲鸿于 1949年春倡议在国立美术学院油画系开设领袖像课,亲自做范画并辅导。另外于1950年开设劳模课,先请各行各业的劳动模范在学校大礼堂演讲个人英雄事迹,再由师生为之写生。 |徐悲鸿作品|傒我后 徐悲鸿 布面油彩 230x318cm 1930~33年 徐悲鸿纪念馆藏愚公移山 徐悲鸿 布面油彩 231x462cm 1940年 徐悲鸿纪念馆藏田横五百士 徐悲鸿 布面油彩 197x349cm  1928~30年 徐悲鸿纪念馆藏 More
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Group Visit Agreement
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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.

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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

Reminder:

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