Everlasting Sincerity of Heart: Li Ruinian and Art Education

  • Dates:2018-12-09 - 2019-01-03
  • Location:Gallery 2A, CAFA Art Museum
  • Opening:2018-12-09 11:00
  • Organizer(s): Central Academy of Fine Arts
  • Organizer: CAFA Art Museum
  • Supported by: National Art Museum of China
  • Chief Curator: Fan Di'an
  • Art Director: Zhang Zikang
  • Curator: Yu Yang

Preface

“Everlasting Sincerity of Heart: Li Ruinian and Art Education” is the first concentrated exhibition of Mr. Li Ruinian’s works in CAFA Art Museum and is also another academic reviewing and an in-depth presentation after the “Celebration on the Centenary of the Birth of Li Ruinian and Exhibition of Works Donated by Him” that was held by the National Art Museum of China in 2010. With the gracious support of Mr. Li Ruinian’s family and the joint efforts of staffs of CAFA Art Museum, the exhibition is based on a unique artistic perspective and starts from the growth environment, learning background, friends and hobbies, ideas and methods in teaching, to present Mr. Li Ruinian and his studies in a three-dimensional way, as well as his artworks, and also his artistic educational thoughts are highlighted, in order to commemorate this master of a generation who had taught in the National Beiping Art School and CAFA for many years.

In Chinese art history in the 20th century, Mr. Li Ruinian was an artist who had made outstanding achievements in art creation, especially in the creation and research of oil painting and art education. He went to Europe in the 1930s and studied successively at the Royal Academy of Fine Arts, Belguim and the École Supérieure Libre d’art de Paris, where he conducted a practical and profound study on European oil painting, thus forming a unique artistic character of rigorous modeling and simple painting style. Among the group of Chinese painters who studied abroad in the West at that time, his perfect level of art was very outstanding. After returning to China, he created many amazing oil paintings with meaningful themes and fresh outlook, such as “Rainstorm” and “A Ginkgo Tree”, which not only express his deep concern about the human nature and social reality, but also reveal the artist’s sense of cultural responsibility, showing a high integrity of ideology and artistry. He created a series of landscape paintings describing Chongqing’s suburb district and a number of scenery paintings after the founding of the new China that express a distinct feeling about the local culture and eulogize the natural life. Whether it is on the artistic level or the cultural quality, his artworks reflect the profound academic attainments and show the spirit of Chinese oil painting, making a historical contribution to the development of Chinese oil painting.

李瑞年 暴风雨 1944年 油画 65×80cm.jpg 

Rainstorm  1944  Oil painting  65×80cm

李瑞年 白果树 1984年 油画 132×90cm.jpg 

A Ginkgo Tree  1984  Oil painting  132×90cm

 

Mr. Li Ruinian devoted his life to art education and was committed to exploring and studying the teaching methods and theories of art in colleges and universities. He believed that “the responsibility of teachers lies in guiding students to follow their own way, rather than binding students’ hands with the ways taken by teachers and predecessors before. In the specific teaching method, he was good at enlightening students to observe life, extract materials, study modeling rules and pursue artistic quality. Many well-known artists of Chinese painting and oil painting are Mr. Li’s students and still remember his teaching and kindness. Until his late years, he still focused on the teaching and research of art, traveling extensively with his aged body to practice his education theory, drawing sketches in both the natural landscape and real life, preparing creation, making notes and imparting experience. Just as the theme of this exhibition contains “Everlasting Sincerity of Heart”, “Sincerity” was a core spirit that Mr. Li Ruinian adhered to in his artistic life, which not only had run through his artistic creation but also had been carried out in his education career for many years.

Mr. Li Ruinian once said, “Recalling the past, all sorts of feelings well up in my mind, but I am not ashamed to say that, for decades I have been unrelentingly exploring the road of art.” His life was accompanied by the ups and downs of social culture in the 20th century. His artworks and teaching experience are important materials for reviewing this historical process. On the occasion of the centenary anniversary of CAFA when modern Chinese higher art education has gone through such a special historical moment of a hundred years, the exhibition displays Mr. Li Ruinian’s artworks and teaching concept from the perspective of aesthetic education, and let us to review the extraordinary antecedents of Chinese art and art education and to appreciate the practice and exploration spirit of our predecessors and masters.

For holding this exhibition, MR. Li Ruinian’s children, Mr. Li Dun and Ms. Li Diya, following their mother Ms. Liao Xianzhuang’s legacy, selected excellent works of Mr. Li Ruinian in different periods and donated them to CAFA for permanent collection by the university art museum. These works will become an essential treasure for the teaching and research of CAFA, along with Mr. Li Ruinian’s artistic character and educational achievements, leaving a lasting influence.


“Everlasting Sincerity of Heart: Li Ruinian and Art Education” is the first concentrated exhibition of Mr. Li Ruinian’s works in CAFA Art Museum and is also another academic reviewing and an in-depth presentation after the “Celebration on the Centenary of the Birth of Li Ruinian and Exhibition of Works Donated by Him” that was held by the National Art Museum of China in 2010. With the gracious support of Mr. Li Ruinian’s family and the joint efforts of staffs of CAFA Art Museum, the exhibition is based on a unique artistic perspective and starts from the growth environment, learning background, friends and hobbies, ideas and methods in teaching, to present Mr. Li Ruinian and his studies in a three-dimensional way, as well as his artworks, and also his artistic educational thoughts are highlighted, in order to commemorate this master of a generation who had taught in the National Beiping Art School and CAFA for many years.

In Chinese art history in the 20th century, Mr. Li Ruinian was an artist who had made outstanding achievements in art creation, especially in the creation and research of oil painting and art education. He went to Europe in the 1930s and studied successively at the Royal Academy of Fine Arts, Belguim and the École Supérieure Libre d’art de Paris, where he conducted a practical and profound study on European oil painting, thus forming a unique artistic character of rigorous modeling and simple painting style. Among the group of Chinese painters who studied abroad in the West at that time, his perfect level of art was very outstanding. After returning to China, he created many amazing oil paintings with meaningful themes and fresh outlook, such as “Rainstorm” and “A Ginkgo Tree”, which not only express his deep concern about the human nature and social reality, but also reveal the artist’s sense of cultural responsibility, showing a high integrity of ideology and artistry. He created a series of landscape paintings describing Chongqing’s suburb district and a number of scenery paintings after the founding of the new China that express a distinct feeling about the local culture and eulogize the natural life. Whether it is on the artistic level or the cultural quality, his artworks reflect the profound academic attainments and show the spirit of Chinese oil painting, making a historical contribution to the development of Chinese oil painting.

李瑞年 暴风雨 1944年 油画 65×80cm.jpg 

Rainstorm  1944  Oil painting  65×80cm

李瑞年 白果树 1984年 油画 132×90cm.jpg 

A Ginkgo Tree  1984  Oil painting  132×90cm

 

Mr. Li Ruinian devoted his life to art education and was committed to exploring and studying the teaching methods and theories of art in colleges and universities. He believed that “the responsibility of teachers lies in guiding students to follow their own way, rather than binding students’ hands with the ways taken by teachers and predecessors before. In the specific teaching method, he was good at enlightening students to observe life, extract materials, study modeling rules and pursue artistic quality. Many well-known artists of Chinese painting and oil painting are Mr. Li’s students and still remember his teaching and kindness. Until his late years, he still focused on the teaching and research of art, traveling extensively with his aged body to practice his education theory, drawing sketches in both the natural landscape and real life, preparing creation, making notes and imparting experience. Just as the theme of this exhibition contains “Everlasting Sincerity of Heart”, “Sincerity” was a core spirit that Mr. Li Ruinian adhered to in his artistic life, which not only had run through his artistic creation but also had been carried out in his education career for many years.

Mr. Li Ruinian once said, “Recalling the past, all sorts of feelings well up in my mind, but I am not ashamed to say that, for decades I have been unrelentingly exploring the road of art.” His life was accompanied by the ups and downs of social culture in the 20th century. His artworks and teaching experience are important materials for reviewing this historical process. On the occasion of the centenary anniversary of CAFA when modern Chinese higher art education has gone through such a special historical moment of a hundred years, the exhibition displays Mr. Li Ruinian’s artworks and teaching concept from the perspective of aesthetic education, and let us to review the extraordinary antecedents of Chinese art and art education and to appreciate the practice and exploration spirit of our predecessors and masters.

For holding this exhibition, MR. Li Ruinian’s children, Mr. Li Dun and Ms. Li Diya, following their mother Ms. Liao Xianzhuang’s legacy, selected excellent works of Mr. Li Ruinian in different periods and donated them to CAFA for permanent collection by the university art museum. These works will become an essential treasure for the teaching and research of CAFA, along with Mr. Li Ruinian’s artistic character and educational achievements, leaving a lasting influence.


Artworks

Artworks

Photographs

Photographs

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作为20世纪中国本土的第一代油画家、美术教育家,李瑞年和很多同代画家一样,似乎正在被历史的浮尘渐渐遮掩。甚至在中国百年油画史的文本书写中,他的名字也常被一笔带过,淹没于令人趋之若鹜的对“主流”大家的聚焦视野之中。有多少人知晓,在中国油画的早期发展史上,这位以风景油画和素描见长、曾被徐悲鸿称为“中国油画风景第一”的大家,对于那个时代中国油画与美术教育的影响,在今日是被远远低估的。与李瑞年先生朴素静默、平易沉着的人格一样,他的创作质朴淳厚、严谨平实,具有自然主义的求真力量和印象主义的抒情精神。从他在20世纪40年代到80年代创作的近百幅油画、素描作品中,可以看到他在艺术创作上付出的心血,以及那一代中国本土油画家们为中国油画的发展所做出的努力。苦涩诗境:自然主义的风景意象与李瑞年同代及其学生辈的画家在谈到他作品风格的时候,都不约而同地使用了“自然主义”一词来界定他的创作,而这一语词在今天仍在使用的西方现代美术诸流派名称中是很少提及的。徐悲鸿在二十世纪四十年代初曾称赞李瑞年的风景作品“质朴隽永,手法严谨,是极为可喜的自然主义,是抒情诗。”画坛的“自然主义”意味着何种风格?显然,徐悲鸿所说的“自然主义”,与以左拉、福楼拜等为代表的法国自然主义文学流派所标榜创作倾向的客观性不能等同,而是更接近于某种现实主义的分支,主旨是表现生活中的自然美,并透射出淡淡的诗意。事实上,现实主义的精神也是李瑞年一直以来的追求。据李宗津的回忆,“瑞年先生最喜欢的画家是珂培(库尔贝,Courbet)。他的确得到了这位自然主义大师的大部优点——坚实,沉着,深刻——在平淡中孕育着造化的神灵”“在他的画里所能感到的显明的中国风的宁静及温和足以说明这点。他已舍弃了欧洲19世纪时自然主义的物质主义倾向拘束,而运用自然主义的优点来表现自己的精神。”[i]这里的自然主义,实际上是以现实主义为基础,又经过19世纪末印象主义熏陶的风格。正因如此,李瑞年的画呈现出介于古典与现代之间的风格,总体上更趋于西欧传统的学院派与18、19世纪的法国风景画派,但在构图和造型上却渗透着印象派的表现主义味道。吕斯百评价“瑞年先生作画喜欢正方,也是特点,至于用色结构,无不苦心经营,老练周到,由树枝的钩描,就可见到素描的功夫,他是北方人,同时在北欧研究油画,当然有双重的传统,影响他的作风,所以我们要用现代的所谓‘新派’理论来论衡他的艺术,就毫不相干了。”[ii]天真简约,绚烂之极归于平淡,是李瑞年作品留给观者的最深印象。艾中信说李瑞年的画“文质相称,道其中庸”、“醇厚朴质”,“他的作品最初给人的印象是平易的,你如果漫不经心地走过,它决不先和你打招呼,但如你对它注意上几分钟,你将会感受到它潜藏着的吸引力,是那样的持久而无穷,不绝如缕。”[iii]而吴作人评价李瑞年的作品中“有一种内涵的毅力”,“它不是表现在勾画披离,不是在语言惊人,不是哗众取宠,而是在待人以诚,待自然以诚。”[iv]待自然以诚,道出了李瑞年油画创作的最大特点,这种真诚对于一个风景画家来说至关重要。冯法祀说李瑞年的画“朴实无华,坚定不浮”,“绝无火气,沉思默念”,具有一种“内向的默示”。其色彩特点是,“他是不喜欢用明快之色,他的色阶是不宽的,但他在有限制的色阶的两极,却分析出无限的层次,因此他的色彩明暗精细而准确,色彩性质沉着而坚定,我们可以说他对于灰色调的运用是胜任而愉快。”为此,冯法祀在猜测李瑞年作画过程时说,“我设想他的调色板是不清除的,这样更便于追寻过去的色调”[v]李瑞年的画总是迷恋一种微妙的中间调子,即把焦点放在中景部分,从不刻意拉大色调的色差或整合冷暖倾向。上世纪40年代初,他曾用灰调色彩和色块层叠的方法,表现陵谷纵横、晴雾变幻的四川风景的特点。《沙坪新村》、《嘉陵两岸》、《石门》、《待渡》等作品都是这一时期的佳作。《沙坪新村》画的是重庆沙坪坝附近小龙坎的风景,几棵树木歪斜的枝桠极富韵致,背衬重庆特有的灰色天空,中景的菜畦颜色微妙,灰中带绿,透明、清澈而滋润。徐悲鸿很喜欢此画,在四川挂在当时“中国美术学院”的会客厅,搬来北京后挂在北平艺专的会议室。[vi]沙坪新村  1944年  油画  81×81cm与此同时,李瑞年创作态度的严谨也是被熟悉他的同行们所公认的。这一方面表现为他并不是一个高产的画家,另一方面也可以从同代画家的描述中得到印证。1945年李瑞年在重庆举办油画个展,傅抱石作序对于其创作的认真严谨的欣赏溢于言表,他把李瑞年对于艺术创作的严肃态度比作“虔诚的宗教徒”,甚至诙谐生动地形容“他每一幅完成的画都好似伺候一位崇高而可爱的女朋友一样缜密、亲切,低首下心,从画布四周的钉子到外框的图样和颜色,甚至于他应将占有会场壁面的那一部分,都作审慎周详的研究,拂出他可能尽的精血。”[vii]把生命交给艺术创作,把艺术当作毕生的信仰去追求,而从不将自我意识凌驾于艺术之上,这样的心态放在今日已愈发难能可贵。与他创作数量的低产似乎相互矛盾的,是他与众不同的创作习惯,即同时进行多幅作品的创作。据艾中信的描述,李瑞年“画画不喜欢单打一,经常六七幅画同时进行”,每幅作品又是时断时续,因此单幅画的创作时间反而更长,强调对于风景的深入体验,因此需要足够的时间去推敲。也许他更喜欢这种多幅作品、多个不同场景之间对比的张力,在多幅作品之间运筹帷幄,体会不同风景的情绪差异,及其所需的不同表现技法。但无疑,这种创作方式远远不同于今日商品画生产盛行的流水线作业工序,相反却为了精雕细琢而更加费神费时。如《含鄱口》一画前后历时两年才完成。[viii]这也从另一方面说明了他在创作一幅画时“既能持久地保持创作激情,而且工作有条不紊,能稳当地做到步步深入”。扎实的基本功与内省性的创作心态,使他的画作耐得住端详品味,散发出独特的韵致。含鄱口 1981年 油画 105×156cm上世纪60年代,在艾中信发表的“油画风采谈”一文中,对油画界的老一辈画家逐个评价,[ix]说到李瑞年时用了两个字:“苦涩”。这一评价堪称神来之笔,一语中的,“苦涩”一词既点出了他作品恬静忧郁而又蕴含悲怆力量的独特意境,也包孕了他坎坷多桀的人生,更折射了一个民族命运转折期的艰难而卓绝的时代主调。 素描人格:李瑞年的素描与美术教育思想素描历来被视为一种练习造型基本功的训练手段,李瑞年明确提出“它本身还是一个单独的画种”。对于他来说,素描不仅能够表现物体的结构、长短比例、黑白关系,还能表现“物体的性质、神情、色彩及一切物体所有的内在的东西”[x]这样一种认知,无疑是深刻和睿智的。这种判断不仅源于其西欧学院派出身的教育背景,更反映出画家对于素描方式的敏锐与自觉。素描的特点是朴素、纯粹,具有研究性和本质性的属性。人如其画,从某种角度上,可以说李瑞年其人也带有素描的品质与人格精神,内敛、严谨、洞察世界又内省自身。曾受教于李瑞年的素描教学的钱绍武说,“李先生就是一辈子走了这条诚恳踏实却又是自甘寂寞的艺术之路”。早在23岁,1933年毕业于北平大学艺术学院西画系的李瑞年,在师从王悦之、卫天霖等教授学习西洋美术之后,同年赴欧洲留学,先后在比利时皇家美术学院、法国巴黎国立高等美术学校学习,曾获布鲁塞尔皇家美术学院素描班学考试荣誉第一。嘉陵江两岸 1944年 油画 75×75cm在比利时皇家美术学院学习期间,李瑞年深受弗拉蒙画派的影响薰陶。当时他选择了专攻素描,对于物象进行深入细察,再加以素描层次的精确分析,用严谨的造型手法表现出来。这既是一种基本功的锻炼,同时也形成其艺术风貌的基本气质。在转入巴黎美术学校之后,入罗西恩·西蒙的画室深造。西蒙大刀阔斧的画风影响了李瑞年的创作风格路向,在色彩、尤其是对于黑颜色的运用方面使其得益颇多。同时,西蒙的教育手法也深刻影响了李瑞年后来的教育思想,他在教学上主张自然地发展个性,尤其对进入他画室的高班生,采取启发引导的办法,依顺学生的个性和秉赋发展其长处。比利时、法国两地的转益多师,使李瑞年掌握了油画与素描的不同特性,他既保留着弗拉蒙画派在素描上的严谨精微,又吸收了印象派在外光色彩上的处理手法,实现素描和色彩的有机结合。从他的作品中我们可以看到,其色彩在常人不易察觉的细微处追求变化,尽量把冷暖色调的反差降到最低,呈现出一种素描关系的颜色感,这样的效果是,既保留了色素倾向的鲜明,又能感受到色彩节奏的和谐,“用色省净简约,而感情却很丰富”[xi]。素描的训练对于李瑞年质朴隽永的艺术风格的形成,起到了至关重要的作用。李瑞年在1941年抗战最激烈时期,由法国回到重庆,在及其艰苦的条件下,与王临乙、王合内、吴作人等画家一起,居住在嘉陵江畔一个小山冈的古堡周围,经常聚谈艺术,此间,李瑞年以诗意现实主义的风格画蜀中山水风景,展现了“比似入川杜甫诗”(常任侠诗语)的创作情怀。这一时期,他在歌乐山、化龙桥、沙坪坝、磁器口一带画了一批极富感染力的风景画,以朴实生动的油画语言,严谨深入的素描视角,忠实而深情地描绘了重庆郊区的农村风景。作品中郁郁葱葱的树林,种满庄稼的山坡地,布满梯田、竹林与茅舍的山寨,都准确、鲜活地留存了一个特定时代的中国乡村印象。暴风雨 1944年 油画 65×80cm 中国美术馆藏李瑞年的一生一直没有间断美术教育的实践。40年代和50年代初,他与徐悲鸿、黄显之、吕斯百在中央大学的合作教学,后来同徐悲鸿在国立北平艺术专科学校的教学活动。新中国建国后,李瑞年在其师卫天霖的推荐下担任北京师范学院美术系教授兼第一任系主任。其间,他提出从学生入学就注意培养他们的独立研究问题的能力,重视传授学习方法,而不是死教技法;主张把创作、色彩、素描、速写、默写练习结合起来,形成互相联系的体系,使学生明白技法和表现内容的关系,根据客观内容和立意来选择要使用的技法;在具体的课堂基本功练习中,采取“高标准、低要求、逐步深入”的办法,首先向学生提出追求的目标,但在具体作品练习中,又只要求解决一两个问题。除了创作和教学实践,他还十分关注对于素描作品的专题研究,其《看英国素描及水彩画展的杂感》一文发表于1982年第6期的《美术》杂志,对于欧洲学院派素描的严肃认真的格调和复杂丰富的风格进行了深入的分析,并从素描作为一种基础教学训练手段的角度,论述了自身教学体验。关于美术教育的宗旨,法国雕塑家、群雕《马赛曲》的作者弗朗索瓦·吕德说过,“最好的教学时把自然解放的最宏伟的手段教给学生,让他们思想上养成最有性格的习惯。作为教师,我的理想无非是将你们引入轨道,自己前进而无求于我。”李瑞年正是抱着这样一种教育理念展开其教育生涯的。他一生坎坷,磨难颇多,经历了战乱时期的流亡和“文革”时期的批判,但他始终没有放弃自己对于艺术创作和美术教育方面的追求,选择了一条诚恳踏实却又是自甘寂寞的艺术之路。李瑞年不仅在绘画艺术上孜孜不倦地追求、探索,而且为中国现代美术教育事业的发展锐意改革,以一己之努力影响了一大批当时在学院里学习的油画家。上世纪六十年代至八十年代,李瑞年曾担任今首都师范大学美术学院前身北京师范学院美术系的第一任系主任,为首都师范大学美术学院的早期发展奠定了深厚坚实的基础,并为美术界培养了一大批优秀的艺术家和美术教育家。在李瑞年看来,研究教育归根结蒂是要使整个教学系统化,从高师美术专业的性质与任务到具体课程设置,从高等教育本科、研究生的培养到中小学的初、中等教育,他真正把美术教育作为一个整一的、有严格计划性与条理性的学科系统加以研究和实践。在人生的最后几年,他还担任全国美术教育研究会筹委会主任一职,积极促动美术教育理念与方法的集成与交流。采花人 1945年 油画 65×67cm对于师范院校美术系和专业美术院校在教学要求上的异同,李瑞年认为除了相同的专业课基础之外,师范院校学生还要学习教育学、心理学、教材教法、专业理论和各画种的常识,应该掌握更丰富的知识与经验。与他的老师徐悲鸿一样,李瑞年也主张因材施教,根据每个学生特点提出不同要求,循循善诱,深入浅出,从不讲玄虚的大道理,总是从具体的创作思路和操作细节入手,启发学生入门,受其教益的画家大都对于李瑞年的师恩与“对学生挚友般的感情”(侯一民语)念念不忘。直至晚年,他仍尽力总结整理西欧画室制教学法,结合自己四十五年来的教学经验,改变原有的机械地分段式教学法,代之以重在提高学生艺术鉴赏力与创造力的综合式教学法。他还将自己的创作经验整理成文字出版,传授影响了更多的艺术爱好者与绘画初学者,如《怎样画风景》一书在1959年11月初版以来一版再版,仅修改版在1984年由人民美术出版社第三次印刷时,印数已达近30万册,这一数字及其影响范围,放在今日的美术出版界是很难达到的。李瑞年一生桃李满园,韦启美、戴泽、李斛等画家都是他在中央大学美术系的班里学生;在北京师范学院美术系担任系主任期间,他举办了教学改革成果汇报展览,邀请了他曾指导过的侯一民、艾中信、冯法祀、穆家骐等校内外画家举行座谈,交流意见。他始终保持着一种对于教学的热情与信念,坚信美术教育是其事业的最重要部分,他的教学手段与对学生的态度,一如他的风景画作品一样,“有至情,有真爱,有含蓄,耐人寻味”,同时又蕴含着一种执着的激情。葡萄 1979年 油画 38.5×52cm李瑞年先生曾在一幅葡萄静物油画的题跋中,以“单纯,素净,独有一番浓香味”来描述这种蕴藉的意境,而这种境界也是他对自己艺术探索之路乃至人格精神的秉承与写照。回望李瑞年先生的人生际遇,生前坎坷,身后寂寞,他的勤奋和才情虽然没有完全得以舒展,却也在油画风景、美术教育等领域达到了绝大多数同代画家望尘莫及的高度。适逢中央美术学院百年华诞的时刻,继2010年在中国美术馆举办的“李瑞年百年诞辰纪念暨捐赠作品展”之后,8年之后重新追忆与研究央美历史上的名师大家李瑞年先生,不止是纪念这样一位近现代美术史上的重要画家和美术教育家,更是纪念那一批被时代渐渐遗忘的优秀画家,纪念那一个曾经充满磨难与活力的逝去的时代。《中庸》“疏解”章有言:“至诚无息,不息则久,久则徵,徵则悠远,悠远则博厚,博厚则高明。”李瑞年先生的艺术真谛亦在于“诚”,在对艺术的不息追求,对学生的无私奉献,对一种普适而又深沉的审美境界的永恒探寻。他遗留下来的作品乃至他的教育观念,对于今日画坛与美术教育界都是一种提示,使我们得以思考在今天多元文化交融互动的当代画坛中,如何认识始终坚守某种艺术原则的可贵,如何对待美术教育改革与绘画本体规律的关系,如何在为师与为艺两个层面臻于化境。无论从哪个方面,李瑞年先生的人格与艺术中透射出的素朴诗意与深闳诗境,都正如那一番“独有”的“浓香味”,持续浸润着我们的感官与心灵。于洋                 (“至诚无息:李瑞年与美术教育”展策展人、中央美术学院副教授)2010年11月初稿于首都师范大学2018年11月改订于中央美术学院[i]李宗津:《李瑞年先生的画》,收录于《画家李瑞年——评论、回忆、自述》,2000年6月印制未出版资料,第19页。[ii]吕斯百《李瑞年与他的画》,见同上,第11页。[iii]艾中信:《漫谈李瑞年的油画》,见同上,第24页。[iv]吴作人:《日月鉴诚志,悠悠海岳情》,见同上,第33页。[v]冯法祀:《论李瑞年底风景画》,见同上,第28页。[vi]艾中信:《沉着的激情》,见同上,第53页。[vii]傅抱石:《李瑞年画展》,见同上,第9页。[viii]艾中信:《李瑞年的风景画艺术——浅议师法造化的自然主义》,见同上,第40页。[ix]艾中信:《油画风采谈》,《美术》1962年第2期。[x]李蒂雅:《李瑞年美术思想札记》,2000年6月印制未出版资料,第4页。[xi]艾中信:《李瑞年的风景画艺术——浅议师法造化的自然主义》,收录于《画家李瑞年——评论、回忆、自述》,2000年6月印制未出版资料,第41页。 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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!