Four Stanzas On Aspiration:Traces of Li Hu's Art

  • Dates:2018-12-09 - 2019-01-03
  • Location:Gallery 2B, CAFA Art Museum
  • Opening:2018-12-09 10:00
  • Organizer(s): Central Academy of Fine Arts
  • Organizer: CAFA Art Museum
  • Co-organizer: Xu Beihong Memorial Museum Liao Jingwen Foundation of the Red Cross Foundation of China Academy of Chinese Painting Central Academy of Fine Arts
  • Partners: National Museum of China China Art Museum Beijing Academy of painting
  • Chief Curator: Fan Di'an
  • Curator: Cao Qinghui
  • Art Director: Zhang Zikang

Preface

Mr. Li Hu was born in Dazhu, Sichuan province on September 20, 1919, and died in Beijing on November 10, 1975, at the age of 56. During the 56 years of his lifetime, he went through years of hardship when the Chinese nation was striving to save the nation from subjugation in the most crucial moment at stake, and also experienced an era full of passion, in which people across the country made an achievement while paying the price in exploring the construction of an independent socialist country under the leadership of the Communist Party. The 56 years of his life was just in the steam of Chinese society moving forward in the 20th century, and with this torrent, his life path and art career winded ups and downs, leaving thousands of paintings for later generations. What exhibits here are more than 120 pieces (set) of works from his family and some individual works from collections of national cultural organizations, among which many are his representative works in those years.

Li Hu was born in a poor family. With a strong personality, he cared for the family relationship and understood his responsibilities, yet hard life prematurely damaged his health. He was a graduate of the Department of Art at the Normal College of Central University in 1946 who received special attention from Xu Beihong. Xu Beihong’s pursuit of Realism, “Art for Life” and Realism teaching that emphasizes basic sketch and the practice of composition enabled Li Hu, who had a talent for modeling, to employ art to show concern for common people at the bottom of the society. From then on, he began his artistic career by taking the Western painting techniques to control traditional Chinese tools – brush, ink, paper, and inkstone, which closely associated the artistic creation with people’ livelihood. Xu Beihong made positive comments on his achievements early at the beginning of his art career. Later, Li Hu’s artistic ideas of life and value that formed on this spectacular creation road of integrating China and West was his active response to the participation of life required and inspired by the age of great changes. Then what were his artistic ideas of life and value? In my opinion, it was to endure the hardship of life and art silently – always encourage meticulous self to meet the high requirements of the kind of self-discipline and self-excitation, always strive for being thoroughly tempered and seeking increasing perfection in shaping artistic images with no flatters, carelessness and provocation, and always aspire to find and convey unforgettable and impressive love and kindness in every bit of ordinary life, that is “triviality see the truth”.

In 1973, Li Hu wrote himself a motto when suffering from illness, “have aspiration in mind and be not afraid of approaching difficulties”, exactly a reflection of his honest way of being a man and doing art on the artistic ideas of life and value, from the perspectives of fellows and students who knew Li Hu and his artistic spirit well. The students he had taught all remember his instructions that to insist on doing art, not to fear troubles, not to covet little advantages but to longer harvest time. If correlating these teachings with “have aspiration in mind and be not afraid of approaching difficulties”, it can be seen that Li Hu adopted the same attitude toward his life as well as teaching and artistic creation. Besides a sincere and kind person, Li Hu was a teacher whom he appeared to be, and his words about art to his students still have a practical significance of alerting one’s mind.

1543900340164935.jpg

Li Hu and Li Keran, in 1973

Based on the core concept of “aspiration”, Li Hu’s works dealt with rich emotions and themes and exquisitely expressed his thoughts and feelings, which formed a comprehensive painting rhythm that impresses people with a kind of synesthesia as if listening to a violin concerto. Thus, this exhibition chose four thematic stanzas to retrospect the traces of Li Hu’s life and art and expound on his aspiration on life and art.

1953李斛与韦启美(左)、戴泽(右).JPG

Li Hu and Wei Qimei (Left), Dai Ze (Right), in 1953

李斛1963年在钢铁厂美术班进行辅导.jpg

Li Hu was giving guidance on the art class of the steel plant in 1963


The four stanzas are:

First stanza · Land: “The poorest situation is no more than begging for food while there is life, there is a chance to become successful eventually” – exhibits the works of the 1940s to show the life background and artistic conditions for Li Hu to begin painting and his days of self-inspiration and struggle.

Second stanza · Practice: “Life is short, but art is long” – presents the works during the 1950s and 1970s, including sketches, ink and color paintings, and oil paintings, which reflect Li Hu’s self-discipline and practice to strive for being thoroughly tempered and seeking increasing perfection in arts education and artistic creation.

Third stanza · Emotion:  “Arouse pleasure, and arouse resonance” – focuses on thematic creations and drawings to reveal Li Hu’s idea of “ordinary see the truth” and his up-to-date creation aesthetics.

Final stanza · Aspiration: “have aspiration in mind and be not afraid of approaching difficulties” – uses the self-portrait of Li Hu to sum up his life, and the motto written by himself to echo his misfortune of unfulfilled ambition and great ambition.

The four stanzas of Land, Practice, Emotion and Aspiration reflect the uniqueness and particularity of Li Hu’s life and artworks.

Apart from four sections mentioned above, there is an additional chapter “Symphony · Infinity” displaying works by Li Hu and his fellows, students, and contemporary painters that collected by CAFA Art Museum. It tries to mirror the ceaseless artistic trend of “art for life, generation after generation” in Li Hu’s life and time. It is not only to understand Li Hu’s artistic character in the common nature that art shared back then but also to see his resonance with these artistic commonalities, which is just the intention of planning the “Symphony · Infinity” from the perspective of art history.

2019 will be the centenary of Mr. Li Hu’s birth, and this exhibition commemorates his contribution to the development of modern Chinese art and aesthetic education.

I would like to give my special thanks to Mr. Li Hu’s family for their full cooperation, college leaders for their care and support, relevant departments of the college and various divisions of the art museum for their teamwork, and several of my graduate students for their assistance.

By Cao Qinghui

(Professor of the School of Humanities, CAFA)

Mr. Li Hu was born in Dazhu, Sichuan province on September 20, 1919, and died in Beijing on November 10, 1975, at the age of 56. During the 56 years of his lifetime, he went through years of hardship when the Chinese nation was striving to save the nation from subjugation in the most crucial moment at stake, and also experienced an era full of passion, in which people across the country made an achievement while paying the price in exploring the construction of an independent socialist country under the leadership of the Communist Party. The 56 years of his life was just in the steam of Chinese society moving forward in the 20th century, and with this torrent, his life path and art career winded ups and downs, leaving thousands of paintings for later generations. What exhibits here are more than 120 pieces (set) of works from his family and some individual works from collections of national cultural organizations, among which many are his representative works in those years.

Li Hu was born in a poor family. With a strong personality, he cared for the family relationship and understood his responsibilities, yet hard life prematurely damaged his health. He was a graduate of the Department of Art at the Normal College of Central University in 1946 who received special attention from Xu Beihong. Xu Beihong’s pursuit of Realism, “Art for Life” and Realism teaching that emphasizes basic sketch and the practice of composition enabled Li Hu, who had a talent for modeling, to employ art to show concern for common people at the bottom of the society. From then on, he began his artistic career by taking the Western painting techniques to control traditional Chinese tools – brush, ink, paper, and inkstone, which closely associated the artistic creation with people’ livelihood. Xu Beihong made positive comments on his achievements early at the beginning of his art career. Later, Li Hu’s artistic ideas of life and value that formed on this spectacular creation road of integrating China and West was his active response to the participation of life required and inspired by the age of great changes. Then what were his artistic ideas of life and value? In my opinion, it was to endure the hardship of life and art silently – always encourage meticulous self to meet the high requirements of the kind of self-discipline and self-excitation, always strive for being thoroughly tempered and seeking increasing perfection in shaping artistic images with no flatters, carelessness and provocation, and always aspire to find and convey unforgettable and impressive love and kindness in every bit of ordinary life, that is “triviality see the truth”.

In 1973, Li Hu wrote himself a motto when suffering from illness, “have aspiration in mind and be not afraid of approaching difficulties”, exactly a reflection of his honest way of being a man and doing art on the artistic ideas of life and value, from the perspectives of fellows and students who knew Li Hu and his artistic spirit well. The students he had taught all remember his instructions that to insist on doing art, not to fear troubles, not to covet little advantages but to longer harvest time. If correlating these teachings with “have aspiration in mind and be not afraid of approaching difficulties”, it can be seen that Li Hu adopted the same attitude toward his life as well as teaching and artistic creation. Besides a sincere and kind person, Li Hu was a teacher whom he appeared to be, and his words about art to his students still have a practical significance of alerting one’s mind.

1543900340164935.jpg

Li Hu and Li Keran, in 1973

Based on the core concept of “aspiration”, Li Hu’s works dealt with rich emotions and themes and exquisitely expressed his thoughts and feelings, which formed a comprehensive painting rhythm that impresses people with a kind of synesthesia as if listening to a violin concerto. Thus, this exhibition chose four thematic stanzas to retrospect the traces of Li Hu’s life and art and expound on his aspiration on life and art.

1953李斛与韦启美(左)、戴泽(右).JPG

Li Hu and Wei Qimei (Left), Dai Ze (Right), in 1953

李斛1963年在钢铁厂美术班进行辅导.jpg

Li Hu was giving guidance on the art class of the steel plant in 1963


The four stanzas are:

First stanza · Land: “The poorest situation is no more than begging for food while there is life, there is a chance to become successful eventually” – exhibits the works of the 1940s to show the life background and artistic conditions for Li Hu to begin painting and his days of self-inspiration and struggle.

Second stanza · Practice: “Life is short, but art is long” – presents the works during the 1950s and 1970s, including sketches, ink and color paintings, and oil paintings, which reflect Li Hu’s self-discipline and practice to strive for being thoroughly tempered and seeking increasing perfection in arts education and artistic creation.

Third stanza · Emotion:  “Arouse pleasure, and arouse resonance” – focuses on thematic creations and drawings to reveal Li Hu’s idea of “ordinary see the truth” and his up-to-date creation aesthetics.

Final stanza · Aspiration: “have aspiration in mind and be not afraid of approaching difficulties” – uses the self-portrait of Li Hu to sum up his life, and the motto written by himself to echo his misfortune of unfulfilled ambition and great ambition.

The four stanzas of Land, Practice, Emotion and Aspiration reflect the uniqueness and particularity of Li Hu’s life and artworks.

Apart from four sections mentioned above, there is an additional chapter “Symphony · Infinity” displaying works by Li Hu and his fellows, students, and contemporary painters that collected by CAFA Art Museum. It tries to mirror the ceaseless artistic trend of “art for life, generation after generation” in Li Hu’s life and time. It is not only to understand Li Hu’s artistic character in the common nature that art shared back then but also to see his resonance with these artistic commonalities, which is just the intention of planning the “Symphony · Infinity” from the perspective of art history.

2019 will be the centenary of Mr. Li Hu’s birth, and this exhibition commemorates his contribution to the development of modern Chinese art and aesthetic education.

I would like to give my special thanks to Mr. Li Hu’s family for their full cooperation, college leaders for their care and support, relevant departments of the college and various divisions of the art museum for their teamwork, and several of my graduate students for their assistance.

By Cao Qinghui

(Professor of the School of Humanities, CAFA)

Artworks

Artworks

Photographs

Photographs

Related essays

Fan Di’an: Learn From the Heart, and Pursue Both Art and Virtue ...

2018-12-14

In the complex cultural circumstance, Mr. Li Hu adhered to the reform of Chinese painting, insisted on the integration of Chinese and Western painting skills, explored the transformation from classical to realistic language, and created a large number of works with the features of the times and cultural creativity, leaving a rich and precious academic heritage for modern Chinese painting. More

Li Hu’s Artistic Career ...

2018-12-17

1919On September 20, he was born into a poor farmer family in Guanyin Town, Dazhu County, Sichuan Province, and formerly known as Li Xinyuan. 1934-1938In 1934, he was enrolled at Sichuan Provincial Chengdu Normal School, majoring in Fine Arts of the Arts and Sports Unit of the General Subjects, and graduated in 1938. He named himself “Zhufeng” and later changed to “Bofeng”. 1938-1941He lived an independent life and served as a primary and secondary school teacher in Wanxian and other places. 1942-1946He was admitted to the Department of Fine Arts in the Normal College of Central University. There were 13 people in his class, such as Dai Ze, Wei Qimei, Zhang Daguo, and were guided by Mr. Xu Beihong and other teachers. On December 1942, his works, including “Refugees in the War”, were exhibited at the Third National Fine Arts Exhibition that was organized by the Ministry of Education. Due to poverty, he had to work part-time, but his professional performance was always at the top of the class. In 1945, his father Li Tianxiang died of illness. In 1946, he graduated from the Department of Fine Arts in the Normal College of Central University. Upon graduation, he had set up a Painting Association of “Plum Art Group” with Dai Ze, Zhang Daguo, and other classmates. He created “Boat Trackers on the Jialing River Bank” and other works. Xu Beihong signed inscriptions twice on his paintings for encouragement. After graduation, he taught in a middle school in Beibei. In August 1946, Xu Beihong was appointed as the Director of the National Beiping Art School. 1948Summoned by Xu Beihong, his senior fellow apprentice was ordered to pick him up from Sichuan to Beiping, where he served as teaching assistant in the Department of Western Paintings of the National Beiping Art School, thus really into the rankers of painters. By the introduction of Li Zongjin, he was appointed as a teaching assistant at the Department of Construction, Tsinghua University. He created “Drive a Cart” and other works. 1949In Spring, his mother Shao Meiyun passed away.In July, his work “Investigation” participated in the Art Exhibition of the National Congress of Literary and Artistic Workers held by the National Beiping Art School. 1951In June, he was recalled to the Department of Painting of CAFA. 1952He was a lecturer of the Department of Painting, responsible for the teaching work of the Teaching and Research Group of Watercolor He asked his sister Li Jie and younger brother Li Bin to come to Beijing from Sichuan and live with him together. 1953In February, the Department of Painting of CAFA set up three branches of oil painting, ink painting, and printmaking, and he taught colored ink painting. In the Summer vacation, while experiencing the life in the Guanting reservoir, he painted “Visiting the Working Site”, “Praises of Us on the Broadcasters”, etc. On September 26, Xu Beihong died of a sudden cerebral hemorrhage when attending the Second National Congress of Literary and Artistic Workers. 1954In the Summer holiday, he experienced life in the construction site of Yangtze River Bridge in Wuhan and made works such as “The Bridge Is Built From Here”. From 1954 to 1956, he joined the extracurricular painting training activities for teachers in Wu Zuoren’s home. (During the Cultural Revolution, it was criticized by the Red Guards as “Ten-Piece Paper Room”) 1957In May, he led students to practice in the Datong Coal. In June and July, he went to Guangzhou to collect materials for the creation of “Guangzhou Uprising” for one Military Museum. In the same year, he compiled the book Syllabus for Sketching Ink and Color Painting, and created “The Young Pioneer”, “Where Art You Bound For”, and so on. 1958In January, the Department of Ink and Color Painting was renamed as the Department of Chinese Painting, and he continued to teach at the department.  In May, he participated in the “A Group Exhibition of Xiao Shufang, Wang Henei, Zong Qixiang and Li Hu” held by Chinese Artists Association in Beijing. He also took part in labor work at the construction site of the Ming Tombs Reservoir with all the teachers and students of the college and produced “The Night View of the Ming Tombs Reservoir”, which was selected to be displayed in the “Exhibition of Fine Arts from the Socialist Countries”. In October, he went to a suburb of Beijing, Mentougou with all the teachers and students of the Department of Chinese Painting, and created “Mother”, “Policewoman”, etc. At the same year, he completed “Portrait of Guan Hanqing”, which was collected by the National Museum of China. 1959In March, he went to paint from nature in Pingjiang, Xiangxi Jishou and Fenghuang of Hunan Province and Sichuan Province, where he created “A Woman of the Miao Nationality”, “A Singer of the Miao Nationality”. He participated in CAFA’s project of opening a school in the Shijingshan Moshikou village. 1960In April, he led students to practice in the rural area of the Beijing Suburbs. In July, Shanghai People's Fine Arts Publishing House published A Painting Collection of Xiao Shufang, Li Hu and Zong Qixiang, and it commented: “Li Hu’s figure paintings vividly depict the thoughts and feelings of each character, giving off an attractive charm.” In September, he took students to draw at the Shijingshan Steel Plant. At the same year, he finished “On the Eve of the National Day”, “Woman Driver”, “Present an Embroidery”, and others. 1961In the first half of the year, he also taught sketch at the Arts and Crafts Department of Academy of Arts and Design. From July to October, he led students to Mogao Grottoes in Dunhuang via Mount Hua to copy mural paintings, and then went to Inner Mongolia for sketching. He completed “Woman and Child”, “A New City on the Prairie”, “Lake Wuliangsuhai”, “A Mongolian Singer”, and so on. 1962In May, he brought students to Hebei Province for practice. He gave lessons at the Beijing Teachers Training School. His work “Bridge Worker” was exhibited at “The National Arts Exhibition for Celebrating the 20th Anniversary of Chairman Mao’s ‘Talks at the Yan’an Forum on Art and Literature’”. In June, he gave a lecture at the Academy of Arts and Design. In the summer vacation, he went to sketch in the Bolizhong Stud-Farm in Heilongjiang Province. In December, he took part in the “Reading Painting Group of Figure Paintings” organized by Chinese Artists Association in Beijing. From the early 1960s, he had served as the Director of the Subject of Figure Painting belonging to the Department of Chinese Painting. 1963In February, he went to give lectures at Harbin Institute of Art.He participated in the project of the Central Cultural Work Team to carry out cultural work in rural areas of Anhui Province. Due to hard work, he caught the “Hepatic Coma”. At the same year, he summarised the book An Outline of Creation Methods. 1964He took students to experience life in the Shijingshan Steel Plant and the village of the Beijing Suburbs, where he created “Shijingshan Steel Plant”. He created “Portrait of the Old Qi Baishi”, “Peking Opera Character” and works on animals. 1965He created “Portraits of Marx and Lenin” for the Sixth Socialist State Conference of Ministers of Posts and Telecommunications, and it was adopted for the commemorative stamp. In September, he, together with the faculty and all the students of the college, went to Xingtai, Hebei Province to participate in the “Four Cleans Movement” of the general regiment of cultural work. 1970In May, he followed the faculty of CAFA to go to Ci County in Hebei Province for labor training, and he joined the young teachers’ commando. 1971In July, he was temporarily transferred back to Beijing, and despite ill health, he created Chinese paintings for Minzu Hotel, such as “Night Navigation on the Three Gorges”, “Spirit In – Nanjing Yangtze River Bridge” as well as oil paintings, like “The Great Wall”, “Tianshan Pasture”, and so on. 1972In the second half of the year, at the guesthouse of the Ministry of Foreign Affairs, he created Chinese paintings for embassies and the permanent mission to the United Nations, including “Night Navigation on the Three Gorges”. China Central Newsreel and Documentary Studios filmed the clips of him painting the “Night Navigation on the Three Gorges” and it was edited into the news film “Today’s China”. 1973He created works for Bejing Hotel while he was ill, including “Jialing Riverbank”, “Houseboat”. 1974In February, the movement of criticizing “Black Arts” aggravated his mental depression and the deterioration of his liver disease. He wrote himself a motto, “have aspiration in mind and be not afraid of approaching difficulties” and created the work “Self-portrait”. 1975On November 10, he died in the early morning at the age of 56. More

郭伟华:回忆恩师李斛先生 ...

2018-12-27

回忆李斛先生的教学至今回忆第一次看到李斛先生的画是在1958年。当时我在天津第十六中学上初中,课余在美术组学习绘画。李斛、宗其香、萧淑芳绘画联展在天津巡展,我们都跑去看。三位画家的作品精彩绝伦,让我们感到震惊。我最钦佩的是李斛先生的作品,特别是《印度妇女像》和《披红斗篷的老人》,画得太好了!我们美术组同学都非常喜欢。不久李斛先生讲的一句名言“冬天是画裸体树的季节”传到了美术组,这句话既说出对物体结构的重视,又说出了对生活的感情,我们回味无穷,佩服之至。到了冬天树叶掉了,枝干结构一览无余,我们都到学校门口墙子河边去画“裸体树”。《披红斗篷的老人》 李斛片 纸本彩墨72cm×55cm 1956年 家属藏1962年我从中央美术学院附中毕业被保送到中央美术学院中国画系,我选择了人物科。那时为克服三年困难,我国在经济政策上采取了“调整、巩固、充实、提高”八字方针,文化教育政策也作出调整,“文艺十条”、“高教六十条”相继出台,大大激发了中央美术学院教师的教学积极性。我就是在这个时候入学中央美院的。人物科主任是李斛先生,我们的第一门课素描就是李斛先生教授。第一天上课,早上八点钟我崇敬的李斛先生来到了教室,出现在我面前,我十分激动。他个子并不高,但充满智慧的形象在我们面前显得十分高大,聪慧而慈爱的目光让我们顿时感到非常亲切。教课时他操着浓厚的四川乡音,句句铿锵有力地教导让我们终生受益。李斛先生是徐悲鸿先生的得意门生,徐悲鸿画派的代表人物之一。1953年徐悲鸿先生病逝后,李斛先生遵循徐悲鸿先生的教学主张,接续徐悲鸿的教学体系,坚持在中国画系(时称彩墨画系)开设素描课,练习速写,培养造型能力,用西画技法服务中国画艺术创新。他旗帜鲜明地表明了自己的观点:“一、必须遵循在传统的基础上吸取外来的原则;二、无论是传统技法或素描水彩,教学内容和教学方法越科学则收效越大;三、素描是锻炼造型能力的基础,是能为中国画服务的;四、双管齐下,在学习传统技法的同时学习素描、水彩是能把基础打得更扎实的。”我们这门素描课内容是人体写生。在课堂上,李斛先生教导我们要善于分析形象:“任何一个物体本身都构成一个形象,这些形象常常接近于几何形体,如正方形、长方形、圆形、三角形等,我们把这些简单的形象称之为基本形。如果我们能从基本形去认识形象,我们就能很快掌握形象,并有助于进一步分析形象。”他提出了形体的‘结构’这一概念,强调一定要理解形体结构:“不了解结构,就不能正确表现出它的形体来。要了解结构,就要有系统地、认真地去研究它,懂得形体的构造原理。例如进行人体写生时,要系统地研究人体结构,通过彻底了解物体结构的原理,了解每个物体的构造,同时也发展了我们对形象分析的能力。知道得愈多,则看见的也就愈多,才有可能表现得愈充分、愈正确。”为了让我们加强理解记忆,画模特丁一的那张最后留出一小时画默写。同时,他教导我们要提高对对象的感受能力:“认识、分析对象,它包括两个方面:一方面是对他外形的观察,看出他形象上的特点,例如他是个高大的个儿,方方的脸,浓眉大眼;另一方面要了解他的出身、他的工作、他的社会活动、他的爱好,再联系他的形象去分析他的性格、心理状态,去认识他的精神面貌。”李斛先生认为只靠课堂素描培养造型能力还不够,他要求我们要经常速写、默写、记忆画。他说:“速写是锻炼我们眼的敏锐、手的坚实的最好方法。从创作的角度来说,它是记忆生活、观察生活、收集素材的最好方法。”“速写、默写是抓第一手资料的本领,能帮助我们锻炼感受能力,是我们从形象去观察生活、研究生活的最好方法。”“不能画速写,不能记忆形象,没有抓第一手资料的本领,这样的画家是难以想象的。”记得李斛先生要求我们班每人每周至少画十张生活速写,星期一早晨挂在教室墙上请老师看。于是我们抓紧课外时间到大街小巷、北京站等人多的地方去画速写,这对培养我们深入生活、随时随地搜集素材好处极大。当时到了星期一,不光中国画系,其他系学生也跑来看我们的速写。李斛先生和我们说:深入生活是“第一位工作”。他说:“一定要在观察生活和研究生活的基础上画画。形象来自生活,感情来自生活,构图来自生活,表现方法都来自生活。”“深入到生活中去,熟悉人,了解人,把生活中的人物形象、语言都收集下来,化为自己的艺术宝库,这样才能创作出生动、深刻的作品来。”“要热爱生活。艺术创造讲激情,不热爱生活,激情从何而来?生活中没有感动你的东西,就没有要表现的欲望。”他指出要注意培养形象感受能力,“从形象去看,这山很雄伟,那人很壮,树很奇,花很美······这种能力是可以培养出来的。”“讲艺术家有特殊器官就指此。”他常和我们讲美术作品要有“生活味”。平时他提倡整理画,把一张生活速写整理成一张中国画作品。1962年底我画过一张冬天的崇文门的速写,回到教室后用毛边纸整理了出来。崇文门用淡花青墨处理成雾蒙蒙的效果,前景树的枝干用重墨画。李斛先生看了连声说好,认为有情趣,并在系走廊学生作业观摩时把这张画展了出来。在美院上学期间我曾三次冒失地向李斛先生借东西,第一次是1963年庆祝新年学生会组织化妆晚会,我觉得李斛先生穿西装戴法国便帽很帅,开口向李斛先生借西装和法国便帽参加化妆晚会;第二次是1963年暑假我们几位同学要骑车去知识青年侯隽所在的宝坻县窦桥村体验生活,我向李斛先生借英国凤头牌脚蹬闸自行车;第三次是我母亲来北京看我,我向李斛先生借苏联基辅牌照相机,这在那个年代可是贵重物品。三次李斛先生都爽快地借给了我。我当时只是觉得李斛先生是我在北京唯一亲近的长辈,没有考虑到三次都是非常过分的失礼行为,回想起来很内疚。但这三件事说明了李斛先生对我们学生的慈爱。李斛先生所处的年代正是中国绘画从近代走向现代、从衰败走向繁荣的转型期,他的艺术探索的成就和教学成果都具有重要意义。 李斛先生的艺术道路李斛先生原名李心源,号柏风,1919年出生,自幼喜爱绘画,14岁便考入成都师范学校艺术科。因家境贫寒,他不得不辍学当了两年小学教师,1939年才毕业。那年他本想报考已迁到重庆的中央大学艺术系,因长江水涨轮船停航而未成,只得暂时以教学为生,直至1942年才终于考取了中央大学艺术系。时任中央大学艺术系系主任的是徐悲鸿先生。李斛先生学习刻苦,成绩出色。一年级共十三名同学,白天上课,晚上请来外系同学做模特画像,条件是画完后可以挑一张走。因为李斛先生画的好,经常是把他的画挑走了。徐悲鸿先生一次到一年级教室,看到学生钉在墙上的画,说李斛先生的画最好。二年级时到校本部上课。徐悲鸿先生为主教素描课,多次表扬李斛先生,认为李斛先生画的人像可以和外国画家荷尔拜因、安格尔相媲美。当时不少中国画家只知师古人,因循守旧,中国画坛是比较冷清的。上世纪40年代在西学东渐的文化背景下,徐悲鸿先生主张革新中国画,提出“古法之佳者守之,不佳者者改之,未足者增之,西方画可采入者融之”。特别是在人物画教学上尝试让学生用西洋画法以中国画纸笔写生。这种画法难度极大,落笔便不能修改,不少学生有畏难情绪。徐先生选了两名学生重点实验培养,国画组选了宗其香,西画组选了李斛。宗其香加强素描基础的训练,李斛则加强传统绘画基本功的训练。李斛先生出身贫寒家庭,对底层民众有很深的感情。在成都师范学校上学时,每逢假日他就步行到郊外为工匠、商贩和艺人写生。到了中央大学艺术系,他更是勤奋努力,画了大量的表现劳苦大众的作品,如《磨刀人》、《老汉》、《竹乡篾匠》、《贫穷父子》、《穷苦一家人》、《担水人》、《船家的孩子》、《乞讨》、《流落》、《姐弟三人》、《女红》、《带弟弟》、《情》、《浣》、《织》、《病中》、《修船工》、《吸烟的老人》、《拾煤渣》、《山城小妹》、《强种》、《阿婆》、《小妹》、《中渡口担煤工人》、《战火中的难民》等,直面人生,对描绘对象充满了同情之心。李斛先生感到:描绘古代文人仕女的传统中国画技法显然不能适应表现现代人物的要求,在写生创作中,他把西画的体面结构、光影明暗与写实色彩融入中国画笔墨造型语言,创造了自己的中国画人物画独特新风格。1946年毕业前夕,李斛先生拿着自己的画向徐悲鸿先生请教,徐悲鸿先生高度赞赏他的作品,鼓励他举办个人画展,并欣然为他题词:“以中国纸墨用西洋画法写生,自中大艺术系迁蜀后始创之,李斛仁弟为最成功者。”李斛先生深受鼓舞,到家乡四川大竹举办了自己的第一次个人画展,接着又在重庆继续办展。徐悲鸿先生亲临观展,对展览给予高度评价,并再次为李斛先生画展题词:“中国画向守抽象形式,虽亦作具体描写,究亦不脱图案意味。李斛弟独以水彩画情调写之,为新中国画别开生面。”前往观展的陈之佛、傅抱石、许士骐等教师纷纷题词表示称赞。《嘉陵江纤夫》是李斛先生在中央大学艺术系学习期间就开始构思创作的巨幅作品。抗战期间重庆成为陪都,长江、嘉陵江成为交通运输的大动脉。成千上万的船夫奋力拼搏,顺水划桨,逆水拉纤,维系着船运的畅通。中央大学艺术系一年级在柏溪分校上课,无需走出校门就可以俯瞰嘉陵江船夫拉纤,在教室就可以隐约听到船夫拉纤时高亢的“川江号子”。从那时起,李斛先生就产生了表现嘉陵江纤夫的愿望。为了画好这幅作品,在中央大学艺术系学习期间,李斛先生跑遍了嘉陵江北碚至重庆所有码头,画了无数速写。1946年李斛先生从中央大学艺术系毕业后,到重庆北碚兼善中学任教,在此期间完成了两幅表现嘉陵江纤夫的作品。一幅是着装的《纤夫》,一幅是赤身裸体的《嘉陵江纤夫》。前一幅主要反映纤夫的艰辛劳累,体现了李斛先生对纤夫的同情;后一幅则主要反映纤夫的奋力拼搏的顽强精神,是李斛先生对纤夫的歌颂。1948年春天,李斛先生和张大国一起在北碚举办画展,展出了他的《嘉陵江纤夫》、《码头工人》、《石匠》等作品。作品中的人物形象深深打动了观众。1946年8月,徐悲鸿先生赴北京(当时称北平)任国立北平艺术专科学校校长。1948年,徐悲鸿先生致信李斛先生,邀请他到北平教学,并安排宗其香先生到重庆接李斛先生到北平。29岁的李斛先生到北平后,先到清华大学营建系任教。清华大学位于北平市郊,先于市区获得解放。此时创作的《女孩与羊》、《牧羊女》等作品格调清新,体现了李斛先生的欢愉。1949年1月,北平和平解放。李斛先生创作了反映军民关系的《侦察》,画面上是一位北平大娘为解放军侦查员指路。这幅作品参加了第一次全国文化大会美术展览,得到好评并获奖。1950年中央美术学院成立,徐悲鸿先生任第一任院长。1951年,徐悲鸿先生邀请李斛先生到中央美术学院绘画系任教,开始了李斛先生艺术人生的新阶段。新中国的诞生为李斛先生的美术创作带来了新的活力。他以充沛的创作激情描绘当家作了主人的劳动人民的新生活。这一阶段他的作品有《工地宣传员》、《广播器在表扬我们》、《工地探望》、《毛主席您是我们幸福的保证》、《为了明天的工作》等。绘画风格也有了很大变化,不再压抑沉闷,画面洋溢着轻松愉快的情调,反映了李斛先生这一阶段的喜悦心情。与此同时,李斛先生也画了许多描绘新中国建设的山水画,特别是夜景山水,开创了山水画的新领域。长江、嘉陵江夜晚灯光和江水倒影是重庆的一大风景,李斛先生在重庆上学时常见到。他在描绘最关心的劳苦大众之余,也曾描绘过重庆的夜景。新中国建立后,李斛先生1954年到了武汉长江大桥工地。火热建设工地的夜景让李斛先生热情澎湃,他接连创作了《长江大桥钻探工程》、《武汉长江大桥工程夜景》、《江汉关之夜》等作品,灯光和江水倒影构成的壮丽画面让读者在欣赏时能想象出建设者们在挑灯夜战的火热场面。之后,李斛先生又陆续创作了《十三陵水库工地夜景》、《石景山钢铁厂》、《夜战》、《草原新城》等作品,以独特的夜景山水歌颂新中国建设。技法上,李斛先生画地面、水上建筑用饱满的浓墨,水中的倒影则用较干的笔墨擦出,空出灯光的倒影,形成精彩的画面效果。他在中大的同门师兄宗其香先生也画了不少夜景山水,与李斛先生的夜景山水异曲同工,相得益彰。上世纪50年代,中央美院的教师有提高专业水平的共同要求。从1953年到1955年,吴作人、萧淑芳、王式廓、艾中信、董希文、李宗津、戴泽、李斛等几位教师自发组织起来,每周用一两个晚上在吴作人先生家中写生,每次两小时左右。通过写生和交流,都感觉收获很大。李斛先生负责组织工作,定时间和请模特。萧淑芳先生负责布置房间、生好炉子、沏茶、收钱买点小吃。吴作人先生说一张画不好画两张、三张,一晚上“糟蹋”十张纸总会有收获。因此戏称为“十张纸斋”。没想到“文革”中,它居然被定罪为资产阶级裴多菲俱乐部加以批判。1955年,李斛先生因胃穿孔胃部施行了手术,被切除了四分之三,同时发现了肝硬化。但他一直保持乐观精神,继续坚持教学和创作,并经常到生活第一线写生。1962年我们上课时只知道李斛先生全身贯注认认真真教我们,不知道他是在带病授课。《印度妇女像》和《披红斗篷的老人》是李斛先生在1956年创作的两幅作品,这两幅作品代表着他中国画革新探索的新成就,是新中国人物画的经典之作。李斛先生提出要把写生当创作来画,强调对对象的感受。1956年的一天,李斛先生等中央美术学院的教师们请其中一位印度女进修生、印度驻华大使馆参赞夫人做模特为她画像。李斛先生在自己的作品中成功描绘了这位年轻端庄的印度女郎。面部和手通过严谨又随意的墨线勾勒、淡墨皴擦和颜色渲染,画得清丽动人、栩栩如生。头发和上衣放笔泼墨,继而细心收拾,既有浓厚的笔墨趣味,又有丰富结实的形体造型。斜披的白色纱丽用活泼的笔法一挥而就。画面格调高雅,令人回味无穷。在此前后,李斛先生还画了一幅《披红斗篷的老人》,这幅作品让人感到视觉的震撼。大面积的红色斗篷形成了浓烈的画面主色调,老人的头部成为全画的中心。李斛先生以高超的中国画笔墨技巧,加之严谨的造型及精妙的色彩,把老人头部从外在形象结构、色彩明暗到内在神情特点表现得淋漓尽致,皮肤与须发的质感也描绘得恰到好处。这两幅作品曾在中央美术学院走廊长期悬挂,成为当时中国画创新的范本。1957年,李斛先生为筹建中的中国人民革命军事博物馆创作了大幅革命历史画《广州起义》。作品中起义人群以排山倒海之势冲向前方。起义将士英勇顽强,形象一个个描绘得惟妙惟肖。这幅作品充分发挥光的效果,光线来自前方,寓意起义人群冲破黑暗,奔向光明。为了画好这幅画,李斛先生南下广州广泛搜集素材。在家中他借来聚光灯,请了多位模特写生,作为创作参考。先后画了几幅草图,最终成功完成了这幅作品。1962年我们班同学集体去李斛先生家拜访时,这幅画就悬挂在面对大门的墙上,我们进了门一下子就被这幅画的气势和人物形象的细致刻画吸引住。1958年5月,中国美术家协会主办李斛与宗其香、萧淑芳、王合内作品展览,集中展现了几位画家的现代中国画新风貌,在当时的美术界引起巨大反响,受到热烈好评。在北京展出结束后,李斛与宗其香、萧淑芳绘画联展又继续到天津、上海、武汉等全国十多个省市巡回展出,达一年之久。我是在展览到天津巡展时有幸前去参观,看到几位画家的原作,开始初步了解李斛先生的。《关汉卿像》是李斛先生脍炙人口的又一幅作品。这幅作品是为纪念关汉卿戏剧创作700周年而作。1957年10月28日,世界和平理事会常务会议通过了1958年纪念世界文化名人名单,中国戏剧家关汉卿名列其中。1958年,中国戏剧家协会与国家邮电部决定发行一套纪念纪念关汉卿戏剧创作700周年的邮票。因当时查不到关汉卿的任何图像资料,中国戏剧家协会与中国美术家协会就组织了多位画家参与了关汉卿画像的创作。最终李斛先生的作品脱颖而出。《关汉卿像》曾画了几稿,在最终定稿中,李斛先生恰如其分地塑造了这位嫉恶如仇又不失儒雅的戏剧家形象,受到一致认可。在表现技法上,因为是描绘古人,李斛先生更多运用了中国画概括洗练的白描技法。但他画的线并不是程式化的人物十八描,而是有严谨造型内涵又潇洒随意的线。这年在全世界范围纪念关汉卿戏剧创作700周年活动中,前苏联也组织了一系列纪念活动,并发行了纪念邮票,邮票用的就是李斛先生的《关汉卿像》。著名戏剧表演艺术家篮天野先生曾回忆道:“当年人民艺术剧院排演话剧《关汉卿》时,关于关汉卿的形象设计,找不到可供参考的资料。正在无奈之时,大家看到了李斛的画作,一致认为关汉卿就应该是这个样子。”从1955年到1964年,李斛先生陆续创作了《新疆少女像》、《贝亚杰像》、《马大爷》、《看报的姑娘》、《撒尼族姑娘》、《四川农民》、《贺震像》、《母亲》、《母与子》、《幸福的时刻》、《小运动员》、《张炳炉同志》、《老太太像》、《苗族妇女》、《绣花鞋》、《打花带》、《建筑工人》、《女民警》、《向秀丽》、《民族舞蹈家》、《蒙古族歌手》、《文工团员》、《女司机》、《宝宝》、《傣族姑娘》、《齐白石》、《撒尼族少女》、《少女头像》、《秦香莲》、《海瑞罢官》等人物画,《大桥从这里通过去》、《进水塔工程》、《参加和平建设》、《乌梁素海》、《都江堰》、《哈尔滨雪景》、《迎春曲》、《塞上春光》等山水画以及《马》、《八哥》等动物画,还画了大量人像、人体、石膏像素描,其中有数幅自画像。1964年冬,康生的老婆带领“社教”工作队进驻中央美术学院,全院停课搞运动近一年。之后美院全体师生到邢台参加“农村四清”一年。回到北京时,“文革”已经开始,1970年美院教师集体下放到河北部队农场接受劳动改造,接连的一场场运动使李斛先生几年无法提笔作画。由于外事活动需要,周恩来总理1971年9月指示在北京国际俱乐部、民族饭店、北京饭店等地悬挂中国画,以展示中国悠久历史和传统文化。为此特地从下放的中央直属艺术院校教师中抽调一批中国画家完成这一任务。李斛先生因此被抽调回京,在民族饭店作画。重新获得拿起画笔自由作画机会的李斛先生高兴万分。经过深思熟虑,他决定先画三峡。他是四川人,对巴山蜀水有特殊感情。1939年在万县工作时他曾去过三峡。1956年从武汉西上第二次来到三峡,他画了数以百计的速写。在民族饭店李斛先生经过再三构思,几易草图,终于完成了他的巅峰之作——《三峡夜航》。这幅作品以气势磅礴的构图震撼着观众,视觉冲击力极强。画面上两岸山石高耸,嶙峋陡峭的石壁占据了画面大部分。夔门如斧劈开,江面上一客轮逆江而上,远方朦胧的山色给人以丰富的联想。李斛先生把他擅长的夜景山水技巧发挥到了极致,先用干墨皴出山石结构及树丛,又用湿墨晕染,使之坚实而丰富。江水中山石的倒影用干笔擦出,左岸边停泊着的小船灯光倒影空出一条条亮线,颇具形式美感。航行的客轮打破了夜的宁静,左边的炊烟、右岸山顶的烟云与航船烟囱冒出的蒸汽相呼应,使画面充满静中有动,充满生机活力。如果说这幅画有寓意的话,画面上的航船就象征着在艺术上知难而进、勇往直前的李斛先生本人。这幅画完成后,时任美国总统的尼克松访华时,特作为民族饭店主宴会厅的背景画。《三峡夜航》创作的成功,受到了各界群众和海外侨胞的欢迎,带来了全国范围的积极影响,《人民画报》等刊物纷纷刊登这幅作品,连上海手帕厂的手帕都印上了《三峡夜航》。但人们不知道的是:创作《三峡夜航》时李斛先生的身体状况已经很差,血压最低时只有70/50。在民族饭店,李斛先生还创作了《气贯长虹》、《洗马图》、《山寨小景》等作品及几幅油画。1972年下半年,李斛先生和其他几位画家又到外交部招待所为外交部驻外使馆作画。李斛先生为中国驻联合国代表团复制了一幅《三峡夜航》,为我国驻意大利、黎巴嫩等国创作了《青山着意化为桥》、《傣寨风光》、《漓江春色》等作品。其间为曹靖华所著《春城飞花》作插图。中央新闻电影制片厂摄制的《今日中国》中,再现了李斛先生绘制《三峡夜航》的片段。1973年,李斛先生应北京饭店之邀作画。原计划画一百幅,因身体状况太差只画了十幅,有《嘉陵江畔》、《水上人家》、《山城风景》、《汉水铁桥》、《春耕》、《夕阳》等。正因为这些作品,李斛先生的艺术被定为“黑画”遭到批判,在巨大的打击下,1975年李斛先生病倒,11月10日因抢救无效去世。李斛先生去世时年仅56岁,正是艺术思想最成熟、绘画技巧最高超之时,永远离开了他热爱的事业。李斛先生是用毕生精力推动中国绘画走向现代的重要人物。作为一位画家,他留下了《嘉陵江纤夫》、《长江大桥钻探工程》、《印度妇女像》、《披红斗篷的老人》、《广州起义》、《关汉卿》、《三峡夜航》等许多经典作品;作为一位美术教育家,他培养了姚有多、蒋采蘋、周思聪、卢沉、马振声、朱理存等一批优秀画家,促进了现代中国画的发展繁荣。正如李斛先生自己所书:“人生有限,艺术千秋”,李斛先生的艺术成就将永载中国美术史册。师恩难忘,特写此文怀念我敬爱的恩师李斛先生,我也将遵照先生教导继续画出更多更好的作品。撰文/郭伟华(中央民族大学美术学院教授) More
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

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.

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!