Spiritual Journey: Research For Song Yuanwen

  • Dates:2018-12-09 - 2019-01-03
  • Location:Gallery 3A and 4, CAFA Art Museum
  • Opening:2018-12-09 15:30
  • Organizer(s): Central Academy of Fine Arts
  • Organizer(s): CAFA Art Museum Printing Department, Central Academy of Fine Arts
  • Supported by: Chinese artists association
  • Co-Organizer: Print Art Committee of China Artists Association International College Print Union
  • Chief Curator: Fan Di'an
  • Academic Director: Su Xinping Wang Shaojun
  • Art Director: Zhang Zikang
  • Curator: Wang Huaxiang
  • Executive Curator: Cai Meng
  • Research Team: Yang Yanyuan Shi Jie Li Wenxiang Li Fan
  • Coordination: Yang Hongwei Huang Yang Gao Gao Lin Xi Li Xinghua

Preface

Following the successful exhibition entitled “Prometheus in Printmaking” that held in December 2017 for celebrating the 110th anniversary of the birth of Mr. Li Hua – a pioneer of modern Chinese printmaking, we welcome another research exhibition for Professor Song Yuanwen, who is the successor of Mr. Li Hua and the former director of the Department of Printmaking of CAFA. At the same time, we are also very honored to receive a large number of Song’s print works by his generous donation. In this exhibition, we take “Spiritual Journey” as the theme and carry out a case study research of Mr. Song Yuanwen from his three cultural identities – printmaking artist, printmaking activist, and printmaking educator as well as the dynamic relationship between the three identities.


1.  Printmaking artist

If we regard Li Hua, Gu Yuan, Li Qun and some other old gentlemen as the first generation of printmakers, Mr. Song Yuanwen is undoubtedly the representative of the second generation of printmakers. Different from elderly artists, he is one of the first beneficiaries of the official inclusion of Chinese printmaking into the higher art education system. Taking the development process of Mr. Song Yuanwen’s art as a thread, we have sorted out and summarized all artistic creation in his youth, and then divided them into six stages. It is not difficult to find out that, whether as a young lecturer or a professor in the academy of fine arts, there are both breakthroughs and innovations, and distinct personalized clues in each stage of Mr. Song Yuanwen’s creation. Through analyzing Mr. Song Yuanwen’s life experience and creation-evolution, this exhibition aims to present a creative process of a printmaking artist who combined the tradition of lyric and modernity with his artistic ideas.


2. Printmaking educator

IMG_3276.JPG

A group photo of the Department of Printmaking of CAFA in the mid-1980s

(From left to right in the front row: Zhou Jianfu, Guang Jun, Song Yuanwen, Li Hua, Gu Yuan, Tan Quanshu, Lin Zhiken; From left to right in the back row: Wang Huaxiang, Zhang Yan, Chen Jinrong, Ma Gang, De Lanzhi, Zhou Jirong, Ma Xinmin, Zhang Peiyi, Wu Changjiang, Wei Zhuyin, Liu Liping, Su Xinping)

The Department of Printmaking of CAFA was founded in 1955. Mr. Song Yuanwen was admitted to study at the department in 1956 and then taught there after graduation in 1961. From 1986 to 1993, he served as the head of the department and organized the teaching of printmaking. So, he had studied and worked at the Department of Printmaking for 38 years. Looking back at Song Yuanwen’s teaching work in the Department of Printmaking, it can be summarized as “participating in the establishment of Chinese printmaking teaching system and recovering and improving the teaching on this basis”. The slogan of “establishing Chinese printmaking teaching system” was first put forward by Mr. Li Hua. To some extent, this slogan represented the guiding ideology of the Department of Printmaking. As Song Yuanwen’s teacher and the first director of the Department of Printmaking, Li Hua undoubtedly had a profound influence on Song Yuanwen. For Mr. Li Hua, “establish” is to start from scratch, while for Mr. Song Yuanwen, “establish” means more about restoration and reform. In this part, we will analyze and discuss the knowledge genealogy of modern Chinese printmaking.

 

3. Printmaking activist

Modern Chinese printmaking has never stopped extending its venation. From Lu Xun to Li Hua and then to Song Yuanwen, their alternation was like the runner rotation of a printing machine, passing on from generation to generation. Lu Xun was the pioneer trumpeter who played the first movement of literature and arts. Then, Li Hua is the continuation of Lu Xun’s spirit who faithfully and objectively recorded the image of the ordinary people; but he was not content with this and hoped to lead and promote the whole industry of printmaking forward. On this basis, Song Yuanwen further enlarged the workforce of printmaking and brought fresh blood into it. As an inheritor, he had a good understanding of the thoughts and ideas of Lu Xun and Li Hua and made his best efforts with limited resources. In a way, the national activities of printmaking not only represented the field of printmaking but also expressed the roar of literature and art circles. The research of this section analyzes and interprets the evolution of national activities of printmaking, trying to understand the historical context and clues as well as Song Yuanwen’s scope of activities within it so as to restore and present a historical aspect.

To sum up, as a “case study research” carried out in the form of exhibition, we hope to continue to explore a new research method and presentation mode through learning and summarizing the experience of previous exhibitions of the same type. Therefore, this exhibition is both a summary and retrospect of the artistic achievements of a highly respected old man and the observation and review of the teaching system of the Department of Printmaking and the activities of prints art that directed by him. Moreover, it bases on the complex relationship between the three cultural identities of Song Yuanwen and returns to a relatively remote and higher coordinate point to build and pursue the current significance and value of a quality life experience.

Following the successful exhibition entitled “Prometheus in Printmaking” that held in December 2017 for celebrating the 110th anniversary of the birth of Mr. Li Hua – a pioneer of modern Chinese printmaking, we welcome another research exhibition for Professor Song Yuanwen, who is the successor of Mr. Li Hua and the former director of the Department of Printmaking of CAFA. At the same time, we are also very honored to receive a large number of Song’s print works by his generous donation. In this exhibition, we take “Spiritual Journey” as the theme and carry out a case study research of Mr. Song Yuanwen from his three cultural identities – printmaking artist, printmaking activist, and printmaking educator as well as the dynamic relationship between the three identities.


1.  Printmaking artist

If we regard Li Hua, Gu Yuan, Li Qun and some other old gentlemen as the first generation of printmakers, Mr. Song Yuanwen is undoubtedly the representative of the second generation of printmakers. Different from elderly artists, he is one of the first beneficiaries of the official inclusion of Chinese printmaking into the higher art education system. Taking the development process of Mr. Song Yuanwen’s art as a thread, we have sorted out and summarized all artistic creation in his youth, and then divided them into six stages. It is not difficult to find out that, whether as a young lecturer or a professor in the academy of fine arts, there are both breakthroughs and innovations, and distinct personalized clues in each stage of Mr. Song Yuanwen’s creation. Through analyzing Mr. Song Yuanwen’s life experience and creation-evolution, this exhibition aims to present a creative process of a printmaking artist who combined the tradition of lyric and modernity with his artistic ideas.


2. Printmaking educator

IMG_3276.JPG

A group photo of the Department of Printmaking of CAFA in the mid-1980s

(From left to right in the front row: Zhou Jianfu, Guang Jun, Song Yuanwen, Li Hua, Gu Yuan, Tan Quanshu, Lin Zhiken; From left to right in the back row: Wang Huaxiang, Zhang Yan, Chen Jinrong, Ma Gang, De Lanzhi, Zhou Jirong, Ma Xinmin, Zhang Peiyi, Wu Changjiang, Wei Zhuyin, Liu Liping, Su Xinping)

The Department of Printmaking of CAFA was founded in 1955. Mr. Song Yuanwen was admitted to study at the department in 1956 and then taught there after graduation in 1961. From 1986 to 1993, he served as the head of the department and organized the teaching of printmaking. So, he had studied and worked at the Department of Printmaking for 38 years. Looking back at Song Yuanwen’s teaching work in the Department of Printmaking, it can be summarized as “participating in the establishment of Chinese printmaking teaching system and recovering and improving the teaching on this basis”. The slogan of “establishing Chinese printmaking teaching system” was first put forward by Mr. Li Hua. To some extent, this slogan represented the guiding ideology of the Department of Printmaking. As Song Yuanwen’s teacher and the first director of the Department of Printmaking, Li Hua undoubtedly had a profound influence on Song Yuanwen. For Mr. Li Hua, “establish” is to start from scratch, while for Mr. Song Yuanwen, “establish” means more about restoration and reform. In this part, we will analyze and discuss the knowledge genealogy of modern Chinese printmaking.

 

3. Printmaking activist

Modern Chinese printmaking has never stopped extending its venation. From Lu Xun to Li Hua and then to Song Yuanwen, their alternation was like the runner rotation of a printing machine, passing on from generation to generation. Lu Xun was the pioneer trumpeter who played the first movement of literature and arts. Then, Li Hua is the continuation of Lu Xun’s spirit who faithfully and objectively recorded the image of the ordinary people; but he was not content with this and hoped to lead and promote the whole industry of printmaking forward. On this basis, Song Yuanwen further enlarged the workforce of printmaking and brought fresh blood into it. As an inheritor, he had a good understanding of the thoughts and ideas of Lu Xun and Li Hua and made his best efforts with limited resources. In a way, the national activities of printmaking not only represented the field of printmaking but also expressed the roar of literature and art circles. The research of this section analyzes and interprets the evolution of national activities of printmaking, trying to understand the historical context and clues as well as Song Yuanwen’s scope of activities within it so as to restore and present a historical aspect.

To sum up, as a “case study research” carried out in the form of exhibition, we hope to continue to explore a new research method and presentation mode through learning and summarizing the experience of previous exhibitions of the same type. Therefore, this exhibition is both a summary and retrospect of the artistic achievements of a highly respected old man and the observation and review of the teaching system of the Department of Printmaking and the activities of prints art that directed by him. Moreover, it bases on the complex relationship between the three cultural identities of Song Yuanwen and returns to a relatively remote and higher coordinate point to build and pursue the current significance and value of a quality life experience.

Artworks

Artworks

Photographs

Photographs

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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!