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: Layers of Time and Space | Special Exhibition of Graduation Works from the CAFA Art Museum Collection Opens

2025-06-23

Recently, the exhibition "Layers of Time and Space – Special Exhibition of Graduation Works from the CAFA Art Museum Collection" opened in Zhengzhou, Henan, with Lin Mao, President of the Central Academy of Fine Arts, in attendance at the opening ceremony.Spanning a decade of graduation works collected by CAFA, the exhibition boasts a diverse selection of nearly 80 pieces across a spectrum of mediums. From the traditional elegance of Chinese painting to the bold statements of video art and from the intricate details of printmaking to the immersive experiences of installation art, this exhibition has something for every art enthusiast. Divided into four thematic sections—Resonance, Symbiosis, Growth, and New Currents—the show showcases the remarkable explorations of a significant group of young artists in cultural inheritance, ecological reflection, personal storytelling, and interdisciplinary innovation.In addition to the main gallery, a special display outside the exhibition space presents works by CAFA’s emerging faculty members, tracing their evolution from students to educators. This intergenerational dialogue adds a rich dimension of “learning through teaching” to the exhibition.As a tribute to the 2025 CAFA Graduation Season, the exhibition extends the academy’s educational achievements to the public. It serves as a testament to how art education can stimulate new forms of productivity and foster dynamic interaction between universities and urban culture. By envisioning a future shaped by aesthetic education, local revitalisation, and the creative energy of youth, this exhibition inspires us to appreciate the transformative power of art education.The exhibition is open until August 25th.The grand opening ceremony was a collaborative effort jointly launched by esteemed figures, including Lin Mao, President of the Central Academy of Fine Arts; Li Ming, Vice Chairman of the Henan Federation of Literary and Art Circles and Vice Chairman of the Henan Artists Association; Sun Han, Deputy Party Secretary and Secretary of the Political and Legal Affairs Commission of Guancheng Hui District; Dong Jiwu, Director and Party Secretary of the Henan Art Museum; Li Xiaolei, Standing Committee Member and Minister of Publicity of Guancheng Hui District; Gu Hequn, Party Secretary and Chairman of the Jianzhong Group; and Gao Gao, Deputy Director of the CAFA Art Museum. Their presence added a sense of prestige and importance to the event, making everyone feel part of this significant moment in the art world.Leaders from relevant departments at CAFA, along with representatives from the Guancheng Hui District Committee of Zhengzhou, the Henan Federation of Literary and Art Circles, Henan Art Museum, Henan Artists Association, Henan Photographers Association, Henan Arts and Crafts Association, as well as faculty from peer institutions and members of the arts community, attended the opening ceremony.Following the ceremony, Zhang Yanmin, Party Secretary of Guancheng Hui District, accompanied President Lin Mao on a visit to the Fuminli Cultural Block.Exhibition viewing展览现场Section One: ResonanceThis section weaves together two thematic layers—New Perspectives on History and Modern Construction—to build a platform between tradition and the present. Young artists draw deeply from the cultural heritage, finding inspiration in the elegance of bronze inscriptions, the charm of ink-wash painting, and the philosophical depth of classical texts. Their contemporary interpretations of Dunhuang art and ancient literature reflect a strong sense of cultural confidence and resonance. At the same time, they engage sharply with the spirit of the times, transforming themes like “the grand celebration of nation-building,” “vivid scenes of rural revitalization,” and “the awe of deep-sea exploration” into rich artistic expressions. Through the lens of youthful sincerity and creative insight, they bridge historical depth and contemporary relevance—writing a new chapter in the story of CAFA’s emerging generation.Liu Hongchao, Star-Making, 2023, Oil on wood, 100 × 135 cm, Collection of CAFA Art Museum苗菁菁《折叠公园》2022年，硬纸本水墨，180×91.25cm×4（2幅），中央美术学院美术馆藏李罗《丝路系列之景德镇·多年父子成兄弟》2023年，布面油彩，126.5×193.5cm，中央美术学院美术馆藏孙宇《“大世界”系列之四》2015年，数码彩喷，80×55cm，中央美术学院美术馆藏祈庆龄《记忆系列 · 昂琴那沁》2020年，纸本设色，50×50cm，中央美术学院美术馆藏王海迪《北冥——百圾碎》2020年，水印木刻，90×90cm，中央美术学院美术馆藏夏理佳《摆渡人——彼岸》2023年，石膏、铁、铜、木、麻绳、麻布、树脂、金箔，180×60×230cm，中央美术学院美术馆藏詹佶昂《竹林七贤》2020年，绢本设色，200×240cm，中央美术学院美术馆藏Section Two: SymbiosisThis section unfolds across Cultural Landscapes, Imagined Landscapes, and Natural Forms, reflecting the harmony between humans and nature. Some artists draw from ancient aesthetics—such as Guo Xi’s spatial philosophy, seasonal rhythms, and Tao Yuanming’s utopias—reviving dialogues with nature through works inspired by classics like The Plum Blossom Spirits Manual. Others reimagine nature from a creator’s view, infusing mountains, forests, and stone formations with personal emotion and aesthetic vision, transforming them into poetic inner landscapes. Through a blend of reflection and imagination, they offer vivid interpretations of coexistence—where nature is not just observed but deeply felt.Wang Chenxu, Emerging Mountains, 2017, Oil on canvas, 60 × 260 cm, Collection of CAFA Art Museum何佩璇《植物园》综合材料（有色卡纸，丙烯），60×50cm，2019年，中央美术学院美术馆藏傅旭航《“拾”物——盆栽》2023年，石膏，75×70×5cm，中央美术学院美术馆藏叶娉婷《Ode · Fox》2024年，羊皮、铜版、水彩，130×90cm，中央美术学院美术馆藏周宏博《隐秘的风景》2023年，铜版，100×150cm，中央美术学院美术馆藏郭玉龙《石·林》2022年，木板丙烯，100×100cm，中央美术学院美术馆藏王相洁《201801》2018年，绢本水墨，220×200cm，中央美术学院美术馆藏Section Three: GrowthThis section explores the intersection of Poetic Fantasy and Emotional Memory, forming an intimate dialogue between dreams and lived experience.Artists move fluidly between myth and reality, crafting imaginative worlds from fairy tales, inner monologues, and sci-fi musings. Others delve into personal histories and quiet emotions, using fragmented, nonlinear narratives to evoke the texture and emotional depth of memory.In these works, growth becomes a gentle thread—woven through fantasy, memory, and introspection—delicate yet resonant.Zhang Yi, With What Can I Hold You Back, 2021, Tempera on wood, 152 × 224 cm, Collection of CAFA Art Museum刘启光《旅人之一》2018年，石版画，60×40cm，中央美术学院美术馆藏王启凡《“星图系列”No.1》2020年，木版水印，72×105cm，中央美术学院美术馆藏邹达闻《他们22》2015年，尺寸不一，中央美术学院美术馆藏孟佳宝《五光十相》2021年，纸本油彩、木框丙烯，尺寸不一，中央美术学院美术馆藏朱玄玄《PSUCHE》2023年，木版水印，76×56cm×7，中央美术学院美术馆藏孙玛侬《THE TOOTH FAIRY》2019年，综合材料，210×150cm，中央美术学院美术馆藏Section Four: New CurrentsThis section unfolds through Material Innovation and Intelligent Innovation, highlighting breakthroughs in physical media and digital interaction. Some artists treat materials as gateways to new ideas—working boldly with meteorites, seaweed, and industrial components to expand the boundaries of art. Others explore cutting-edge themes, such as AI, the metaverse, and biotechnology, presenting works that merge aesthetic vision with technological inquiry. Their practices reimagine the role of materials and reshape artistic paradigms in a world driven by digital revolutions—defining what the next era of art might become.Liu Jintao, Falling Star Pact, 2024，Meteorite, stainless steel, variable dimensions，Collection of CAFA Art Museum江芷盈《海藻革命之购物袋》2023年，浒苔、石花菜，尺寸不一，中央美术学院美术馆藏冉华明《基于基因行为的雕塑》2023年，3D打印铸铜着色，90×60×90cm，中央美术学院美术馆藏杜雪《茧》2016年，综合材料，45×45cm ，中央美术学院美术馆藏薛文静《拆一根销、解得一件家具》2017年，北美黑胡桃、黄铜、亚克力，172×32×155 cm，中央美术学院美术馆藏陈戈霖《聚 · 散》2023年，纤维，134×194cm，中央美术学院美术馆藏王志浩《冇》2016年，纸、木板，72×72cm，中央美术学院美术馆藏特邀中央美术学院教师作品柳青《G4472·新世界》综合材料，750×225×235cm，2014-2025年，艺术家自藏卢征远《开合》镜面不锈钢，尺寸可变，2016年，艺术家自藏陈明强《盆景》旧铁栅栏、不锈钢电焊条、水泥铁精粉、磁铁矿石、电焊渣，50×70×150cm，2018年，艺术家自藏刘巍《此在》不锈钢生铁，85×50×85cm×2，2012年，艺术家自藏杜英奇《我的戈多》树脂、枕木、钢筋、石头，230×140×220cm，2013年，艺术家自藏王川《炻·迹》天然原石，47×47×67cm、45×46×25cm、50×38×38cm、60×36×42cm，2024年，艺术家自藏邹达闻《根之角》木、色彩，300×140×140cm ，2024年，艺术家自藏Exhibition InfoLayers of Time and Space -– Special Exhibition of Graduation Works from the CAFA Art Museum CollectionAcademic Advisor: Central Academy of Fine ArtsOrganizers: People’s Government of Guancheng Hui District, Zhengzhou Publicity Department of CAFA CAFA Art MuseumHosted by: Zhengzhou Jianzhong Shangcheng Cultural Tourism Development Co., Ltd.Supported by: Henan Yifeng Art CenterExhibition Period: May 1 – August 25, 2025Venue: Art Center, Fuminli Cultural Block, Shangdu, Guancheng Hui District, ZhengzhouCompiled by the Publicity DepartmentChief Editor / He YishaExecutive Editor / Du YinzhuTranslator / Mia
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: 毕业季最后一天！一群宝藏毕业生在央美“玩”木头?

2025-06-23

6月22日，为期近2个月的“2025中央美院毕业季”即将在闭馆后画上圆满的句点！这场以“逐光而行”为主题的毕业季自开展以来，观众络绎不绝。这不仅是千余毕业生学习生涯的阶段性呈现，更是艺术之路的崭新起点。毕业生在展厅驻场讲解，观众的热情聆听与共情，是对他们艺术成果的最高褒奖。我们在此共同见证了新一代艺术力量的崛起，感谢所有观众的关注与支持。此篇推送分享“木艺工作室”的毕业创作。木头，古老而沉默，也常被囿于“传统”“工艺”的固有印象。但在央美木艺工作室的青年毕业生手中，木头被赋予了全新的灵魂。他们以独特的艺术视角和实验精神，让“木”不再是材料，而是思想的载体，看他们如何拓展木艺艺术的边界和可能性。作品名称《鳞境漫游》姓名：詹雯婷指导教师：郑韬凯、王通《鳞境漫游》以清代图谱《海错图》为灵感，探索从观察到想象再到重构的造型路径，书中融合了写实记录、主观审美与民间幻想，其图像逻辑启发我建立属于自己的幻想生物体系，并在传统意象的基础上延展造型设计，于真实与虚构之间开辟一片独特的想象空间。材料选用上，詹雯婷有意保留木材的裂痕、虫眼疤结，使其成为造型的一部分，这些自然痕迹承载着时间与生命的质感，也赋予作品独特的叙事张力。这是一次从图谱出发的造物尝试，也是一场有关"错"与"美"的重新想象。《浮相》姓名：向业晴指导教师：郑韬凯王通向业晴在网上无意中浏览到一款悬浮磁吸灯，灯具悬浮的状态吸引到了她，便想以此状态为基础设计毕设。悬浮的状态表现了失重感和根基的丧失，而气球的膨胀和飘飘然则作为了形象的载体。由于普通木头很重，为了减轻重量，作者用了最轻的木头巴沙木，先用整木削出肚子的整圆，再雕刻出头部和四肢，进行组装上色，最后安上鱼线组装在圆盘上。在价值快速更迭的时代，个体常常陷入自我认知的“膨胀”之中，自信与自大的界限逐渐模糊，轻盈的虚浮逐渐取代了沉稳的重量。在这些背景下，气球人由此诞生。传统二十四节气守护神兽制作过程动物盲盒《木隐天时·廿四兽律——基于中式幻想二十四节气动物森林的叙事木作》姓名：解璐倩指导教师：郑韬凯王通《木隐天时·廿四兽律》以《礼记·月令》物候观测为哲学基底，通过细木镶嵌工艺构建节气符号系统、整雕技法塑造动物生存姿态、多层板立体绘本演绎生态互动，构建森林动物在二十四节气中的森林剧场。暗合《考工记》中“天有时，地有气，材有美，工有巧”的造物法则，将动物行为(如惊蛰蛇启蛰、冬至麋角解)转化为可触的木构系统，探讨传统工艺在当代艺术中的转译可能。作品最终指向对“非遗活化”的反思——如赵熊在《廿四节气印存》中的诘问:“其喜讯耶?挽歌耶?”它既是对农耕文明的诗意回望，亦是对生态危机的当代回应，最终在木纹裂变与兽群呼吸间，完成了一场关于时间、生命与自然的终极对话。作品中动物盲盒IP形象将拥有深厚历史积淀与精湛技艺的细木镶嵌，应用于承载当代情感与流行文化的IP形象创作中，不仅能为传统工艺注入鲜活的时代生命力更能为IP形象赋予独特的物质载体与高附加值的艺术质感，能在切实可行的路径上将这一融合探索持续深化下去。《木韵·阿尔卡纳》姓名：刘若童指导教师：郑韬凯王通《木韵·阿尔卡纳》以塔罗牌的22张大阿尔卡那（Major Arcana）为蓝本，通过木制圆雕展现了神秘符号与自然纹理的和谐共存。选用的木材包括椴木、黑胡桃、枣木、花梨等，雕刻过程中刻意保留了木材的原始裂痕与节疤，象征着生命历程的不完整与再生。主体设计汲取了马赛塔罗的几何图形和伟特塔罗的叙事性符号，每件作品均是对塔罗牌深层含义的独特解读。在色彩运用上，通过木材固有的色泽差异，创造出具有层次的视觉体验，将塔罗牌的象征意义与木材的自然质感相融合。本创作不仅是对传统塔罗牌艺术的现代诠释，更是对自然与神秘主义之间深刻对话的体现。《虫洞的第♾️次融化》姓名：徐雅婧指导教师：郑韬凯王通《虫洞的第♾️次融化》由两个微缩变形娃娃屋和后面墙面的窗帘挂画组成。从挂画到娃娃屋的屋体再到内部家具都是形态扭曲的，意在呈现一个关于宇宙、时间与物质不稳定性的多维梦境，房屋和家具不再受制于重力，比例和逻辑，不断扭曲变形。“虫洞”代表着时空的坍缩融合，“第♾️次”象征时间的循环和无解。作品中添加的童话元素又中和掉了这一超现实感，更加吸引观者和容易被接受，将视角着重于梦境。两座房子分别是兔子的家和熊的面包店，日常的场景加上扭曲的造型更具有奇幻的感觉。从精微的雕刻细节到有趣的空间装置，从静谧的木质温润到强烈的视觉冲击，这些作品凝练成独特的木艺语言。|温馨提示|中央美院毕业季于6月22日17:30闭展请未观展的朋友合理安排时间预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠
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: "I Repair Cultural Relics at the Central Academy of Fine Arts": The First Undergraduate Graduation Works of the Restoration College Debut Stunningly | 1 Day Countdown to Graduation Season

2025-06-22

Under the lights, the exhibition hall is filled with tranquility. Frames of paintings that were once dim and mottled now radiate new brilliance; fragmented patterns on murals are ingeniously continued; ink marks blurred by time in Chinese paintings regain their vitality; and the dusty splendor on oil paintings is carefully awakened. After four years of dedicated study, the Restoration College finally welcomes its first batch of 21 undergraduate graduates. With ingenuity and skill, they present the first "graduation thesis" for the construction of the restoration discipline at the Central Academy of Fine Arts. These works may be immature, but they are imbued with the power to break through the soil, witnessing the footprints of young restorers and the fledgling college growing together.CAFA Graduation Season is coming to an end on June 22. Friends who haven't visited the exhibition yet, don't miss it!Mural Restoration StudioCAFAM@ 2025Eight graduates from the Mural Restoration Studio jointly completed the "A Glimpse of a Millennium — Replication of Mogao Grotto 285". Carved during the Datong period of the Western Wei Dynasty, Mogao Grotto 285 is the earliest grotto in the Dunhuang Grottoes with a confirmed excavation date. The main chamber is a bucket-shaped ceiling grotto with a square plane, a relatively large meditation grotto. Its architectural form directly originates from India, similar to the Ajanta Caves in India, belonging to the early form of meditation grottoes in Mogao Grottoes. The work is replicated at a scale of 1:0.7, currently 4.4 meters wide, 4.51 meters deep, with a wall height of 2.44 meters and a ceiling height of 3.37 meters. It adopts a wooden keel structure and traditional mud-based groundwork painting, divided into three sections: ⅠGroundwork Production: The east wall serves as a display area for the layered production of groundwork. ⅡCurrent-State Copying: The north and south walls, as well as the sloping ceiling, are copied in their current state, reproducing the mural's current condition with traditional techniques. Ⅲ Restorative Copying: The west wall is for restorative copying. Based on historical documents, image comparison, and combined with the principles of traditional mural painting, it restores the original appearance of the murals, constructing a complete grotto view in different areas to form a temporal section, intuitively comparing and displaying the mural states in different historical stages. On-site, traditional materials and tools are used to present the groundwork layer and painting layer. The production, copying process, and disease simulation of the groundwork are recorded through videos. Combined with imaging technology, the dynamic process from groundwork production to painting completion is presented outside the grotto, allowing viewers to deepen their understanding of traditional craftsmanship through physical touch with the artifacts.On-site Photo of the Restorative Copying on the Western WallOn-site Photo of the Current-State Copying on the Southern WallLin Yiming, Detail of Current-State Copying on the Southern WallWen Chen, Detail of Current-State Copying on the Southern WallLian Renjie, Detail of Current-State Copying on the Southern WallXu Erzhi, Detail of Current-State Copying on the Southern WallOn-site Photo of the Current-State Copying on the Northern WallLiu Shiming, Detail of Current-State Copying on the Northern WallMa Yue, Detail of Current-State Copying on the Northern WallHu Jing, Detail of Current-State Copying on the Northern WallWang Xueying, Detail of Current-State Copying on the Northern WallCurrent-State Copying of the Four-Slope Caisson CeilingChinese Painting Restoration StudioCAFAM@ 2025Strive for loftiness and seek brilliancePan Xingyu, Restoration Case of "Late Qing Scrolls"The Late Qing Scrolls are heavy-color meticulous figure paintings on silk, with three pieces currently extant. Each measures 20cm × 70cm. The works are privately collected, and the author is unknown. Before restoration, all three paintings showed damages such as loosening, stains, fractures, wrinkles, mildew, insect damage, and losses. For the painting cores, this restoration adopted traditional methods to flatten the surface, reinforce colors, clean stains, remove the old backing paper, patch new silk, and mount them as framed works after color matching, so as to present the original appearance to the greatest extent.Before RestorationDuring RestorationAfter RestorationLin Zhenghan, Restoration Case of Plum Blossom and Bamboo PaintingPlum Blossom and Bamboo Painting is a freehand flower-and-bird painting with colors on paper. The author, Chen Wenjin, also known as Yunjin, styled as Xianshang and titled as Xiaosheng, was a native of Haining, Zhejiang. He was a calligrapher and painter during the Qianlong period of the Qing Dynasty, serving as an official in Sichuan Prefecture. Specializing in flower painting under the influence of Chen Chun, he excelled in color application. This work is in private collection. Before restoration, the painting surface had numerous horizontal creases, with severe fractures at the crease positions, serious insect damage, and phenomena of paint layer detachment and hollowing. It had undergone multiple improper restorations previously. This restoration adopted traditional techniques for ancient calligraphy and painting to re-restore it, making the painting core and mounting layer return to flatness, removing old restoration traces, patching holes and tears, smoothing creases, and completing structural restoration. Then color matching was carried out to supplement the painting meaning completely. The original decoration format was removed, and a vertical scroll mounting style with two-color mounting was re-designed to maximize the reproduction of the original artistic effect and extend the lifespan of the work.Comparison Before and After Color MatchingComparison of Restoration Details Before and AfterComparison Before and After Restoration Zhang Yufeng, Restoration Case of Peacock Painting in Archaic BrushworkPeacock Painting in Archaic Brushwork has no definite author information, and its date can be traced back to the Qing Dynasty. According to existing information and image observation, the painting has undergone at least one re-mounting and restoration, with multiple improper restorations and secondary damages occurring during the mounting process. The current preservation condition of the painting is poor: the overall picture appears dark brown, with severe curling and cracking; there are insect holes around the edges; large sections of pigments have fallen off. The painting as a whole has multiple paper creases and fractures, and the main body of the picture is contaminated by large ink stains. In many parts of the painting core, there are inappropriate paper patches that do not match the material or the artistic conception of the painting.Restoration ProcessBefore RestorationAfter RestorationOil Painting Restoration StudioCAFAM@ 2025Guo Yinglin, Restoration Case of Still Life, an Oil Painting on CanvasThis work is a sketch oil painting by Guo Yinglin, one of the first batch of Chinese artists to study in France, painted in 1956. Two still-life works of this series are currently extant, both privately collected by the artist's family. In 2022, they entrusted the Collection Department of the Art Museum of the Central Academy of Fine Arts to carry out restoration. The support canvas of the work has aged, lost its elasticity, and has multiple penetrating scars; the pigment layer in the upper half of the picture has overall pulverized, with local warping and peeling conditions. The restoration goal is to restore the structural stability of each layer. It is necessary to comprehensively reinforce the pigment layer, restore the adhesion to the underlying painting ground, and complete the missing colors.The pigment layer of Guo Yinglin's oil painting Still Life has large-area pulverization and peeling, and has water-sensitive characteristics, requiring overall reinforcement. The restoration difficulties of this work are how to reinforce the loose, pulverized, and water-sensitive pigment layer; and what kind of temporary reinforcement material to choose can achieve good adaptability with subsequent operations such as overall back reinforcement and surface cleaning.修复前修复后韦启美布面油画《女人体习作》修复案例此作品画布长期无内框支撑，棉质画布已无法支撑开裂的绘画层，需通过背面整体衬托的措施承担画布平面应力。但画布背面存在内容为作者名字的落款，需通过实验设计力求在结构稳定的同时最大程度保留文字信息的可读性。作者通过以下两点展开修复过程：一、加固颜料层、平整并衬托画布，解决作品颜料层碗状变形、画布平面变形的结构问题，通过衬托新的支撑材料承载平面结构力量，并绷于内框上使内部应力保持平衡。同时尽可能最大化保留背面手写字迹。2、画面表面清洁并填补颜料层缺失，以达到审美和谐和视觉可读。临时贴面加固不稳定的颜料层局部封护字迹并整体涂刷Beva371粘合剂加固加湿并压重，平整画布变形背面涂刷Beva371粘合剂，并绷上聚酯丝网蒸馏水清洗颜料层表面尘垢填补缺失的基底层修复后赵懿 Chas Russell 布面油画《Sitting Lady》修复案例《Sitting Lady》创作于1880年是一幅典型的新古典主义肖像画。画作存在多维度病害:支撑物呈现角波纹及内框印痕等平面变形，局部伴有裂口与破洞，其背面附着大量浮尘。画面基底层与颜料层存在局部缺失且边缘残留外框黏附的金漆。最为明显的是人物头部右侧光油层存在明显泛白现象。修复过程画布背面除菌吸尘（对比）裂口/破洞处临时贴面+压重平整裂口/破洞处支撑物使用Ph6.5的水性清洗试剂清理表面尘垢使用Ph6.5的水性清洗试剂清理表面尘垢修复前修复后These young people are both students and pathfinders. They "hold technology in one hand and inherit ancient methods in the other"—the interdisciplinary integration of art and technology shines as a distinctive trait of this new generation of restorers. From a cross-cultural perspective, they continuously raise reflections on the ethics of contemporary cultural heritage restoration. Behind each work lies a three-dimensional interpretation of the word "restoration": it is the physical mending, but more importantly, the reconstruction of historical logic; it is the inheritance of craftsmanship, and even more, the rebirth of cultural values.Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the mini-program of the CAFAM, WeChat official account, or the official website . The daily number of visiting spots is limited and will be closed once fully booked. During the graduation season, the museum is normally open on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the scheduled time. During the graduation season, please enter the museum through the dedicated ticket channel at the north gate of CAFA by swiping valid documents such as an ID card for verification.Chief Editor / He YishaEditor / Du YinzhuPart of the text and images are sourced from the Restoration College of CAFA
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: Today Is The Summer Solstice

2025-06-21

Today is the Summer Solstice.
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: Temporary Closure Notice | CAFA Graduation Season Countdown: 2 Days!

2025-06-20

Dear Visitors,The "2025 CAFA Graduation Season" will conclude at 17:30 on June 22, 2025. We welcome you to visit the exhibition! In addition, due to the need for exhibition installation and dismantling, our museum will be temporarily closed starting from June 23, 2025. For the specific reopening date, please stay tuned for subsequent announcements. We apologize for any inconvenience caused.Wonderful exhibitions will be presented during the summer vacation. Look forward to your participation!CAFA Art MuseumJune 20, 2025Exhibition SiteReservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The daily number of visiting slots is limited and will be filled on a first-come, first-served basis. During the graduation season, the museum is normally open on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arrive at the scheduled time. During the graduation season, please enter the museum by presenting and swiping valid identification documents (such as ID cards) at the dedicated ticketing channel at the north gate of the Central Academy of Fine Arts.Editor-in-Chief / He YishaEditor / Du Yinzhu
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: 开放报名！本周六10余位嘉宾齐聚“耕耘与求索”论坛 | “CAFAM学术季”活动重磅启幕（附直播通道）Open For Registration! More Than 10 Guests Will Gather At The "Cultivation And Exploration" Forum This Saturday | The "CAFAM Academic Season" Event Kicks Off With A Bang (With Live Broadcast Channel Attached)

2025-06-20

此次论坛为2025年CAFAM学术季的系列活动之一，以“耕耘与求索”为主题，聚焦美术馆藏品的学术研究、展览实践与保护现状，旨在深入探讨馆藏艺术的历史脉络、学术价值及当代意义。“中央美术学院美术馆藏陈列——古代中国艺术”展览现场“中央美术学院美术馆藏陈列——现代中国美术”展览现场论坛以馆藏陈列展出的经典作品及收藏体系的建构逻辑为主体，包含近年来学界对其的研究成果，计划通过这一开放的学术交流平台，向社会各界介绍央美美术馆丰富的艺术收藏，推动藏品研究的深化与传播。论坛邀请了近年来深耕馆藏研究的专家进行主题发言，他们在藏品个案分析、陈列展示规划及藏品修复保护方面做出了诸多成绩。论坛分为“历史与薪传”和“凝华与更新”上下半场，分别关注“中国古代艺术”与“中国现当代美术”，涉及美术考古文物、古代书画、陶瓷艺术、宗教美术、近现代油画、现当代水墨等不同类型的藏品情况概述、代表性藏品介绍和藏品维护过程。值得一提的是，此次论坛的内容也将作为下半年青年学者论坛的重要材料基础。扫描二维码预约名额有限先约先得央美在校生无需预约开场辞靳军中央美术学院教授、中央美术学院美术馆馆长张鹏中央美术学院教授中央美术学院《美术研究》杂志社社长学报编辑部主任丝绸之路艺术研究协同创新中心副主任发言嘉宾高高中央美术学院美术馆副馆长发言题目：中央美术学院美术馆的收藏概述耿朔中央美术学院人文学院文化遗产学系副主任美术考古研究中心副主任发言题目：馆藏美术考古文物情况概述田率北京师范大学历史学院考古文博系教授北京师范大学文物博物馆副馆长发言题目：馆藏古代陶瓷情况概述黄小峰中央美术学院教授、人文学院院长发言题目：馆藏古代书画情况概述郑弌中央美术学院人文学院美术史系教授发言题目：馆藏宗教文物情况概述主持刘希言副研究员、中央美术学院美术馆策划研究部主任发言嘉宾曹庆晖中央美术学院人文学院美术史系教授发言题目：馆藏中国近现代油画情况概述徐研中央美术学院美术馆油画修复师发言题目：馆藏油画作品修复案例于洋中央美术学院教授、科研处处长、视觉艺术高精尖创新中心主任发言题目：馆藏近现代水墨的文脉源流窦天炜中央美术学院美术馆修复师发言题目：馆藏纸本作品修复案例李垚辰副研究员、中央美术学院美术馆典藏部主任发言题目：现代美术家个案收藏的概况与工作方法主编 / 何一沙责编 / 杜隐珠
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: 中央美术学院美术馆2025年暑期实习生招募

2025-06-19

主编 / 何一沙责编 / 杜隐珠
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: 油画系特辑 | 2025中央美院毕业季最后阶段

2025-06-14

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: 央美“GO”野快闪店 • 毕业季专场 | 周末限时打卡~坐标北野

2025-06-13

当中央美术学院的先锋艺术灵感，遇上北京野生动物园的自然野趣，会碰撞出怎样奇妙的火花？答案就在眼前！作为2025中央美院毕业季的特别企划，央美“GO”野快闪店毕业季专场正式登陆北京野生动物园！6月14日-15日，走进快闪店，你将有机会：1. 把“央美毕业季”带回家！精选央美毕业季主题限定艺术衍生品，这些充满巧思与才华的设计，可能是你收藏创作灵感的绝佳机会。2. 亲手“复刻”野性之美！在央美版画系学生的指导下，你可以参与妙趣横生的动物主题版画体验：一脸淡定的卡皮巴拉、灵动可爱的鹦鹉，还有温顺迷人的小熊猫，用艺术的方式感受、记录并创造！这个周末，和我们一起探索艺术的无限可能！📍 地点：北京野生动物园内雕塑区域后侧⏰ 时间：2024年6月14日—6月15日温馨提示：现场有主题大象形象打卡、盖章等精彩活动等你参与，前往快闪店需自行购买北京野生动物园门票。
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: Enter The Whimsical World Of Picture Books | Witness The Fantastic Narratives Of Graduates From The Central Academy Of Fine Arts

2025-06-11

The much-anticipated graduation works of the Picture Book Creation Studio are now on display in the Glass Exhibition Hall on the second floor of CAFA Art Museum. Taking books as the carrier, 16 graduates present a rich and wonderful whimsical world to the public through the form of page-turning reading.Stepping into the exhibition hall is like entering a magical forest: in the pupils of "that cat", you can see the warmth and loneliness in the corners of the city; while the silent dialogue between "the Snowman and the Little Seed" tells the story of exploration and hope for a better life. The cover marked "32nd of the 13th Month" has long broken free from the shackles of time, inviting you to step into a boundless whimsical universe. Do you see yourself in "Meow God"—clumsy yet striving with all your might? When the faint light shines from the "Forest Convenience Store", what meets the eye is the friendliness and mutual help among people. As for those "chattering non-stop" wonderful images, they depict a child's journey from self-enclosure to brave expression and being understood. And the phrase "I lost..." grows quietly in the 留白 (blank space) of loss, sprouting a philosophical inquiry into existence and meaning.The Catby Chen ZiyiThe Cat is created by using cream glue as the base to produce a relief effect, followed by printing, drawing with a ballpoint pen, and scanning. The picture book tells a sad story: a kitten lives happily with a little girl. When the girl passes away suddenly, the kitten is filled with confusion. After a long wait, the kitten eventually dies as well. The ending of this work is open to interpretation: perhaps the kitten and the girl will never meet again, or maybe they continue to live happily together after death.The Snowman and the Little Seedby Zhang ChenhaoThe snowman feels lost in its unchanging life. One day, a traveling seed bursts into its world. Encouraged and led by the seed, the snowman tries to leave home, journeying alongside the seed to explore the outside world and seek beautiful places. Through their trials and companionship, they make new friends, play together, and face crises. In this process, the snowman relaxes, allowing its strengths to shine. It grows alongside the little seed, heading toward a beautiful and vast world.The 32nd Day of the 13th Monthby Song YumengIs the last day of the year December 31st? Not at all! In the world of elves, the 13th month signifies the beginning of many fantasies. Now, the Kaka elves will take you on a journey to experience various magical events that occur on the 32nd day of the 13th month! Are you ready to set off? The author has a great affection for fantasy creatures and intends to use the fictional framework of the 13th month to bring elves into reality. Through this picture book, humans can catch a glimpse of the marvelous corners of the world inhabited by other creatures.Meow Godby Xiang TianyiA stray white kitten is misunderstood as the "Meow God" by forest animals and helps many of them. Until one day, a wild goose with a broken wing arrives. No matter what the kitten does, it can't help the goose return to the sky, causing its confidence to collapse instantly. Why does the kitten stop in its tracks as it leaves on a rainy night... People may be forced to pretend to be "omnipotent" due to others' expectations or the desire to be loved, but we are ultimately ordinary. When illusions shatter, we're engulfed by the void of self-worth—and in these moments, we need to return to our essence, acknowledging the clumsy yet earnest efforts we've made.The Forest Convenience Storeby Yang BoyingA convenience store is opened in a tree hole in the forest. Today, the store is holding a big sale, and customers flock here in droves. While the business is booming, the store is thrown into chaos! Just as the mouse boss is on the verge of breaking down, the warm-hearted customers step in to help one after another...Non-Stop Chatterby Deng FenghongDue to stuttering, the little boy can never express what he wants to say, and others fail to understand him. He can only use his own ways to express, paint, and paste together his unique "world". Starting from the author's childhood experience of stuttering, the work focuses on the inner world of children whose expression is hindered. Through the form of a picture book, with broken language and emotional images, it depicts a child's journey from self-enclosure to brave expression and being understood, exploring communication and empathy beyond words.I Lost...by Su YuxuanIn the process of growing up, we always lose many things—from something as small as keys, rings, necklaces, hair ties, bicycles... Most of the time, they never reappear. But what if one day they all came back? I wonder what they would look like, and whether they would still be the same as before they were lost... The author herself is someone who often loses things, and after losing them, she can't help but imagine where they might be and what experiences they have gone through. She uses illustrations and words to bring all these fantasies to life!There are many more works on display in the exhibition hall.They dance on the boundary between reality and fantasy,gently questioning life and growth,and even more, echoing profoundly through absurd humor.Let's step into this fantastic space together,shaped by colors and imagination...Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season has been opened. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be available until fully booked. During the Graduation Season, the Art Museum will be open as usual on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arrive at the scheduled time. During the Graduation Season, please enter the museum through the special ticketing channel at the north gate of the Central Academy of Fine Arts by swiping valid identification documents such as an ID card for verification.Chief Editor / He YishaEditor / Du Yinzhu
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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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

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.