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: Jin Jun: The Panoramic View of the CAFA Art Museum Presents the Epitome of Chinese Fine Arts Spanning More Than 2,000 Years

2025-03-16

Editor's NoteOn March 13, 2025, the People's Daily Overseas Edition published an article titled "Collection of CAFA Art Museum -- Presenting the Epitome of Chinese Fine Arts Spanning More Than Two Thousand Years". Jin Jun, the director of CAFA Art Museum and the chief curator of the "Collection of CAFA Art Museum", was interviewed by reporters and shared the stories behind the collections.The Exhibition Site of "Collection of CAFA Art Museum -- Ancient Chinese Art"The Exhibition Site of "Collection of CAFA Art Museum—Modern Chinese Art"Since the 1950s, the CAFA Art Museum has been continuously and systematically carrying out its collection work. At present, it has amassed more than 20,000 pieces of various collections. The collections are rich in variety, covering both ancient and modern works, taking into account both Chinese and Western art, and encompassing all fields of fine arts. In his reply letter to the senior experts and artists of the National Art Museum of China in 2023, General Secretary Xi Jinping emphasized the need to "make efforts in high-quality collection, high-level utilization, and high-quality service." The CAFA Art Museum has always attached great importance to the exploration, sorting out, and utilization of classic collections. A series of academic research, exhibition display, educational promotion, and international exchange activities have been carried out centered around the collections. The launch of this long-term exhibition is not only an important exploration by the museum of its classic collections and a phased summary of its collection and research work, but also a positive response to national cultural policies, and more importantly, a demonstration of the core values of the museum in the new era.Painted Civil Official Figurine, Tang Dynasty, Length: 13.5 cm, Width: 22.5 cm, Height: 65.6 cm, Collected by CAFA Art MuseumFour-Mountain Mirror with Bridge-shaped Knob and Patterns of Feathers, Wings, Flowers and Leaves, Warring States Period, Diameter: 17.3 cm, Collected by CAFA Art MuseumPictorial Brick Depicting Rice Pounding, Han Dynasty, Length: 48 cm, Width: 38 cm, Thickness: 5.5 cm, Collected by CAFA Art MuseumCAFAM————————— Accumulation of Collections —————————rich and diverseReporter: Why did CAFAM decide to hold this long-term collection exhibition? Please talk about the overall planning concept.Jin Jun: I think this is actually a question about the definition of an art museum. Usually, we would say that there are three key elements of an art museum: the collection, the exhibition, and the education. These three parts are closely linked and constitute the art museum as a modern public cultural space, enabling it to fulfill various functions of aesthetic education in society. By drawing on the development experience of the world's art museum industry, we can find that the collection, as well as the exhibitions and educational activities centered around it, are the basic contents of an art museum, and many of the art museum's tasks are carried out on this basis. Although the concept of contemporary art museums is constantly evolving, and there are many new exhibition types and means that are promoting the expansion of work, I believe that for a national key art museum and a university art museum with research and teaching significance, solidifying its basic functions will more effectively promote other aspects of development.The collection of CAFA Art Museum is also quite outstanding among the art museums in domestic universities. During its development over nearly a hundred years, it has amassed nearly 30,000 pieces of collections that cover both ancient and modern times and incorporate elements from both China and the West. These cultural and artistic assets are the result of the joint efforts of those working in the art museum across different eras.The CAFA Art Museum has always had a plan for a long-term exhibition of its collection. Whether during the period at the old campus site in Wangfujing or in the new museum at Huajiadi, over the years, we have systematically enriched the collection, sorted out and planned the collections, and digitized them. We have also planned exhibitions and publications around the phased achievements. These preliminary works have laid the foundation for us to launch the overall exhibition of Chinese art history.Unlike some special exhibitions and temporary exhibitions, during the planning process of this display, we mainly hope that the collections themselves can form a relatively comprehensive narrative, enabling the audience to develop an intuitive understanding of the development of Chinese art history in the exhibition hall. Therefore, we have presented two parts: Ancient Chinese Art and Modern Chinese Fine Arts. With nearly 500 artworks, we have laid out a miniature of Chinese art that spans more than 2,000 years, from the Warring States Period to the 21st century.Reporter: The exhibits in the display include not only the sequences of modern and contemporary fine arts and ancient Chinese calligraphy and paintings, but also sequences of ancient cultural relics such as bronze mirrors, pictorial bricks, and ceramics. Where do these rich collections of CAFA Art Museum mainly come from?Jin Jun: The collections of the Central Academy of Fine Arts come from multiple sources. For example, since 1950, they include purchases from state-owned institutions such as cultural relics stores, allocations from institutions like the Palace Museum, special collections of individual cases of the college's teachers and artists. It also includes donations from teachers organized by the college, collections from important exhibitions, as well as collections of excellent graduation works, etc. All these types of collections are presented in the exhibition.To give some specific examples, most of the collections of ancient artworks were acquired through purchases in the 1950s and 1960s and allocations from institutions such as the Palace Museum. In terms of the modern art section, the works of artists like Li Hua, Ye Qianyu, Luo Gongliu, and Wang Henei come from the art museum's special collections of important artists.In the history of the Central Academy of Fine Arts, teachers have been organized to make donations on many occasions. For example, during the period when Yan Zhikai served as the president in 1935, during the terms when Jin Shangyi served as the president in 1998 and 2000, as well as during the centennial celebration of the Academy in 2018. There is a work titled "Pine and Eagle" created by Qi Baishi in 1935 in the exhibition hall. There is an inscription in the lower left corner of the painting that reads, "Donate this work to the school's exhibition room for permanent display." This inscription records the situation of the Central Academy of Fine Arts expanding its collection by holding the "Exhibition of Teachers' Works" in the 1930s.Speaking of the collections from important exhibitions, Xu Xingzhi's "Morning Sunlight over the Gas Station" and Dong Xiwen's "The Head of the Rural Mutual Aid Team" in the exhibition hall were collected during the exhibition "The Temperature of History: The Central Academy of Fine Arts and Chinese Figurative Oil Painting" held by the art museum in 2015. Li Hu's "The Guangzhou Uprising" was collected during the exhibition "Great Aspirations and Four Rhymes: The Artistic Steps of Li Hu" held by the art museum in 2018.As for the practice works and graduation works from the oil painting training class led by Maksimov (such as Zhan Jianjun's "Starting from Scratch"), as well as works like Chen Danqing's "Tibetan Series" and Wang Wenbin's "The Rammer's Song", they all belong to the graduation collection series.Each work in the art museum has not only its own story in art history but also a story in its collection history. Behind these works, the hopes of several generations of predecessors for the development of the academy and art education are condensed – they hoped that these works could be used for teaching demonstrations and for the establishment of the academy's exhibition hall (art museum). With the development of the academy, today, as we display these fine collections in a modern venue, it seems to be a response across time and space to the hope of the elderly Qi Baishi in those days that his works would be "permanently exhibited".Eagle Perching on Pine Tree (Hanging Scroll), by Qi Baishi, 1935, ink on paper, 150x63cm, collected by CAFA Art MuseumMorning Sunlight at the Gas Station, by Xu Xingzhi, 1962, oil on panel, 44×62cm, collected by CAFA Art MuseumThe Guangzhou Uprising, by Li Hu, 1959, ink and color on paper, 139×302 cm, collected by CAFA Art MuseumThe Rammer's Song, by Wang Wenbin, 1962, oil on canvas, 156×320 cm, collected by CAFAArt MuseumCAFAM—————————— Cultural Relics Collection —————————Focus on artistic aestheticsReporter: Compared with the cultural relics collection in museums, what are the characteristics of the ancient collections in our art museum?Jin Jun: Our art museum is located in a higher art institution. Although the college has disciplines related to art archaeology, there are more disciplines in art creation, and the basic teaching in the college mainly focuses on classic plastic arts. The predecessors once mentioned that when purchasing ancient collections for the college, compared with the historical perspective, they would choose more from the perspective of artistic aesthetics. They hope that while taking history into account, artists will pay more attention to the beauty of classic art in different eras, such as modeling, patterns, craftsmanship, and forms. At the demonstration meeting for the preparation of this exhibition, the teachers from the School of Plastic Arts once proposed whether some incomplete cultural relics could also be exhibited, so that teachers and students could view and analyze the creative process of these cultural relics from the inside.Although our art academy has a considerable number of cultural relic collections, it is not as rich as museums in terms of time periods and types. We hope that in the exhibition, we can highlight the artistic beauty and modeling temperament as much as possible. From the creation of the exhibition hall atmosphere to the dialogue between the exhibits and the visitors, the basic principle of the exhibition design is to highlight the essence of the exhibits and weaken the rhetoric, so that the audience can first obtain an intuitive feeling of the beauty of tradition.Of course, this doesn't mean that we have removed the interpretation of the history of cultural relics. The planning team has deeply cooperated with the School of Humanities and the Art Archaeology Research Center of the school, and has conducted research and writing on key cultural relics for up to one year. These in-depth research texts are presented in the display cases in the form of QR codes, and the audience can scan the codes to obtain detailed content according to their own preferences.Reporter: Different from the situation where there have been multiple exhibitions of painting collections in recent years, many ancient artifacts are said to be exhibited for the first time. It is precisely because of this exhibition that they can be systematically renovated and classified. Could you please talk about the general situation of the previous work such as sorting, selection, restoration and research?Jin Jun: Some of the works exhibited in the modern art section and the ancient calligraphy and painting section of this exhibition may already be familiar to many audiences from our previous exhibitions. For example, exhibitions like "The Centenary Journey: The Spiritual Map" and "Genius Unleashed — A Thematic Exhibition of Ren Bonian's Works in the Collection" have displayed many of our representative collections, such as Zhan Jianjun's "Starting from Scratch", Wei Qimei's "The Corridor of the Affiliated Middle School", Ren Bonian's "Portrait of Yicheng", and Zhu Da (Bada Shanren)'s "Painting of Pine, Crane, Ganoderma and Stone", etc. However, in the ancient artifacts section, types such as bronze mirrors, portrait bricks, figurines, ceramics, and religious statues are indeed being exhibited for the first time.We have nearly a thousand pieces of ancient artifact collections. During the national census of art museum collections from 2017 to 2019, these artifacts were inspected and sorted out. Until the beginning of 2024, as the planning ideas for the ancient exhibition gradually took shape, our work on the selection, restoration, and research of these artifacts was carried out successively.During this period, we closely cooperated with 18 experts and scholars from institutions such as the Central Academy of Fine Arts, the Palace Museum, the Chinese Academy of Sciences, and the Chinese National Academy of Arts. Through more than 30 consultation meetings, we determined the era, art history, and historical value of the artifacts. At the same time, our museum's own restorers worked closely with the teachers and students from the Sculpture Department, Mural Department, and Restoration College of the academy to carry out protective work such as dust removal, reinforcement, and making rubbings for different types of artifacts.This process is like unearthing a treasure. In many unexpected aspects, we discovered special surprises. For example, when restoring and scanning the ancient painting and calligraphy work "Portrait of Arhats", we accidentally found hidden patterns in the painting. Currently, the research on this pattern and the formulation of the presentation plan are still in progress, and we will display it to the public in the future updates of the exhibition content.Starting from Scratch, by Zhan Jianjun, 1957, Oil on Canvas, 140×348 cm, Collected by CAFA Art MuseumThe Corridor of the Affiliated Middle School , by Wei Qimei, 1990, Oil on Canvas, 118x140 cm, Collected by CAFA Art MuseumPortrait of Yicheng, by Ren Bonian. Colored ink on paper. Painted in 1877. Vertical length: 102 cm. Horizontal width: 45 cm. Collected by CAFA Art MuseumPainting of Pine, Crane, Ganoderma and Stone" by Zhu Da (Bada Shanren). Color on silk. Qing Dynasty. Vertical dimension: 188 cm. Horizontal dimension: 102 cm. Collected by CAFA Art Museum.Portrait of Arhats, Anonymous artist, Color on silk, Yuan Dynasty, Vertical dimension: 154 cmHorizontal dimension: 114.5 cm, Collected by CAFAMCAFAM————————— Cooperation between the Museum and the School —————————Extend the Display of Museum CollectionsReporter: Digital technology has also been applied in the exhibition to conduct digital restoration and display of some cultural relics. Could you please give an example to explain why we need to carry out such exploration in this regard?Jin Jun: Taking the "Portrait of Arhats" mentioned just now as an example, we are currently developing multiple display programs in combination with digital technology. The parts of digital restoration and digital display are indeed a highlight in the exhibition of ancient art. Some parts that have been completed at the present stage have already been presented in the exhibition hall. For example, there is a painted ceramic figurine from the Tang Dynasty with the number 836 in the exhibition hall. We created a digital replica for this collection that is covered with historical traces, and then used two methods, artificial intelligence generation and traditional digital drawing, to simulate its restoration. The audience can intuitively understand its original appearance as the digital ceramic figurine on the screen is updated.Over the years, on the one hand, we have made it possible for the collections that are rarely exhibited to be shown; on the other hand, we have used new means such as digital technology to breathe new life into these artworks and expand their dissemination. Whether it is using artificial intelligence to restore damaged cultural relics or making ancient paintings into dynamic images, I think the core lies in how to arouse the interest of today's audience, especially some younger audiences, and enable them to have a deeper understanding of the connotations and values of Chinese history and culture. What digital technology restores is not just the surface of cultural relics, but also our Chinese cultural heritage that has endured for thousands of years.Reporter: As an art museum of a higher education institution, what kind of interaction is there between the museum and the school? Please talk about it specifically in combination with this exhibition.Jin Jun: Different from public art museums in society, art museums in higher education institutions usually take into account some teaching and research within the school. Looking back, one of the original intentions of the college's purchase and collection of items was to serve as teaching demonstrations for learning.Specifically regarding this exhibition, we have had in-depth interactions with the school at two levels. Firstly, during the preparation stage, there is interaction in research. Teachers from relevant majors have provided academic support in aspects such as the selection of collections, research on key collections, and digital display of collections. Secondly, after the exhibition is launched, the exhibition hall of the art museum serves as the second classroom for the school's teaching. Relevant professional courses such as art history, art archaeology, restoration, digital development, and design all include the exhibition in their teaching scope. Their teaching content and course assignments will also contribute to the future updates of the exhibition.Reporter: What aspects will we further expand on in the future regarding this exhibition?Jin Jun: The display of museum collections is a long-term task for the art museum. Based on the current exhibition situation, we have continuous work plans in aspects such as digital development, cultural and creative design, collection updates, and academic research. Specifically, we will continue to cooperate with relevant majors and courses of the school, and launch more cases of collection restoration simulation and digital dynamic display in the exhibition hall. We will also fully consider the possibilities brought by technological iterations to the presentation of digital art. In recent years, the derivatives of the art museum have become a powerful channel for the dissemination of collections. We have already organized a design team for key and characteristic collections and formulated a plan to develop high-quality cultural and creative products. At the same time, research and collection work will also continue. The team will continuously enrich the interpretation of the exhibited collections, and some newly acquired works and restored works will be gradually updated into the exhibition.The Exhibition Site of "Collection Of CAFA ART Museum — Ancient Chinese Art"Demonstration Diagram of the Simulated Restoration of Cultural RelicsReporter: By Lai Rui. The original text was published on page 12 of the Overseas Edition of People's Daily on March 13, 2025.Collection Of CAFA Art Museum——Modern Chinese ArtExhibition Time: Starting from July 23, 2024Exhibition Venue: 2B Gallery, CAFA Art MuseumCollection Of CAFA Art Museum——Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: 2A Gallery, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / DuyinzhuOn-site Photos / He Yifei
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: CAFAM Live Broadcast Preview | Exploring the Contemporary Significance of "Transmission and Imitation" from Exhibition Planning, Teaching to Creation

2025-03-12

C A F A MAt 14:00 on Wednesday, March 12thOn Douyin, WeChat Channels, Xiaohongshu, and BilibiliFollow the official account of @CAFAMFour keynote speakers from the Central Academy of Fine ArtsWill from the perspective of the exhibition planning conceptCombined with the teaching and creative experience of Chinese paintingIntroduce the contemporary significance of "Transmission and Imitation"———————————————————C A F A MLive Broadcast Introduction ——————————————————————————————————————| Guided Tour Guest |Qiu TingXu HualingChen XiangfengCong TaoIntroduction of the Guided Tour Guests ————————————————————————————————————— Qiu Ting ◢ Dean, Professor and Curator of the School of Chinese Painting at the Central Academy of Fine Arts. Xu Hualing ◢ Professor of the School of Chinese Painting, Central Academy of Fine Arts. Chen Xiangfeng ◢ Director of the Creative and Research Department of the School of Chinese Painting at the Central Academy of Fine Arts, Professor, Assistant Curator. Cong Tao ◢ Postdoctoral Fellow in Faculty of Central Academy of Fine Arts, Assistant Curator.传移模写中央美术学院中国画临摹教学作品展主办单位：中央美术学院承办单位：中央美术学院中国画学院中央美术学院美术馆展览时间：2025年1月21日-4月16日展览地点：中央美术学院美术馆三层展厅Chief Editor / He YishaEditor / Du YinzhuEditor / He Yifei
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: Travel Through A Thousand Years! CAFA Takes You On An Immersive Experience of Traditional Chinese Culture

2025-03-10

When the trend of Hanfu sweeps into CAFA Art Museum, put on your beautiful Hanfu and come to take photos! The exhibition hall on the third floor of CAFAM brings together the essence of the teaching of copying in Chinese painting at the Central Academy of Fine Arts over the past century. There are more than 300 works in total. Whether they are landscape paintings, flower-and-bird paintings or figure paintings, they all allow people to feel the profound artistic conception and humanistic feelings of Chinese painting. At the same time, it also reflects the contemporary significance of "copying and transmitting".
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: Shen Zhou, The Head Of The "Four Masters Of The Wu School" | Sooner Or Later, You Will Fall In Love With Him

2025-03-09

The exhibition "Collection Of CAFA Art Museum" is currently being held at the Art Museum of the Central Academy of Fine Arts. The part of ancient Chinese art presented this time is one of the characteristics of the museum's collection. More than 200 pieces of the collection have been selected and are exhibited in two major categories: "utensils" and "calligraphy and paintings". The time span covers two thousand years. This push article will lead the audience into the brushwork and spiritual world of the ancients through Shen Zhou's painting "The Picture of the Cloud and Water Abode". When you see with your own eyes the brushstrokes that spread out on the raw rice paper more than 500 years ago and stop in front of the spiritual "abode" built for you, sooner or later you will also fall in love with him!Shen Zhou, The Picture of the Cloud and Water Abode, created in 1503, colored painting on paper, 33cm*164cm, collected by CAFAMShen Zhou (1427-1509), styled Qinan, pseudonym Shitian, and later known as Baishiweng, was from Changzhou (now Suzhou). He was born into a family with a background in poetry, calligraphy, and painting. Throughout his life, he never took the imperial examinations. He had a rich collection, made extensive friends, and was proficient in painting. Shen Zhou was the founder of the Wu School of Painting. Together with Wen Zhengming, Tang Yin, and Qiu Ying, he was known as the "Four Masters of the Ming Dynasty." In his early years, his landscape paintings inherited the family's artistic tradition and received guidance from Du Qiong and others. Later, he learned from Dong Yuan and Ju Ran. In his middle age, he followed the style of Huang Gongwang as his model. In his later years, he drew inspiration from Wu Zhen. His works combined elements of the Song and Yuan dynasties and formed his own unique style.Shen Zhou's artistic creations have always been closely connected with nature. He declined the court's recruitment and chose to observe the changes of the four seasons at the "Youzhu Village" by the Taihu Lake, integrating his philosophical thoughts on time into his paintings. In his poems and paintings, there often shows "the deep sentiment of mourning the passing of time", yet he also cherishes the present moment with a sober attitude. This contradiction becomes the core of the charm of his art.In his early years, Shen Zhou's works mainly featured fine brushstrokes, with a rigorous and meticulous style. After reaching middle age, he shifted to using thicker brushstrokes, integrating the vigorousness of the Southern Song Dynasty style with the freshness and smoothness of the Northern Song Dynasty style, and his brushwork was robust, powerful and rich in texture. He was proficient in incorporating the essence of calligraphic brushwork into his paintings, forming a unique artistic language characterized by "abundant brushstrokes and vigorous ink application".In the painting "The Picture of the Cloud and Water Abode", a small boat sails on the water surface. There is a person sitting in the boat. There are slightly some cattail plants on the water. The lines depicting the folds of the clothes are vigorous, simple and concise. Dense flowing clouds cover the sky above. They are faintly tinted with ink, showing a gradation of shades from dark to light. The use of the brush is like the flowing of clouds and water. Sometimes, the brushwork of running and cursive scripts is interspersed. It twists and turns with pauses and reveals a hint of sharpness.Partial View of The Picture of the Cloud and Water AbodeShen Zhou used light ink to texture and dye the cloud layers, and dark ink to outline the contours of the mountains and rocks. He expressed the profoundness of the space through the contrast between dry and wet ink. The small boat was outlined with fine brushstrokes, and the lines of the figure's clothes were simple and concise. This formed a balance between movement and stillness with the hazy background, demonstrating his style in his later years, which was "bold and unrestrained in a rough and simple way" yet introverted and profound.Partial View of The Picture of the Cloud and Water AbodeHis style is different from the common appearance of thick brushstrokes often seen in Shen Zhou's landscape paintings. However, his brush and ink work is exquisite and full of artistic conception, creating a sense of tranquility in the "empty green space". His landscape paintings not only depict nature, but also convey the ideals of literati through the figures in the scenes. The people in the paintings are often placed in the "ideal landscape" where the real and the illusory coexist. It is both a projection of reality and an externalization of the spirit.Partial View of The Picture of the Cloud and Water AbodeAt the end of the scroll, there is the inscription by the author: "Mr. Zhi Rou Qiu had a scroll titled 'The Cloud and Water Abode'. When he was alive, he once entrusted me with the task of creating an illustration for it. Time passed by, and I couldn't complete it. Since Mr. Qiu has passed away for a long time, his heir sent a letter to remind me of his original intention, so I completed this piece of paper. However, Mr. Qiu's poetic talent still resounds around the lake up to now, and his poetic spirit should also not fade away. By looking at this picture and summoning him, he might appear among the clouds and water. On the ninth day of the ninth lunar month in the Guihai year of the Hongzhi Reign, Shen Zhou from Changzhou." Below the inscription, there is a vermilion seal with the character "Qinan". Both the calligraphy and the seal are no different from the authentic works. According to the textual research and study by Mr. Xue Yongnian, this painting was created in 1503 AD. Shen Zhou was seventy-seven years old by Chinese reckoning. It was painted at the request of the poet Zhu Zhi Rou. By the time it was completed, Zhu had already passed away. Mr. Xue believes that the identity of Zhu Zhi Rou remains to be verified, and "The Cloud and Water Abode" is the name of his study. Landscape paintings of studies, which take the study as the main body and depict the life of the study owner, emerged in the Yuan Dynasty and were often created in the Ming Dynasty. However, this painting is not a landscape painting of a study but an "illustration for the study", which is used to guide readers to visit the study. Therefore, the artistic conception is constructed with the virtual replacing the real, full of poetic flavor, which is highly in line with the unique artistic charm of the landscape paintings by the literati painters of the Wu School in the Ming Dynasty.This painting bears four seal impressions of Zhu Zhichi, a collector from the late Ming Dynasty to the early Qing Dynasty, in vermilion characters. They are respectively: "Treasure Collection of Books by Zhu Zhichi of Xiuning", "To Be Treasured by Descendants", "Appreciation by Zhu Zhichi", and "Collected by Wo'an". The first two seals are no different from those commonly used by Zhu Zhichi, but they have not been recorded in the Catalogue of Calligraphy and Paintings Collected by Zhu Wo'an. There is also an inscription by Wen Congjian from the late Ming Dynasty to the early Qing Dynasty. The inscription reads: "Minister Dong commented on the paintings of the late Grand Historian, saying that the small works of the Grand Historian are of a quality that surpasses those of exquisite craftsmanship by several yojanas. The essence of the excellence lies within the brush and ink. As for the playful techniques, one should not seek them in terms of the appearance of horses. The same is true for Master Baishi. His large scrolls and high screens exude an aura that can engulf heaven and earth. Viewers feel as if they are facing Mount Lushan and Mount Tai and dare not look up directly. It is not as good as the depiction of a gentle stream, a faint moon, and idle clouds, which reveals the true face of nature. The wonder of this scroll is truly indescribable. I just want to sit and lie beneath it for three days. This inscription is written while recalling the poet by the lakeside, as if mourning Qu Yuan by the Xiang River. On the sixth day of the twelfth lunar month in the yimao year, I respectfully inscribe this in the Tingyun Pavilion while burning incense. Wen Congjian, a later scholar." At the beginning of the inscription, there is an oval seal impression of "Kaiyun Tower" (in white characters), and below the signature, there are seal impressions of "Seal of Wen Congjian" (in white characters) and "Yu Yanke" (in white characters). The inscription was written in 1539 AD, seemingly before the painting was collected by the Zhu family of Xiuning. This inscription reflects the evaluation of this painting by the descendants of the Wen family. This painting was once published in the Catalogue of Ancient Chinese Calligraphy and Paintings (Volume One). (The above interpretation of this work by Mr. Xue Yongnian is quoted from the Catalogue of the Special Exhibition of "The Artistic Conception and Craftsmanship: An International Academic Symposium on Ming and Qing Paintings", p21.)It is worth mentioning that The Picture of the Cloud and Water Abode is currently on display in the exhibition hall on the third floor of CAFA Art Museum. Viewers who wish to see the original work with their own eyes are welcome to come and visit.The information about the inscription and seal impressions of this work:Inscription: Mr. Zhi Rouqiu had the scroll titled "Dwelling in the Clouds and Waters". When he was still alive, he once entrusted me with the task of creating an illustration for it. Time passed by, and I couldn't complete this task. It has been a long time since Mr. Zhi passed away. His heir sent me a letter, reaffirming his original intention. So I finally made this painting. However, Mr. Zhi's poetry is still renowned around the lake area up to now, and his poetic spirit should surely remain unforgettable. When pointing at this picture, one might imagine him appearing amidst the clouds and waters. On the 9th day of the 9th lunar month in the year of Hongzhi Guihai (1503), Shen Zhou of Changzhou.Seal impression: Qinan (a square seal with characters in intaglio) Colophon: Minister Dong commented on the paintings of the late Grand Historian as follows: "The Grand Historian's small works possess a quality that surpasses those that are exquisitely crafted." The subtlety of such masterful works lies within the strokes of the brush and ink. As for the artistry born out of spontaneous play, one should not seek to understand it merely by focusing on superficial aspects, just as one should not judge a horse solely by its color or gender. The same is true for the Elder of White Stone. His large-scale paintings on tall screens are so imposing that their aura seems to be able to engulf the heaven and earth. When viewers gaze upon them, they feel as if they are facing Mount Lushan or Mount Tai and dare not look up directly. It is not as good as the depictions of faint mountains, shallow waters, a slender moon, and idle clouds, which capture the true visage of nature. The wonder of this scroll is beyond description. I only wish I could sit or lie beneath it. After three days, I write these words, recalling the poet by the lakeside. It feels as if I am paying homage to Qu Yuan by the Xiao and Xiang Rivers. On the sixth day of the twelfth lunar month in the Jichou year, I burn incense and respectfully write this colophon in the Tingyun Pavilion. Wen Congjian, a junior scholar.Seal Imprints: Kaiyun Tower (Zhuwen oval seal), Seal of Wen Congjian (Baiwen square seal), The Style Name is Yanke (Baiwen square seal)Seal Imprints for Appreciation and Collection: Appreciated by Zhu Zhichi (Zhuwen square seal), Collected by Wo'an (Zhuwen square seal), To Be Preserved by Descendants (Zhuwen square seal)Collection Of CAFA Art Museum——Ancient Chinese ArtExhibition Duration: Long-term ExhibitionExhibition Venue: Gallery 2A, CAFA Art MuseumChief Editor / He Yisha Editor / Du Yinzhu
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: Today Is The Awakening Of Insects

2025-03-05

Today is the Awakening of Insects
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: Exclusive Exploration: How Was the "Version of the Central Academy of Fine Arts" of Night Revels of Han Xizai Created!

2025-03-04

"Transmission and Imitation: Exhibition of Works from the Chinese Painting Copying Teaching of the Central Academy of Fine Arts" is currently on display at CAFA Art Museum. This exhibition showcases more than 300 pieces of copied works, sketches for teaching students, and creations transformed from copying in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past hundred years. In the copying courses of figure painting, landscape painting, and flower-and-bird painting in the Chinese Painting Academy of the Central Academy of Fine Arts, which ancient masterpieces are respectively taken as models? And what experiences of modern renowned artists have served as inspiration to bridge traditional and modern aesthetic concepts? Let's unveil them one by one through the works.Night Revels of Han Xizai by Gu Hongzhong is a pinnacle work of ancient Chinese paintings, depicting the scene of a night banquet with singing and dancing held at the residence of Han Xizai, a powerful court official. The teachers and students of the Central Academy of Fine Arts, over several decades, completed a series of the "Version of the Central Academy of Fine Arts" of Night Revels of Han Xizai through the method of "relay copying". Li Keran once said, "Tradition is not a constraint, but a cornerstone of innovation. Only by deeply understanding and respecting tradition can one maintain the right direction during the process of innovation and preserve the cultural root." Generations of artists from the Central Academy of Fine Arts have proven with their brushes how the traditional aesthetic genes can rejuvenate in a modern context.The Night Revels of Han Xizai copied by Hu Bo, which is on display at the "Transmission and Imitation" exhibition, reflects his profound traditional foundation and his awe for classic culture. As a professor at the Central Academy of Fine Arts, Hu Bo copied this work twice during his postgraduate study from 1978 to 1980. The work exhibited this time is the second complete copy under the guidance of Mr. Liu Lingcang. It is not just an ordinary copied work; it also contains the stories of the successive generations of mentorship within the Chinese Painting Academy of the Central Academy of Fine Arts.Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (the version by Chen Linzhai) by Hu Bo. Exhibition scene. Ink and colors on silk. 38.5cm×355.5cm. 1979The copy that Hu Bo used was the facsimile made by Chen Linzhai, a senior at Rongbaozhai, based on the original work Night Revels of Han Xizai by Gu Hongzhong collected in the Palace Museum. Rongbaozhai spent eight years in total before finally reproducing Night Revels of Han Xizai using the woodblock watermark printing method. This is also a pinnacle work of the traditional woodblock printing technique. At that time, the senior painter Chen Linzhai personally traced and separated the colors, the woodblock carving technician Zhang Yanzhou engraved the plate, and the printing technician Sun Lianwang skillfully and meticulously printed it. When making the woodblock watermark print of Night Revels of Han Xizai, Chen Linzhai first made a copy of the original work by Gu Hongzhong treasured in the Palace Museum. After Chen Linzhai's copying, the original in the Palace Museum went through the processes of washing, peeling and remounting. Judging from the depth of the silk color and the charm of the antique, Chen Linzhai's copy seems to be superior to the original. Therefore, there was once a case where someone mistook the copy for the original, which is also one of the interesting anecdotes in the art world and is sufficient to illustrate the exquisite craftsmanship of Chen Linzhai's copy.Hu Bo's Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (Transmitted Version) - On-site PictureIn 1979, under the personal guidance of Mr. Liu Lingcang, Hu Bo completed the copying of this Night Revels of Han Xizai. The copy selected for Hu Bo by Mr. Liu Lingcang was exactly the treasure of Rongbaozhai—the copy made by Chen Linzhai (which is now collected by the Palace Museum). Because Mrs. Guo Muxi, Mr. Liu Lingcang's wife, had been engaged in the copying of ancient paintings in the Palace Museum for 12 years and had guided and participated in the woodblock watermark printing work at Rongbaozhai. Due to work needs, she could bring Chen Linzhai's copy home, but it was absolutely forbidden to spread it outside. Therefore, Mr. Liu Lingcang rather "domineeringly" asked his wife to take out Chen Linzhai's copy and offered her painting table for Hu Bo to use.In this way, for a full month and a half, Hu Bo rode a bicycle every day between Wangfujing and Mr. Liu's home located in Qian Sanmen. From selecting the copy to outlining the lines and then applying the colors, he completed the copying of this work under the personal guidance of Mr. Liu.Hu Bo's Copy of Night Revels of Han Xizai by Gu Hongzhong from the Five Dynasties (Transmitted Version) - On-site PictureThe lines of this copied work are both firm and gentle, and the coloring is fresh, elegant and refined. Especially in the depiction of the characters' faces, clothing, and gestures, it not only retains the delicate details of Gu Hongzhong's original work, but also incorporates the elegant temperament of modern meticulous brushwork with heavy color. In terms of composition, it continues the original work's techniques of "scattered perspective" and the use of screens to divide and narrate, presenting the plots such as "listening to music" and "watching a dance" in a coherent manner, vividly and incisively reproducing the protagonist's detached and uninhibited, as well as gloomy and melancholy demeanor. Hu Bo once said, "Through copying, we can understand the techniques of our predecessors, directly draw on them, and ultimately make them our own. More importantly, we should understand the artistic spirit and the vein of painting contained in the brush and ink techniques of the ancients, and comprehend the soul of Chinese culture. With the confidence and foundation nourished by Chinese culture, in the colorful international art world, we will know where we should go."It is worth mentioning that when dyeing the imitation old silk fabric, since Mr. Liu's home was only a two-bedroom apartment and too small, Hu Bo found a classroom at the Central Academy of Fine Arts. During this period, Mr. Liu, who was over seventy years old, visited the school several times to provide on-site guidance. Due to the length of the silk fabric, it could only be hung horizontally with clips for drying, which caused a slight deformation of the silk surface. If it was cut evenly, there was a fear that it would affect the size. Therefore, Hu Bo's copied work was only mounted on paper and not framed with an axis. It is precisely this special way that records the beautiful story of the inheritance from generation to generation among the teachers and students of the Central Academy of Fine Arts.At the same time, this exhibition also showcases several copies of The Night Revels of Han Xizai made by the teachers and students of the Central Academy of Fine Arts. Viewers who are interested can come to the exhibition site to carefully appreciate these works.On-site photo of Jiao Kequn's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×73cm, 1957On-site photo of Jiao Kequn's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×73cm, 1957On-site photo of Shan Yinggui's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×59cm, 1959On-site photo of Shan Yinggui's copy of The Night Revels of Han Xizai attributed to Gu Hongzhong of the Five Dynasties period. Painted with colors on silk, 28cm×59cm, 1959●○Transmission and ImitationExhibition of Works from the Copying Teaching of Chinese Painting in the Central Academy of Fine ArtsSponsor: Central Academy of Fine ArtsOrganizers: School of Chinese Painting of CAFA; CAFA Art MuseumExhibition Time: January 21, 2025 - April 16, 2025Exhibition Venue: Exhibition Hall on the 3rd Floor of CAFAMChief Editor / He YishaEditor / Du Yinzhu
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: The Opening of the Grand Exhibition at the Central Academy Of Fine Arts: "Transmitting and Imitating" Activates the Contemporary Novelty of Chinese Painting Teaching

2025-03-03

On March 2, 2025, the "Transmitting and Imitating: Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts" was opened. The exhibition was hosted by the Central Academy of Fine Arts and undertaken by the Chinese Painting Academy of the Central Academy of Fine Arts and CAFA Art Museum. This exhibition showcases more than 300 pieces of copied works, sketches for teaching students, and works transformed from copying to original creation in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past century. The aim is to explore the academic value and contemporary novelty of the ancient method of "transmitting and imitating" in the teaching of Chinese painting in contemporary higher art academies, and to discuss the profound connotations and positive significance of the cognitive system of Chinese painting in the context of globalization.Jin Shangyi, Honorary Chairman of the China Artists Association and former President of the Central Academy of Fine Arts, Feng Yuan, Deputy Director of the Central Research Institute of Culture and History, Zhang Lichen, a senior professor at the Central Academy of Fine Arts, Lin Mao, President of the Central Academy of Fine Arts, and Qiu Ting, Dean of the Chinese Painting Academy of the Central Academy of Fine Arts, delivered speeches at the opening ceremony. Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts, announced the opening of the exhibition.Senior artists who have long devoted their efforts to the teaching of Chinese painting and shown care and support for the construction of the Chinese painting discipline, such as Jiang Caiping, Li Baolin, Lou Jiaben, Wang Tongren, Ma Zhensheng, Guo Yicong, Xie Zhigao, Jiang Baolin, Du Dakai, Li Yan, Sun Jingbo, Liu Zhengcheng, Tang Yongli, and other gentlemen, attended the opening ceremony of the exhibition and viewed the exhibits.Fan Di'an, President of the China Artists Association and former President of the Central Academy of Fine Arts, Zhao Weidong, Executive Deputy Minister of the Publicity Department of the Beijing Municipal Committee, Liu Xuejun, Director of the China Broadcasting Art Troupe, Liu Wanming, Vice President of the China Artists Association and President of the National Academy of Painting, An Yuanyuan, Secretary of the Party Committee of the National Art Museum of China, Zhao Dong, Secretary of the Party Committee and Executive Director of Rongbaozhai Co., Ltd., Li Hongqiang, President of the People's Fine Arts Publishing House, Han Yun, Deputy President of the Higher Education Press of the Ministry of Education, Yang Xiaoyang, President of the China Culture and Art Development Promotion Association and former President of the National Academy of Painting, Xu Li, former Secretary of the Party Leadership Group of the China Artists Association, Lu Yushun, former President of the National Academy of Painting, Qi Haifeng, Vice President of the China Artists Association, He Jiaying, former Vice President, Liu Jian, former Secretary General, Wan Jie, Chairman of the Artron Group, Tian Zhong, President of the Hebei Fine Arts Publishing House, as well as the heads of well-known national art institutions and art colleges, the leadership team of the Central Academy of Fine Arts, and members of the Academic Committee attended the opening ceremony of the exhibition. Wang Xiaolin, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, presided over the opening ceremony.Lin Mao, President of the Central Academy of Fine Arts, delivered a speech.In his speech, Lin Mao stated that since the last century, the Central Academy of Fine Arts has taken the teaching system of "the trinity" of copying, sketching, and creating as its core to lay the foundation for the education of the Chinese Painting Academy, integrating the long-standing tradition of Chinese painting into the modern education system. He mentioned that Chinese painting should not only safeguard its cultural essence but also explore new languages and forms. Just as Mr. Li Keran mentioned on multiple occasions: "Sink in with the greatest effort and break out with the greatest courage." This two-way path of inheritance and innovation is precisely the key to keeping Chinese painting vibrant in the contemporary era. This exhibition is a historical sorting out and presentation of the teaching achievements of Chinese painting copying at the Central Academy of Fine Arts since its establishment. "Transmitting and imitating" is not only a reflection on the essence of contemporary Chinese painting but also a new opportunity to explore the training mode and discourse system for professional talents in Chinese painting in the new era. The school will also strive to cultivate outstanding talents with a sense of social responsibility and cultural mission of the times, making more contributions to building a strong educational and cultural country.Jin Shangyi, Honorary Chairman of the China Artists Association and former President of the Central Academy of Fine Arts, delivered a speechIn his speech, Mr. Jin Shangyi traced back the historical traditions of Chinese painting over the past thousand years and the development process of Chinese painting teaching over the past hundred years. He mentioned that artistic creation should reflect people's lives. In the Chinese painting teaching system, sketching classes have been added, enabling teachers and students to paint real people with distinct personalities to solve the problem of figure modeling, thus establishing a teaching system of "the trinity" of copying, sketching, and creating. He stated that in Chinese painting teaching, there is no need to debate the issues of "integration of Chinese and Western art" and "maintaining a distance." We should strengthen the role of traditional culture and make copying, an important way to learn from traditions, better combine with sketching, which aims to "solve the problem of figures and reflect life," so as to develop our Chinese painting.Feng Yuan, Deputy Director of the Central Research Institute of Culture and History, delivered a speechIn his speech, Feng Yuan stated that this exhibition has threefold significance: Firstly, it is about "reviewing the old and learning the new," looking back and sorting out the historical context of Chinese painting teaching over the past hundred years. Secondly, it combines the current teaching issues, explores the correlations among the purposes, functions, and methods, and further excavates deeper academic significance. Thirdly, it adheres to the right path and promotes innovation, highlighting the practical value of the "two innovations" and deeply grasping the distinct characteristics of Xi Jinping Thought on Culture. With the theme of "Transmitting and Imitating," the exhibition not only presents the teaching and educating methods of the Central Academy of Fine Arts that take copying as the foundation and an important link in the tradition but also provides many new topics. It is hoped that Chinese painting will have a broader space in its future development and in the exchanges between Eastern and Western civilizations. It is also hoped that the Central Academy of Fine Arts will continue to play a leading role in the innovative development of Chinese painting teaching across the country.Zhang Lichen, a senior professor at the Central Academy of Fine Arts, delivered a speechMr. Zhang Lichen stated that the Central Academy of Fine Arts has always been grounded in the excellent traditional Chinese culture and has been showcasing Chinese art to the world with the achievements of traditional Chinese painting teaching. "Transmitting and Imitating" is one of the "Six Principles of Painting" put forward by Xie He in his "Record of Ancient Paintings". It is an important way for the inheritance of Chinese painting, having its own unique development form, and has also become an important method in the teaching of Chinese painting during the process of artistic development. At the Academy of Fine Arts, "taking the copying class seriously" has always been the commitment of teachers and students majoring in Chinese painting. The exhibition not only showcases the outstanding works of the copying practices of generations of teachers and students but also provides a concentrated demonstration for the future teaching of Chinese painting.Qiu Ting, Dean of the Chinese Painting Academy of the Central Academy of Fine Arts, delivered a speechQiu Ting briefly introduced the curatorial situation of this exhibition. He particularly mentioned that the exhibition design showcases eight discussions on "transmitting and imitating" from painting theories of different dynasties. Traditional classics are "inspiring", and tracing back to these traditional classics has a sense of "experimentation" and "openness", which reflects the cultural spirit of the Chinese people's exploration of the relationship between "the ancient and the new" over thousands of years. In the era of fragmentation, Chinese art has the soft power to soothe people's hearts and the cultural plasticity to mend the broken models. By sorting out the achievements of Chinese painting copying teaching in the National Beiping Art School over the past hundred years, this exhibition presents a complete cognitive learning system of Chinese painting. At the same time, taking this exhibition as a starting point, the Chinese Painting Academy of the Central Academy of Fine Arts should shoulder the responsibility of the times to deeply explore, reconstruct, and innovatively transform traditional culture, and jointly explore the possibilities of Chinese painting's "beginning, development, transition, and conclusion, and its continuous growth".Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts, announced the opening of the exhibition.Wang Xiaolin, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, presided over the opening ceremony■ The Scene of Visiting the Exhibition ____________■ At the Exhibition Site ________________■ Exhibition Works (Partial) _______________ 01 Exemplary Works It showcases the copied works of teachers and students majoring in Chinese painting since the 1950s of the 20th century, and pays attention to the foundation of learning methods in the teaching of copying. Qi Baishi's "Record of Badashanren's Painting Draft" Ink and wash on paper, 30.5cm×16.4cm In 1907 Collected by Beijing Fine Art Academy Qi Baishi's Copy of Zhu Da's (in the Qing Dynasty) "Flowers in a Vase" Ink and wash on paper, 30cm×25.5cm Unknown era Collected by Beijing Fine Art Academy Yu Feian's Copy of the Supposed "Portrait of an Imperial Falcon" by Zhao Ji of the Northern Song Dynasty Color on silk, 165cm×80.5cm In 1954 Collected by Beijing Fine Art Academy Wang Xuetao's Copy of Lü Ji's (in the Ming Dynasty) "Plum Blossoms in Snow and Turtledoves" Color on paper, 165cm×81cm In the 1950s Collected by Wang Xuetao Memorial Hall Li Keran's "Imitation of a Painting by Badashanren" Ink and wash on paper, 76cm×42cm In 1943 Collected by the Li Keran Art Foundation Guo Weiqu's Copy of the Landscape Painting by Wu Zhen of the Yuan Dynasty Ink and wash on paper, 117.5cm×26.5cm In the 1940s Collected by Guo Weiqu Art Museum Liu Lingcang's Copy of the Portrait of Wang Anshi from the Collection in a Hall of the Qing Dynasty Color on paper, 50cm×33cm Unknown era Huang Jun's Copy of the Supposed "Herding Horses" by Han Gan of the Tang Dynasty Ink and wash on paper, 33cm×37cm In 1953 Zong Qixiang's Copy of a German Copperplate Print Color on paper, 60x105cm In 1942 Collected by the Art Museum of Central Academy of Fine Arts Jiang Caiping's Copy of a Part of the Supposed "Night Revels of Han Xizai" by Gu Hongzhong of the Five Dynasties Period Color on silk, 28cm×77cm In 1958Lu Chen's Copy of the "The Story of Zhu Yun Breaking the Balustrade" by an Unknown Painter of the Song Dynasty Color on silk, 128cm×66cm In 1958 Fan Zeng's Copy of the "Chrysanthemums" by an Unknown Painter of the Song Dynasty Color on paper, 59cm×37cm In 1959 Zhou Sicong's Copy of the Portrait of Xiao He from the Collection in a Hall of the Qing Dynasty Color on paper, 51cm×40cm In 1959 Guo Yicong's Copy of Ren Yi's Four-piece Screen Paintings in the Qing Dynasty Color on paper, 180cm×48cm×4 In 1960 Deng Lin's Copy of Han Huang's "Five Oxen" of the Tang Dynasty Color on paper, 21cm×147cm Unknown era Jia Youfu's Copy of Gong Xian's Works in the Qing Dynasty Ink and wash on paper, 30cm×24cm In 1963 02 Heritage It showcases the investigations and copies of the murals at places such as the Mogao Grottoes, Maijishan Grottoes, Yongle Palace, and Fahai Temple by teachers and students of the academy in successive years. It reconstructs the ancient art heritage from the perspectives of material civilization and social culture. Deng Bai's Copy of the Flying Apsaras in the Murals of Maijishan Grottoes Color on paper, 47cm×78cm In 1953 Collected by CAFA Art Museum Deng Bai's Copy of the Flying Apsaras in the Murals of Maijishan Grottoes Color on paper, 47cm×78cm In 1953 Collected by CAFA Art Museum Wu Zuoren's Copy of a Part of the Armored Horse in the Murals of Maijishan Grottoes Color on paper, 72cm×87cm In 1953 Collected by CAFA Art Museum Sun Zongwei's Copy of the Musician Figures in the Murals of Maijishan Grottoes Color on paper, 58.5cm×38cm In 1953 Collected by CAFA Art Museum Zhang Ding's Copy of the "Portrait of a Bhikkhu" in the Murals of Bingling Temple Color on paper, 37.5cm×29cm In 1952 Collected by CAFA Art Museum Li Hu's Copy of the Murals in the Dunhuang Grottoes of the Tang Dynasty (No. 2) Color ink on paper, 59cm×63.2cm In 1961 Collected by the family Lu Hongnian's Copy of the Buddhist Statue in the Murals of Maijishan Grottoes Color on paper, 117cm×120cm In 1953 Collected by the Art Museum of Central Academy of Fine Arts
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: The Flow of Time in "Chuan", Yu Hong Outlines the Urban Vitality of the 1980s with Colors

2025-02-28

"Chuan" is a work created by Yu Hong in 1988 when she graduated from undergraduate studies and remained at the school as a faculty member. This period was in the mid-to-late 1980s in China, which was an important turning point in Chinese contemporary art. As one of the representative painters of this era, Yu Hong has a unique personal style. This work marks Yu Hong's transition from realism to an exploration of a more expressive language, and it is also a visual testimony to the transformation of urban culture in China during the 1980s of the 20th century. "Chuan" is on long-term display in the exhibition "Collection of CAFA Art Museum--Modern Chinese Art". Come and see how Yu Hong outlines the urban vitality of the 1980s with colors.>>>>"Chuan", by Yu Hong,1988, Oil on Canvas,130×140 cm, Collected by CAFA Art MuseumThis work depicts a group of young urbanites in the prime of their lives walking against the wind. The female figure at the forefront of the painting is generally regarded as a portrayal of Yu Hong herself. The figures in the painting are slightly distorted, and the clarity of traditional realism is eliminated through blurred boundaries. This treatment not only preserves the dynamism of the figures but also endows the painting with a flowing poetic quality, presenting a reflection of the fast-paced urban life and demonstrating a stronger artistic expressiveness of the work. On the basis of realism, Yu Hong enhances the role of colors and brushstrokes, making the painting exhibit a visual impact and full artistic tension. The work adopts a distinct and contrasting color tone. In terms of composition, Yu Hong skillfully arranges the positions and movements of the figures, giving the painting a sense of fluidity and rhythm. At the same time, through the treatment of the background and the application of light and shadow, she creates a unique atmosphere and sense of space."Chuan" employs the rough scraping knife technique to create textures on the canvas. This kind of confrontational brushwork not only echoes the sense of tearing in the fast-paced urban life but also conveys the fervor and confusion of youth through the thick feeling brought by the accumulation of pigments. By depicting the life scenes of urban young people walking against the wind in the 1980s, this work showcases the spiritual outlook and characteristics of that era. The composition of the painting breaks through the conventional perspective, connecting the figures and space with dynamic lines. This kind of brushwork is not only an abstract extraction of the natural landscape but also a visual expression of the passage of time, ultimately constructing a spiritual field full of tension.>>>>Collection Of CAFA Art MUseum——Modern Chinese ArtExhibition Time: Starting from July 23, 2024Exhibition Venue: 2B Gallery, CAFA Art MuseumSponsor of Professional Exhibition Lighting:AKZU (Shenzhen AKS Lighting System Co., Ltd.)Exhibition Space Architectural Design Consultant:China Academy of Building ResearchChief Editor / He Yisha Editor / Du Yinzhu
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: Let's Explore The "Ancient Chinese Art" Collected by the CAFA Art Museum Spanning Thousands of Years Together | CAFAM Live Broadcast Preview

2025-02-28

At 14:00 on Friday, February 28thOn Douyin, WeChat Channels, Xiaohongshu, and BilibiliFollow the official account @CAFAM Art MuseumThe exhibition "Collection of CAFA Art Museum — Ancient Chinese Art" is currently on display, showcasing more than 200 precious cultural relics and artworks from the museum's collection. For this live broadcast, Gao Gao, Deputy Director of CAFA Art Museum, and Liu Xiyan, Director of the Planning and Research Department, are specially invited. They will explore these art treasures that have spanned thousands of years together with the audience.C A F A MLive Broadcast Introduction| Live Broadcast Guests |Gao GaoDeputy Director of CAFA Art MuseumLiu XiyanDirector of the Planning and Research Department of CAFA Art MuseumCollection Of CAFA Art Museum——Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: 2A Gallery, CAFA Art MuseumChief Editor / He Yisha Responsible Editor / Du Yinzhu
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: Li Keran: "Immerse oneself with the greatest effort, and break through with the greatest courage."

2025-02-25

"Transmission and Imitation: Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine Arts" is currently on display at the CAFA Art Museum. This exhibition presents more than 300 pieces of works, including copied Chinese paintings, teaching drafts for students, and creations transformed from copying in the Chinese painting copying teaching of the Central Academy of Fine Arts over the past century. In the copying courses of figure painting, landscape painting, and flower-and-bird painting majors at the Chinese Painting Academy of the Central Academy of Fine Arts, which ancient masterpieces are respectively taken as models? And which experiences of modern renowned artists have become the inspiration for connecting traditional and modern aesthetic concepts? Let's unveil the answers one by one through these artworks.●○Li Keran, a native of Xuzhou, Jiangsu Province, was an important landscape painter and art educator in China in the 20th century. He was born in 1907 and began to study traditional Chinese painting at the age of 13. In 1929, he entered the postgraduate class of the National Art Academy in Hangzhou (now China Academy of Art) to study Western painting, laying the artistic foundation for the integration of Chinese and Western art. He was deeply influenced by Qi Baishi and Huang Binhong, and put forward the proposition of "the transformation and revival of Chinese painting", advocating exploring the modernization path of Chinese painting through "intensively studying nature and tradition". Li Keran's teaching and creation had a significant impact on the development direction of landscape painting in the 20th century.In his artistic creation and education, Li Keran particularly emphasized the combination of copying and innovation. He advocated entering the spiritual core of traditional painting by "copying the classics" and integrating modern creative concepts on this basis. This teaching method has had a profound impact on the teaching of copying and creating based on copying in the Chinese Painting Academy of the Central Academy of Fine Arts. Through systematic copying training, students can not only have an in-depth understanding of the style of traditional brush and ink language, but also respect the ancients and innovate in their creation based on copying. Just as Li Keran mentioned many times: "Immerse oneself with the greatest effort, and break through with the greatest courage." "Immersing oneself" means inheritance, and "breaking through" means innovation. With his rigorous teaching philosophy and exemplary role, Li Keran has laid a solid foundation for the teaching system of Chinese painting.Li Keran, Imitating the Painting Style of Bada ShanrenInk on paper, 76 cm × 42 cm, 1943Collected by the Li Keran Art FoundationLi Keran's artistic style emphasizes "reading two books: nature and tradition." With the core of intensively studying nature and conducting in-depth sketching, he combines traditional brush and ink techniques with a modern sense of form. His landscape paintings are vivid in spirit and rich in layers, and the paintings often present a profound and solemn visual effect. He is adept at interpreting traditional landscapes from the perspective of modern people, not only retaining the essence of traditional brush and ink but also endowing the paintings with new connotations of the era. By pursuing the dual paths of "transformation" and "revival" simultaneously, Li Keran has pushed Chinese landscape painting to a new height and formed the landmark "Li Family Landscape" style.Partial View of Imitating the Painting Style of Bada ShanrenThe Imitating the Painting Style of Bada Shanren presented in the "Transmission and Imitation: Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine Arts" is one of Li Keran's works that pays tribute to traditional masters. This painting draws on the unique style of Bada Shanren, reflecting a simple composition, a secluded artistic conception, and concise brushwork and ink. The rocks, trees, and the distant scenery in the work are all presented with simple lines and light ink colors. It not only has the aloof and austere temperament of Bada Shanren but also incorporates Li Keran's personal characteristics of solidity and tranquility. The painting reflects Li Keran's profound understanding of traditional art and his innovative expression. This painting is not only an inheritance of the spirit of Bada Shanren and traditional art but also a model work of Li Keran's reconstruction of classical art in a modern context.Transmission and Imitation Exhibition of Chinese Painting Copying Teaching Works at the Central Academy of Fine ArtsSponsor: Central Academy of Fine ArtsOrganizers: Chinese Painting Academy of Central Academy of Fine Arts, Art Museum of Central Academy of Fine ArtsExhibition Time: January 21, 2025 - March 16, 2025Exhibition Venue: Exhibition Hall on the Third Floor of the CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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(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.