Exhibitions and Events-News- CAFA Art Museum

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Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: 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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: Good News at the Start of the Year | "There Is Always Poetry in Customs" Has Been Awarded as an Excellent Project Of The 2024 Exhibition Season

2025-02-24

Recently, the General Office of the Ministry of Culture and Tourism announced the "List of Excellent Projects of the 2024 National Exhibition Season of Exquisite Collections in Art Museums". The exhibition "There Is Always Poetry in Customs", hosted by our museum, has been evaluated as an excellent project after summarization and acceptance inspection.The exhibition "There Is Always Poetry in Customs" was held in Exhibition Hall A on the third floor of our museum from September 10th to October 11th, 2024. The exhibition carefully selected 51 sets (85 pieces) of works, spanning from Ming and Qing dynasty genre paintings to modern photography works. Among them, 60% of the collections were exhibited for the first time. During the exhibition period of more than 30 days, the number of offline visitors reached 33,000 person-times, and a total of 36 academic and educational activities were held both online and offline.The purpose of this exhibition is to vividly and innovatively display high-quality collections (traditional genre painting collections) and explore the value of traditional culture. It aims to guide modern audiences, through the art form of genre paintings, which is closely related to people's lives, to understand and resonate with the people-centered nature and poetic sentiments in Chinese civilization, as well as the tenacity and optimism in the Chinese character.In the exhibition planning, modern works and modern perspectives were introduced into the dialogue and display of ancient collections. Guided by the concept of the collision and dialogue between the ancient and the modern, more possibilities were proposed for the revitalization and high-level utilization of the collections. Through the lens of modern photography, the ingenuity and wonder of ancient genre paintings were discovered. And through ancient Chinese poems that are familiar to Chinese audiences, the poetic charm in the paintings and the poetry of life were understood.In the specific content, taking the two common types of genre paintings that depict social ceremonies and daily trivialities respectively and have different ways of depiction as the starting point, it is divided into two sections: Praising the Peaceful Scenery; Capturing an Ordinary Moment. It showcases the social portraits and bits and pieces of life, and includes common Chinese genre painting themes, such as the New Year's Day Picture, the Lantern Viewing Picture, Along the River During the Qingming Festival (the Spectacle of the Bian River Picture), the Bin Feng Picture, the Joyful Fishermen, the Characters in the Marketplace, and so on.In terms of visual presentation, the designer first utilized two fan genre painting collections in the exhibition as elements for font design, creating a font that is both highly interesting and distinctly design-oriented. At the same time, vivid figures from ancient paintings and modern photography were extracted and artistically processed, allowing them to rhythmically move through the main title of the exhibition, creating a sense of ancient and modern people meeting and gathering in the time and space of the exhibition hall.At the same time, considering that most genre paintings are horizontally placed long scroll works, the designer ingeniously set up two horizontal lines of sight in the exhibition hall: one is the ancient horizontal line of sight of the display cabinet, and the other is the modern horizontal line of sight for placing modern photography and capturing the details of genre paintings. This not only ensures the effective display of ancient genre paintings but also provides the audience with two parallel and interesting routes for visiting the exhibition, guiding modern audiences to review ancient genre paintings with the guidance of photography. Activity Review： Huang Xiaofeng: The Establishment of "Genre Paintings" in Ancient China Shi Hanmu: A Casual Talk on Ancient Chinese Genre Paintings Wang Huangsheng: Art Museums, Photography and Collection在展览的公共教育方面，美术馆针对不同类型的观众策划了系列活动，比如邀请美术史学者黄小峰和施含牧，围绕中国风俗画的源流发展、概念意涵举办专题讲座，邀请摄影研究学者王璜生，针对美术馆摄影收藏的历程进行了概述；利用闭馆日组织中国画学院学生临摹原作；举办硕博士参与的展览专题研究工作坊等等。
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: “Striving is like a song——The Revolutionary Journey and the Stories of the People in Art Works” Is Opening at MICA Art Museum

2025-02-21

The MICA Art Museum, the first contemporary art museum in Central China with an international perspective at its core, held a grand opening ceremony on February 18. The MICA Art Museum is an important part of the MICA International Culture and Art Center. It was designed by Pritzker Prize laureate Zaha Hadid and is constructed and operated by the Xiangjiang Group.The CAFA Art Museum and the MICA Art Museum carried out an inter-museum cooperative exhibition for the first time, titled "Striving is like a Song — The Revolutionary Journey and the Stories of the People in Art Works", which opened simultaneously as one of the four major opening exhibitions.Lin Mao, President of the Central Academy of Fine Arts, attended the opening ceremony and announced the opening of the museumPresident Lin Mao, together with the leaders and guests from Hunan Province and the city, visited the exhibitionLin Mao, President of the Central Academy of Fine Arts, was invited to attend the opening ceremony and announce the opening of the museum. Also in attendance at the opening ceremony were Li Aiwu, Deputy Director of the Publicity Department of Hunan Provincial Party Committee, Secretary of the Party Leadership Group and Director of the Hunan Provincial Department of Culture and Tourism; Tan Yong, Deputy Secretary of Changsha Municipal Party Committee, Secretary of the Party Working Committee of Hunan Xiangjiang New Area (Changsha High-tech Zone) and Secretary of Yuelu District Party Committee; Zhou Zhiyong, Member of the Party Leadership Group and Deputy Director of the Hunan Provincial Department of Culture and Tourism; Zhou Zhikai, Vice Mayor of Changsha; Zhou Fan and Tan Hai, leaders of Xiangjiang New Area; Florentijn Hofman, a Dutch international contemporary artist, and other artists and curators; and relevant persons in charge of the Central Academy of Fine Arts, Hunan Province, Changsha City and Xiangjiang New Area.Han Wenchao, Secretary of the Direct Party Branch of the Art Museum of the Central Academy of Fine Arts, on behalf of the Art Museum, signed a memorandum of strategic cooperation with the Meixi Lake Art MuseumAt the opening ceremony, Han Wenchao, Secretary of the Direct Party Branch of the CAFA Art Museum, on behalf of the CAFA Art Museum, signed a memorandum of strategic cooperation with the MICA Art Museum. Taking the opening of the MICA Art Museum as an opportunity, the two museums will carry out long-term and in-depth cooperation in aspects such as exhibition planning, public education, collection exchanges, academic exchanges, and operation resources, bringing a continuous stream of high-quality art experiences to the public.Gao Gao, Deputy Director of the CAFA Art Museum, participated in the opening seminar dialogue titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology"Hai Jun, Deputy Director of the CAFA Art Museum, participated in the opening seminar dialogue titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology"Gao Gao, Deputy Director, and Hai Jun, Deputy Director of the CAFA Art Museum, were invited to participate in the opening seminar titled "Symbiotic Art and Intelligence: Shaping a New Cultural Ecology through the Integration of Art and Technology". During the session of "The Mission and Innovation of Public Cultural Spaces", they shared their thoughts on how the curation of art museums should break through traditional display methods to make museums more public-oriented. They also discussed how museums/art museums in the future can leverage technological innovation to create more cultural exchange models accessible to the public.The exhibition "Striving is like a Song — The Revolutionary Journey and the Stories of the Times in Art Works" makes use of the rich collections of the CAFA Art Museum and in-depth thematic planning. It unfolds in three sections: "Faith and the Lighthouse", "Monuments and Footsteps", and "The People and the Fertile Soil". Through 100 excellent artworks created by the teachers and students of the Central Academy of Fine Arts, it looks back on the changes of the times.The List of the Exhibition TeamGeneral Consultants: Lin Mao, Tan YongChief Planner: Jin JunExecutive Producers: Liu Xionghui, Zhang LigangExhibition Directors: Han Wenchao, Wang YingExhibition Coordinators: Gao Gao, Hai Jun, Zou DiyangCuratorial Team: Li Yaochen, Wang Jing, Li JieVisual Design: Ji YujieExhibition Design: Li HuanhaoExhibition Coordination: Liu Xiyan, Yi Yue, Xu XinchenCollection Management: Xu Yan, Wang Chunling, Ma Liang, Cui Ranran, Dou Tianwei, Li WeiExhibition Management: Jing Peng, Su ShicunMedia Promotion: He Yisha, Wu Jing, Du YinzhuPublic Education: Xiao Baozhen, Geng Jinghua, Wang JunFinancial Affairs: Yang Liu, Men Jing, Kou LeiAdministrative Support: Jiang Siyu, Yue JunyaoList of Participating Artists (Sorted by Birth Date)Qian Songyan, Jiang Zhaohe, Li Hua, Ye Qianyu, Song Buyun, Wang Henei, Sun Zongwei, Feng Fasi, Wen Jinyang, Zong Qixiang, Gu Yuan, Song Wenzhi, Situ Jie, Dai Ze, Liang Yulong, Huang Yongyu, Wu Biduan, Li Qi, Luo Erchun, Yang Li, Yuan Hao, Ma Changli, Wen Lipeng, Du Jian, Zhang Ping, Pan Shixun, Jin Shangyi, Weng Naiqiang, Cao Chunsheng, Yuan Yunsheng, Liu Bingjiang, Wang Tongren, Yao Zhonghua, Zhou Zhilong, Jia Youfu, Yang Lizhou, Wang Yingchun, Gu Gang, Sun Jingbo, Yang Gang, Dai Shihe, Wang Chui, Tang Yongli, Ding Yilin, Fan Di'an, Shi Guoliang, Long Liyou, Wang Shaojun, Yuan Wu, Su Xinping, Li Xiaolin, Ma Gang, Lü Pinchang, Wang Zhong, Liu Xiaodong, Li Yanxiu, Chen Shudong, Zhang Junming, Ma Xiaoteng, Ye Nan, Wang Wei, Yuan Yuan, Wu Xiaohai, He Yu, Huxidan Abudukelimu, Shi Yu, Wu Jiang, Li Ronglin, Wang Xiaowei, Mu Baiyan, Li Yang, Han Xiaodong, Yang Xiaogang, Xia Libin, Kong Liang, Lu Zhengyuan, Li Zhan, Dong Zhuo, Zhang Xiaoxue, Li Jun, Wang Mingze, Lu Biao, Zou Dawen, Wang Leqing, Sun Chao, Li Boyong, Liu Weihong, Luo Guilin, Shen Ganjun, Guo Yao, Xu Yimiao, Li Jingyi, Huang Siying, Hou YuThe Creative Team of the Sculpture Department, the Creative Team of the Mural Painting Department, the Creative Team of the Chinese Painting AcademyChief Editor / He YishaEditor / Du Yinzhu
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: Genius Vertical and Horizontal, Shanghai-style master Ren Bonian's representative works are on long-term display at CAFA Art Museum

2025-02-20

"Collection of CAFA Art Museum" is on display at CAFA Art Museum. The ancient Chinese art part presented this time is one of the characteristics of the collection. More than 200 pieces of the collection are selected and exhibited in two types: "utensils" and "calligraphy and painting", including bronze mirrors, portrait bricks, figurines, ceramics, religious statues, figure paintings, flower and bird paintings, landscape paintings, and calligraphy. Nine sub-categories of collections span two thousand years. This push will open the prelude to the promotion of calligraphy and painting works, and bring audiences and friends into the world of the ancient people's pen and ink.In the history of Chinese painting, figure painting is the earliest painting discipline with independent artistic character, and it is also one of the paintings that can intuitively reflect the production, life and thought of human beings. The figure paintings displayed in the exhibition include the world's customs, portraits, Buddhist and Taoist images, and folk gods. They not only reflect the social folk customs and ideological interests of different periods, but also outline the forms of figure painting and the various aspects of the creation, evolution and development of various styles. Among them, the most representative and well-known one is Ren Bonian's "Portrait of Yicheng".The oil painting portrait of Ren Bonian painted by Xu Beihong,Xu Beihong Memorial Hall CollectionRen Yi (1840-1896), his first name was Run, and the character Binian, his nickname was Monk Ren, and he was born in Shanyin (now Shaoxing), Zhejiang Province. He is one of the famous Shanghai-style painters in the history of modern Chinese art, and together with Ren Xiong and Ren Xun, he is called the "Three Rens at Sea". His painting techniques are comprehensive, including figures, flowers and birds, landscapes, etc. On the basis of tradition, he has further integrated sketch and watercolor techniques in Western painting, making him a rare all-rounder painter in a century. Mr. Xue Yongnian once commented that Ren Bonian "learned from the ancient times and changed from the ocean," believing that he can keenly perceive new artistic concepts and artistic tastes, and use long-term accommodation to seek new artistic language. Ren Bonian's artistic achievements are of great significance to the exploration of new paths of Chinese painting, and many later painters have benefited a lot from his art.Ren Bonian, "Portrait of Yicheng" axis, 1877, color on paper,102 cm vertical and 45 cm horizontal, collection of CAFA art museumThis work has been included in many Chinese art history documents, such as the first volume of the Catalogue of Ancient Chinese Calligraphy and Painting, the first volume of the Catalogue of Ancient Chinese Calligraphy and Painting, and has been exhibited at the Art Museum of the Central Academy of Fine Arts many times, such as the 2021 "Genius Vertical and Horizontal - Special Exhibition of Ren Bonian's Works in the Collection", in which the curator also summed up the Ren Bonian portrait style represented by this work as follows: "Ren Bonian's characters are more expressive, farsighted and beautiful, and close-up lines are spontaneous and elegant."The inscription and seal information of this work:Inscription: Mr. Yicheng's fifty-one-year-old portrait. Guangxu Ding Chou is in the first month of the month, Ren Yi in the year of Shanyin's uncle. Seals: Yi Yin (white square seal), Ren Bonian (Zhu Wen square seal)Inscription and postscript (1): Mr. He is elegant, who is the couple to be corrected. The ancient heart reflects the antique color, and the old age is really autumn. Hugging the furnace and stirring the taro fire, carrying the pot and camping the bad hills. The chill is full of pictures, and the thunder is on the wall. Huo hee! That's the snow on the thirty-six peaks of Huangshan Mountain, and the cold-resistant nature of Jun Dijing. At the beginning of the autumn, the title is Mr. Weng Xiangtai's jade photo, that is, the Xifa family is upright. Cheng Guangdou, the younger brother of the northern wall. Seal: Two Zhu Wen square sealsInscription (2): I still think about it when I'm old, and others are envious of this beautiful feeling. The old age does not reduce the joy of youth, how can the sugarcane realm be thought of as white. The fine wine is poured into a thin drunkenness, and the furnace is idle until it is deeper. Hugging the Qiu to appreciate the fun of the world, laughing at thousands of firecrackers. Slang title to the jade photo of the old man Cheng, that is, to be corrected. Changzhou Xiao Xiang Shao Shizhao is to be determined. Seal: Shuizhai Poems and Paintings (Zhu Wen Fang Yin)Inscription and postscript (3): There are many secrets to comprehend, and the sustenance is far and deep. The environment is quiet and rewarded. The old cold alliance has no heart. The pot Arrived at will, but a few cases have invaded the dust. Write Xiao idle state, why do you need to return to the garden. Xin Si autumn twilight, slang subject to the jade photo of Uncle Chengyin, that is, seeking integrity. Lan Ke's nephew Tang Shouqi. Seal: Shouqi (white square seal)Inscription (4): Hidden a few leisurely to see the true nature, the furnace is not hot because of people. The sun and the moon can be broken in the pot, and the earth grows into a free spring. The slang sentence is entitled to the jade photo of the uncle of Chengshi Shunren, that is, the hope of Yingzheng. The younger concubine Yu Wenwei's village draft. Seal seal: I Village Yin Sentence (Zhu Wen Fang Yin)Collection Of CAFA Art Museum-- Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: Gallery A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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: Today is the Rain Water solar term

2025-02-18

Today is the Rain Water solar term.
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: In The Quiet, I Met Wei Qimei's "Corridor Of The High School" At The Central Academy Of Fine Arts

2025-02-14

The 20th century was an important period for the development of Chinese art. The Central Academy of Fine Arts has been involved in it since the beginning and has played an active role in promoting and leading it, teachers and students have participated in the creation of a large number of classic works, which have had a huge impact on the history of modern Chinese art. "Collection of CAFA Art Museum - Modern Chinese Art" selects more than 260 pieces of Chinese art works in the 20th century, with time as the main line, it is divided into three sections: 1900-1949, 1950-1976, and 1977-2000, showing the development of plastic arts in a century.The work "The Corridor of the High School Affiliated to the Central Academy of Fine Arts" introduced in this issue is on long-term exhibition, visitors can get a glimpse of the whole scene and feel the artistic pursuit, artistic exploration and the era appearance of the works in different periods."Corridor of Affiliated High School" is a representative work created by Wei Qimei in 1990, and it is also the most symbolic one of his oil paintings. Wei Qimei has made outstanding achievements in teaching practice, theoretical writings, oil painting creation and comic creation. He is highly sensitive to new things, emphasizes the synchronization of art with the times, and shows a rare passion for exploration and a creative spirit of forging ahead and daring to innovate.>>>>"The Corridor of the High School Affiliated" by Wei Qimei, 1990, oil on canvas, 118x140cm, collection of CAFA Art MUseumAs a passage connecting different spaces, the corridor symbolizes the path of life and the possibility of the future, while the running female students in red symbolize the vitality and pursuit of young people in the new era. Wei Qimei removes irrelevant details and uses a large area of flat painting to make the picture show a surreal spatial texture. The main color of the picture is blue and white, creating a quiet and serious school atmosphere, but the appearance of the female students in red breaks this tranquility and adds a touch of bright color to the picture. It makes the viewer feel a visual impact.The painting uses spatial perspective and the body language of the characters to show a reverie of history and the future. Both people and the environment have the symbol of the "symbol" of the era, fully demonstrating the spiritual core of a specific era. This work is a masterpiece that expresses the era with the mentality of contemporary youth, and is also a transcendent work of the poetic realism that Wei Qimei has adhered to since the 1980s.>>>>Collection Of CAFA Art Museum——Modern Chinese ArtExhibition time: From July 23, 2024Venue: Hall B, 2nd Floor, Central Academy of Fine Arts Art MuseumExhibition professional lighting sponsorship:AKZU (Shenzhen Aksu Lighting System Co., Ltd.)Exhibition space architectural design consultant:China Academy of Building SciencesEditor-in-Chief/He Yisha Editor/Du Yinzhu
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: Qi Baishi Imitated Bada Shanren: "The Beauty Lies Between Similar And Unsimilar"

2025-02-14

"Transferring Mimicry: The Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts" is on display at the Art Museum of the Central Academy of Fine Arts. This exhibition presents more than 300 copied works, tutorial drafts and temporary creation and transformation creations of Chinese painting copying teaching in the past century. Which ancient masterpieces are used as models by the School of Chinese Painting of the Central Academy of Fine Arts in the imitation courses of figures, landscapes, flowers and birds? Which modern masters' experiences have become the inspiration for connecting traditional and modern aesthetic concepts? Let us reveal them one by one through the works.●○Qi Baishi is an outstanding painter, calligrapher, seal carver and poet in modern China. He was a carpenter's apprentice in his early years. In 1888, he gave up chiseling and painting, and successively studied under Xiao Xiangyi and Hu Qinyuan; in 1889, he studied poetry under the poet and painter Chen Shaofan; in 1899, he studied poetry under the scholar and writer Wang Kaiyun; in 1902, he traveled to Shaanxi, Beijing, Jiangxi, Guangdong and Guangxi; in 1919, he settled in Beijing and began to reform the law after being persuaded by Chen Shi; in 1926, he taught at the National Beijing Art College; in 1946, he went to Nanjing and Shanghai to hold solo exhibitions and served as an honorary professor of Beiping Art College; in 1949, he was elected as a member of the Federation of Chinese Literary and Art Circles and a member of the All-China Association of Artists; in 1952, he was appointed as an honorary professor of the Central Academy of Fine Arts, a research librarian of the Central Museum of Culture and History, and the chairperson of the Honorary President of the Chinese Academy of Painting in Beijing, etc. He has a great style in freehand painting, and advocates "the wonderful thing is between the like and the different". In his later years, he taught at the Central Academy of Fine Arts under the kind invitation of Lin Fengmian and Xu Beihong.Qi Baishi, Copying Zhu Da's Vase, ink on paper, 30cm × 25.5cm, age unknown, collected by Beijing Painting AcademyThis work on display in this exhibition is a copy by Qi Baishi after Bada Shanren. The overall style is concise and lively. In the picture, only one flower and one vase are drawn, but it is full of charm. The flower is formed by dabbing with a brush, and the vase is outlined with lines, showing extremely subtle charm of brush and ink.There is an inscription on the painting: "In my life, I am not good at copying when painting. This piece was seen based on the original work of Bada Shanren. At that time, I lived in Beijing. Baishi." Qi Baishi and Badashanren, although the two art masters are separated by more than 300 years, they have a wonderful fate and connection. Qi Baishi once wrote a poem: "Qingteng and Xuege are far from ordinary beings. Lao Fou in his declining years has unique talent. I wish to be a running dog in Jiuyuan and rotate under the doors of these three masters." (Qingteng refers to Xu Wei, and Xuege is Badashanren.) The poem expresses Qi Baishi's admiration for Badashanren.Qi Baishi, "Remembering the Paintings of Bada Shanren", ink on paper, 30.5cm × 16.4cm, 1907, collected by Beijing Painting AcademyIn the exhibition, another work created by Qi Baishi in 1907 is also on display - "Notes on Bada Shanren's Painting Draft". In his early years, Qi Baishi honed his brushwork by copying the works of predecessors (such as Bada Shanren, Shi Tao, Xu Wei, etc.). He especially emphasized the "simplified freehand" spirit of Bada Shanren.Part of the drawingThe work copied by Qi Baishi intentionally weakens the coldness of Bada Shanren. It incorporates his own observation of natural creatures. The ink application is perhaps more moist and full. The lines are more writing-like. The dynamics of the fish tend to be more vivid (such as the vividness of swimming postures), reflecting his unique aesthetic taste.These two works are vividly and freely brushed. They not only express Qi Baishi's appreciation for Bada Shanren, but also show his personal concept of copying ancient famous works. Copying is not only a technical learning but also an inheritance of the spirit of literati painting, which is extremely consistent with the academic spirit of this exhibition.The exhibition will last until March 16. Interested audiences can visit the exhibition on site.
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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
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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.