Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: The CAFA Art Museum Wishes You All The Best And Everything To Be Satisfactory On The Lantern Festival

2025-02-12

The CAFA Art Museum wishes you all the best and everything to be satisfactory on the Lantern Festival.
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: Plant the “seed” of desire in one minute

2025-02-12

One-minute #Recommendation! Don't miss the "Transmission and Imitation — Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts". It displays approximately more than 300 works in total. The exhibited works include: the copying works represented by painters such as Qi Baishi, Yu Feian, Li Keran, Guo Weiqu, Liu Lingcang, Huang Jun, Jiang Caiping, Lu Chen, Yao Youduo, Fan Zeng, Zhou Sicong, Guo Yicong, Deng Lin, Jia Youfu, etc.; the mural copying works represented by painters such as Deng Bai, Ye Qianyu, Wu Zuoren, Sun Zongwei, Zhang Ding, Li Hu, Lu Hongnian, Wang Dingli, Fang Zengxian, Liu BOShu, Hu Bo, etc.; the teaching works for students represented by painters such as He Liangpu, Wang Luanxiang, Xiao Qianzhong, Shao Yixuan, Wang Mengbai, Li Kuchan, Zhang Lichen, etc.; and the works of transformation from copying to creation represented by painters such as Xiao Junxian, Chen Shizeng, Chen Banding, Hu Peiheng, Qin Zhongwen, Wang Xuetao, Wu Jingting, as well as the teachers and students of the Chinese Painting Academy.Chief Editor / He Yisha Editor / Du Yinzhu
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: 丘挺：“传移模写”是艺术家的终身功课，是精神内化的津梁

2025-02-08

“传移模写：中央美术学院中国画临摹教学作品展”正在中央美术学院美术馆展出。本次展览由中央美术学院主办，中央美术学院中国画学院、中央美术学院美术馆承办，呈现央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作共300余件，旨在挖掘“传移模写”古法在当代高等美术院校中国画教学中的学理价值与时代新意，并探讨在全球化语境下中国画认知体系的深厚内涵与积极意义。●○美国社会学家爱德华·希尔斯（Edward Shils）在《论传统》一书谈到传统的意义，说：“它使代与代之间、一个历史阶段与另一个历史阶段之间保持某种连续性与目的性，构成了一个社会创造和再创造自己的文化密码，并给人类生存带来秩序和意义。”近百年来，中国画的发展一直是在挤压中生存。在当下文化多样化的世界里，当我们讨论中国画乃至宏观把握中国整体艺术的问题时，不仅面对“新”与“旧”的问题，还有如何通过其内部结构的研究、挖掘与再认识，将它的自律性和外部拓展两个方面进行有效统一。作为六法之一的“传移模写”，不仅是学院教学中临摹、写生、创作三位一体的课程开始阶段，更是艺术家在艺术里学习认知的终身功课，是程式、造化、心源不断流变的动态过程。王铎在他的晚年，还坚持“一日临帖，一日应请索”，五十年矻矻不辍，深耕传统，何以如此？我想大概是通过临摹不断地体悟品格趣味之精微，时时警觉风格化中的习气。可见临摹除了流布递传、摹写技巧之外，还是精神内化的津梁。在今天的全球化语境之中，多元文化和艺术形式相互交融与碰撞，更要深入自身传统语言的研究与把握，才能在文化多样性中保持独特性和识别度，因此中国画的语言方式、笔墨理法的研究、基础性的训练尤为重要。此次展览从北平艺专一直到当下央美的临摹教学，以“经典”“遗产”“精研”“变化”四个板块对中央美院百年中国画作一次梳理，讨论当今传移模写的重要性和对未来的启示。展览的每一个板块都呈现出不同时期、不同年代对经典的认知和阐释，见证不同时代摄取古法的细微差异。代与代之间的艺术存在传承，也存在竞争，代与代之间的风尚摇摆，往复循环，这是风格史中常例。这种有趣的学术风景常见于绘画史和音乐史中，就像北宋末年的李公麟、王诜、米芾、徽宗等人奉行带有道统的复古思潮；元初钱选和赵孟頫不满于南宋流行的刻露画风，转而追步唐宋古意；董其昌批评盛极一时的吴门画派“甜俗”，对高古之境的“心想而推之”；黄宾虹试图以唐宋之法臻于浑厚华滋，都藉由历史的审美意识拮抗流行风尚，建立起新的范式。在今天，我们同样需要这种对经典的回望，它使我们得以与时代保持张力，坚守自身对时代的凝视，在全球化多元文化语境中将中国画推向更为宽广的未来，展现中国画在当代世界的独特价值。因此，我们希望通过此次展览，挖掘传统典范中的新知识与新启发，探究中国画理法的当代重构。中国画环环相扣的笔墨程式，不是僵硬的程式化，而是可以“以应无穷”的通变之道。《文心雕龙》云：“变则其久，通则不乏。望今制奇，参古定法。”这是中国画生生不息的源泉。丘挺中央美术学院中国画学院院长部分参展作品齐白石《记八大山人画稿》纸本水墨 30.5cm×16.4cm 1907年北京画院藏齐白石临清朱耷《瓶花》纸本水墨 30cm×25.5cm 年代不详北京画院藏于非闇临传北宋赵佶《御鹰图》绢本设色 165cm×80.5cm 1954年北京画院藏李可染《仿八大山人图》纸本水墨 76cm×42cm 1943年李可染艺术基金会藏蒋采萍临传五代顾闳中《韩熙载夜宴图》局部绢本设色 28cm×77cm 1958年郭怡孮临清任颐四条屏纸本设色 180cm×48cm×4 1960年邓白临麦积山石窟壁画飞天纸本设色 47cm×78cm 1953年中央美术学院美术馆藏吴作人临麦积山石窟壁画甲马局部纸本设色 72cm×87cm 1953年中央美术学院美术馆藏
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: Today is The Beginning Of Spring

2025-02-03

Today is the Beginning of Spring.
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: Spanning Thousands Of Years, Savor The Graceful And Yet Charming Demeanor Of The Prosperous Tang Dynasty

2025-02-01

The "Collection Of CAFA Art Museum" is currently on display at CAFA Art Museum. The section presenting ancient Chinese art in this exhibition is one of the characteristics of the museum's collection. More than 200 pieces of collections have been selected and exhibited in two major categories: "Artifacts" and "Calligraphy and Paintings". These collections include nine subcategories: bronze mirrors, portrait bricks, figurines, ceramics, religious statues, figure paintings, flower-and-bird paintings, landscape paintings, and calligraphy works, spanning a time period of two thousand years. This article focuses on the female figurine collections that showcase the charm of the Tang Dynasty, aiming to let you experience the spiritual outlook of that era.Maidservant figurines and court lady figurines are common themes among the burial figurines in Tang Dynasty tombs，some scholars believe that a significant change in the production of figurines during the Sui and Tang dynasties is that a large number of dancing and musical performer figurines and maidservant figurines replaced the armored soldier and horse figurines that were popular in the Northern Dynasties. This reflects the changes in social mentality and aesthetic preferences. From the early Tang Dynasty to the late Tang Dynasty, the style of female figurines changed from slender in body shape to plump and graceful, which is a relatively intuitive indicator demonstrating the social aesthetic preferences of that time.Court Lady Figurine, No. 2236, Tang Dynasty, Collected by the CAFA Art MuseumThe Court Lady Figurine, No. 2236, on display at the CAFA Art Museum, has its sleeves folded. It stands on a thin, irregularly shaped base plate, with its face slightly turned to the left. Although it is in an upright standing posture, it exudes a sense of dynamism. It has coiled hair and a drooping bun, a round face, delicate facial features, and its eyes are slightly closed. It wears a long robe with wide sleeves, and a silk scarf drapes around the shoulders and hangs down in front of the body. Below, it is dressed in a chest-length long skirt, with the hem of the skirt reaching the ground and revealing one shoe.The figurine is made of red pottery with a white coating applied. It might have originally been painted with colors, but now the colors are no longer extant.Court Lady Figurine, Number 2236, Tang Dynasty, Collected by the CAFA Art MuseumIn terms of style, this female figurine has a graceful figure and a plump body, reflecting the fashion of regarding plumpness as beauty after the prosperous Tang Dynasty. In fact, the Tang Dynasty did not always pursue a plump figure. Female figurines in the early Tang Dynasty generally had a slender figure and a delicate and pretty face, showing the lingering charm of the Wei and Jin dynasties. It was not until the 8th century that female figurines with a plump body and loose clothing began to be popular. During the Tianbao period, the figures of female figurines became even plumper. The changes in the figures of female figurines in different periods of the Tang Dynasty reflect the continuous changes in the aesthetic concepts of that time.Female figurine of the early Tang Dynasty, unearthed from the tomb of Liu Kai in Yanshi, Tang Dynasty.Court lady figurines from the Tianbao period, unearthed from the Tang Dynasty tomb in Hansasai, Xi'anThe hairstyle of coiled hair with hanging buns and the attire of loose robes and long skirts were the favored outfits of women in the Tang Dynasty. In Tang poetry, a woman's attire was described as "The skirt trails like six lengths of the waters of the Xiang River, and the sideburns are coiled like a stretch of clouds over Mount Wu." Similar images can also be seen in the works of Zhang Xuan, a painter of the Tang Dynasty.The Spring Outing of Lady Guo Guo by Zhang XuanCourt lady figurines are not of the same category as the more common "maid figurines". They usually wear more magnificent and luxurious clothes, with their hands clasped in front of them or their sleeves covering their hands, as if they are not engaged in any labor. Their sizes are also larger than those of other female figurines, which seems to imply their noble status. Some scholars believe that this type of female figurine may represent the "concubines" in the Tang Dynasty system. They do not represent specific individuals, but symbolize the status of the tomb owner. The greater the number of these figurines, the more noble the status of the tomb owner is.The court lady figurines enable us to still appreciate the graceful charm of the prosperous Tang Dynasty, which was plump yet charming, even after a thousand years. At the same time, their appearance is also closely related to the concept in the funerary customs of the Tang Dynasty that increasingly emphasized the imitation of real life.The Maid Figurine with a Wind Hood, Number 574, Tang Dynasty, Collected by the CAFA Art MuseumAnother exhibited maid figurine with a wind hood, numbered 574, has a beautiful appearance. Its face is plump, dignified, with thin eyebrows, long eyes, and a slight smile. It wears a wind hood on its head. The top of the hood is pointed on the left and slanted on the right, and it is tied at the back of the head. It is dressed in a narrow-sleeved shirt, with silk scarves draped over both shoulders, and a long skirt that trails on the ground. The skirt belt is knotted above the chest, and the ends of the belt hang down. There was originally red colored painting on it. The left arm hangs down naturally, and the long sleeve reaches the knee. The right arm is bent halfway with the sleeve hanging down. This kind of image has also been unearthed in other Tang Dynasty tombs, such as the Tang Dynasty tomb in the brick factory at Goutoukou, Yanshi County, Henan Province (whose dating is also considered to be around the reign of Emperor Gaozong, the early Tang Dynasty period), the tomb of Jia Dunyi in Luoyang, Henan Province in the first year of Xianqing (656 AD), and the tomb of Zhang Shigui in Liquan, Shaanxi Province in the second year of Xianqing of Emperor Gaozong (657 AD).The maid figurine wearing a wind hood was unearthed from the tomb of Jia Dunyi in Luoyang, Henan ProvinceJia Dunyi served as the Prefect of Luozhou during his lifetime. The epitaph of Zhang Shigui states that he was titled "Grand General Assisting the State, Military Governor of Jingzhou, and Duke of Guo State". Many of the funerary objects in the Tang Dynasty tomb at the Goutoukou Brick Factory in Yanshi County, Henan Province are considered to be similar to those in the tombs of Zhang Shigui and Zheng Rentai. The social status of the tomb owner is likely to be relatively high as well. Moreover, the approximate dating of these three tombs is all during the reign of Emperor Gaozong. Therefore, it is speculated that this type of maid figurine with a wind hood was quite popular in the tombs of a relatively high social class in the Luoyang area of Henan Province during the reign of Emperor Gaozong.Similar images are also used for maid figurines. For example, a maid figurine with a similar pose was unearthed from the tomb of Jia Dunyi. The only difference between it and the maid figurine with a wind hood lies in their clothing. This kind of image might have been a relatively popular template in the production of pottery figurines at that time.The maid pottery figurine was unearthed from the tomb of Jia Dunyi in Luoyang, Henan ProvinceThe female pottery figurines of the Tang Dynasty have various postures. This maid figurine wearing a wind hood reflects the social aesthetic of the early Tang Dynasty when plumpness was not yet pursued. The slender and narrow sleeves and the slightly pointed wind hood exhibit the lingering charm of the Northern Dynasties, serving as a record of the popular clothing culture and female images of that time. It is a historical specimen that reflects the style exchanges and transformations in the early Tang Dynasty, and also important physical materials for studying the ancient social life, art, and culture of that era.Painted Maid Figurine with Double Buns, Number 874, Tang Dynasty, Collected by the CAFA Art MuseumThe Painted Maid Figurine with Double Buns, Number 874, in the exhibition hall has its hair styled in double buns. It wears a narrow-sleeved short blouse on the upper body and a long skirt that reaches the ground on the lower body. There are some traces of painted patterns on the skirt. The pottery figurine is not glazed and it should have originally had painted decorations. Four similar maid figurines were unearthed from the tomb of Liu Kai in Yanshi, Henan. The painted works outline red lips, and a square low collar is painted on the chest. The long skirt is decorated with red vertical stripes. The figurine has a round face and a slender figure. Its left hand hangs down with the long sleeve reaching the leg, and its right hand bends at the elbow and is placed in front of the abdomen. A long silk scarf is hung on the crook of the arm. There is no base, and it has the characteristics of the early Tang Dynasty.Maid Figurine with Double Buns, unearthed from the tomb of Liu Kai in Yanshi, Henan Province, in the Tang DynastyThis type of clothing is quite common in the images of maid servants. For example, the clothing of the maid servants in the murals of the tomb of Princess Xincheng of the Tang Dynasty is very similar to it. In terms of style, it often features narrow sleeves and occasionally exposes the chest, demonstrating the changes in the status of women during the prosperous era, as well as the inclusive and culturally diverse open atmosphere of the Tang Dynasty. This type of clothing is quite common in the images of maid servants. For example, the clothing of the maid servants in the murals of the tomb of Princess Xincheng of the Tang Dynasty is very similar to it. In terms of style, it often features narrow sleeves and occasionally exposes the chest, demonstrating the changes in the status of women during the prosperous era, as well as the inclusive and culturally diverse open atmosphere of the Tang Dynasty.Mural of Maid Servants, unearthed from the tomb of Princess Xincheng of the Tang Dynasty in Liquan, XianyangIf you are eager to explore the elegance and splendor of the prosperous Tang Dynasty,Don't miss that touch of charm in the exhibition hall.The female pottery figurines of the Tang Dynasty that bear witness to history.They stand there quietly,Carrying the stories and amorous feelings of a thousand years,Waiting for your arrival.Editors: Wang Ziyi, Meng YueningInstructor: Geng ShuoCollection Of CAFA Art Museum-- Ancient Chinese ArtExhibition Time: Starting from January 21, 2025Exhibition Venue: Gallery 2A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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: CAFA Art Museum Wishes You all The Best In The Year Of The Snake!

2025-01-28

CAFA Art Museum Wishes You all The Best In The Year Of The Snake!🧧🎉🎊
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: Limited ToTthe Year of The Snake | Chinese New Year Benefits Are Coming!

2025-01-28

Chinese New Year welfareThe Chinese New Year bell is about to ring,In this moment of hope and joy,Our museum has prepared a surprise for everyone.Draw 20 lucky viewers,Complimentary tickets to the Central Academy of Fine Arts Art Museum!01艺术解锁Our museum has orchestrated a series of fascinating exhibitions,From the depth of historical and cultural excavation,To gain a keen insight into current social phenomena.From the inheritance and innovation of Chinese painting,To the fusion of modern technology and art,Every exhibition will bring you aThe dual feeling of vision and soul
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: Is there any art museum without a "conspicuous bag" yet? Audience: It must have a name

2025-01-26

Walking into major museums and art galleries today, you will find an interesting phenomenon - those pottery figurines and other pottery products with different shapes and interesting shapes are grabbing the audience's attention in an unprecedented manner, and have become "conspicuous bags" in art galleries.Certainly, CAFA Art Museum is no exception. Upon entering the exhibition hall of "Collections Display of CAFA Art Museum", one can immediately catch sight of those vivid and interesting pottery figurines. Some of them are standing or sitting, with some holding weapons, looking majestic; while others are bowing their heads in deep thought, as if telling the stories of thousands of years. These pottery figurines are not only lifelike in shape but also rich in expressions, making people can't help but stop and admire. It is worth mentioning that all the pottery figurines on display this time are meeting the public for the first time.● Singing and dancing rap from the Han DynastyDuring the historical period of social stability and frequent cultural exchanges in the Han Dynasty,Music and dance have flourished.A variety of tombsRap, music and dance, play figurinesAnd so it started.From left to right: Comic Figurine, Han Dynasty; Music and Dance Figurine, Western Han Dynasty; Hunting with Bow and Arrow Figurine, Eastern Han Dynasty; Dancing Figurine, Eastern Han Dynasty● "Small BBQ" from the Han DynastyPottery stove, Han DynastyThe pottery stove is one of the most common model objects in the tombs of the Han Dynasty. There is a circular fire mouth on the stove surface, which is higher than the stove surface. The right side of the fire door is a small bottle, and the left side is a person kneeling and burning the fire. The stove surface is moulded with fish, forks, fire pestles and other patterns. It is rich in a rich atmosphere of life and can be intuitively understood. The cooking methods, food types, and content of the sacrifice stove of the people in the Han Dynasty.● The warrior figurine that exudes an aura of powerThe warrior figurines in the Northern Wei Dynastyhad mostly the same shape and costumes,either holding swords or pressing shields, all of which were powerful in appearance and contained powerful and powerful charactersTerracotta Warriors, Northern DynastyTerracotta Warriors, Tang ● Yingying rides a horse byDuring the Sui and Tang Dynasties, the riding figurines had rarely seen the image of cavalry wearing armor, but mostly used officials, tricks, Hu people, and maids as riders. The female riding figurines in the exhibition hall smiled, wearing narrow sleeves and skirts. The shape of the horse was also very vivid, with smooth lines, reflecting the openness of the social atmosphere at that time, showing the freedom and vitality of that eraFemale Figurine on Horseback, Sui Dynasty● The royal traveling honor guardGreen glazed figurines (ceremonial figurines, drum figurines, palanquin-carrying figurines, child servant figurines) MingThe ceremonial figurines of the Ming Dynasty were mainly unearthed in the tombs of royal family relatives and high-ranking officials, covering a variety of roles, with bright colors.The civilian tombs were not buried figurines, or buried zodiac figurines, etc. Most of them had no grade restrictionsThere are also many "eye-catching bags" in the exhibition hall waiting for you to explore on the spot. They are like a group of lively and cute elves, telling the story of thousands of years in a unique way and conveying the power of cultureWe hope that the audience can enjoy a relaxed and enjoyable experience while enjoying art, and inspire everyone's love and inheritance of traditional culture. So, next time you walk into the Central Academy of Fine Arts Museum, you might as well slow down and carefully appreciate the surprises brought by these "conspicuous bags"!Collection Of CAFA Art Museum-- Ancient Chinese ArtExhibition time: From January 21, 2025Venue: Gallery 2A, CAFA Art MuseumEditor-in-Chief/He YishaEditor/Du Yinzhu
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: Spring Festival Opening Announcement | New Year's Eve In The Year Of The Snake, A New Chapter In Art

2025-01-24

Dear audience friends：Celebrating the New Year in the Year of the Snake, a new chapter in art. In order to meet the holiday cultural needs of the general audience, the opening hours of our museum during the "Spring Festival" are as follows: closed from January 27th (the 28th of the twelfth lunar month) to January 30th (the second day of the first lunar month), and open normally from January 31st (the third day of the first lunar month) (the daily opening time is 9:30-17:30, and ticket collection stops at 17:00). Please arrange the visit time reasonably. Sorry for the inconvenience caused to you. CAFA Art MuseumJanuary 25, 2025●●●●●●● ●On display now01◎ Artistic exploration，the era of brush painting ◎Collection Of CAFA Art Museum-- Modern Chinese ArtExhibition time: From July 23, 2024Venue: Hall B, 2nd Floor, Central Academy of Fine Arts Art Museum02◎ Both form and spirit, both elegant and common ◎Collection Of CAFA Art Museum-- Ancient Chinese ArtExhibition time: From January 21, 2025Venue: Hall A, 2nd Floor, Central Academy of Fine Arts Art Museum03◎ Inheriting the classics, forging ahead ◎transfer moldingCentral Academy of Fine Arts Chinese Painting Copy Teaching ExhibitionExhibition time: January 21-March 16, 2025Venue: The third floor of the Central Academy of Fine Arts Art Museum04◎ Nostalgia Complex, Ecological Narrative ◎Flowing NostalgiaAn Ecological Narrative Interwoven with Materiality and Sensory Experiences, Technology, and ImaginationExhibition time: January 17-March 9, 2025Venue: Hall C, 2nd Floor, CAFA Art MuseumDuring the exhibition, our museum's public welfare tour volunteersWe will provide you with excellent exhibition explanation services.We invite you to join us at any time.Let's experience the charm of art together!Editor-in-Chief/ He Yisha Editor/ Du Yinzhu
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: The "Ceiling" Of Chinese Painting Copying Teaching? Central America Uses These Works To Tell You The Answer!

2025-01-22

In the long history of the development of Chinese painting, when it comes to Chinese painting teaching, the Central Academy of Fine Arts undoubtedly stands at the top of the industry and sets a new benchmark. What is the secret of the Central Academy of Fine Arts? This has to start from the teaching method based on the "transmission, transfer, imitation, and copying" ancient method excavated by the Chinese Painting Institute in the past hundred years and taking the "trinity" teaching method of copying, sketching, and creation as the foundation... It not only inherits the essence of the ancient method but also radiates new vitality in the new era. Under this background, the "Transmission, Transfer, Imitation, and Copying: Exhibition of Chinese Painting Copying Teaching Works of the Central Academy of Fine Arts" came into being, exhibiting more than 300 copying works, teaching manuscripts, and creations transformed from copying and creation in the Chinese painting copying teaching of the Central Academy of Fine Arts in the past hundred years.❗️Paradigms - Replicas by artists such as Qi Baishi, Yu Feisheng, Li Keran, Guo Weichuang, Liu Lingcang, Huang Jun, Jiang Caiping, Lu Chen, Yao Youduo, Fan Zeng, Zhou Sicong, Guo Yisheng, Deng Lin, Jia Youfu, etc.❗️Legacy - Mural replicas by artists such as Deng Bai, Ye Qianyu, Wu Zuoren, Sun Zongwei, Zhang Ding, Li Dendrobium, Lu Hongnian, Wang Shunli, Fang Zengxian, Liu Boshu and Hu Bo are on display.❗️ Jingyan - Jingyan exhibits the works of apprentices represented by He Liangpu, Wang Luanxiang, Xiao Qianzhong, Shao Yixuan, Wang Mengbai, Li Kuchan, Zhang Lichen and other painters.❗️ change - the works of Xiao Junxian, Chen Shizeng, Chen Banding, Hu Peiheng, Qin Zhongwen, Wang Xuetao, Wu Jingting and other painters and teachers and students of the School of Chinese Painting.👉Entering the exhibition hall, one after another familiar works copied by famous artists come into view, as if starting an artistic dialogue through time and space. From ancient masterpieces to various important style schools, each copy embodies their profound understanding and respect for the original works.👉The works for teaching apprentices are another major highlight of the copying teaching at the Central Academy of Fine Arts. These works are excellent demonstration pieces carefully drawn by teachers for students in the teaching process. They show various links from composition, modeling to the use of brush and ink in a clear and understandable way.👉What is more distinctive is the Linchuang transformation works displayed by Zhongmei. These works witnessed the teachers' bold innovation and breakthrough on the basis of copying. They skillfully combined traditional techniques with personal style and the spirit of the times to create new works with unique artistic value.This is a deep excavation and innovative application of traditional learning methods of Chinese painting. I hope that through this exhibition, I will explore the academic value and new ideas of the ancient method of "transfer and mimicry" in the teaching of Chinese painting in contemporary higher art institutions, and explore the profound connotation and positive significance of the cognitive system of Chinese painting in the context of globalization. I also hope that the audience will also gain something!Exhibition time: January 21-March 16, 2025Venue: The 3rd floor of CAFA Art Museum
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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

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

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

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

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

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

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

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

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

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

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.