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CAFAM展览预告 | “雄歌一曲献中华——许幸之艺术成就回顾展”即将启幕

2025-09-16

百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间:2025年9月18日—10月19日展览地点:中央美术学院美术馆3层B展厅开幕时间:2025年9月18日14:30开幕地点:中央美术学院美术馆报告厅主办单位:中国美术家协会               中央美术学院承办单位:中央美术学院党委宣传部               中央美术学院校史研究中心               中央美术学院美术馆               中央美术学院人文学院               中央美术学院油画系支持单位:中国人民抗日战争纪念馆               中国电影家协会               中国电影博物馆2025年9月3日,是中国人民抗日战争暨世界反法西斯战争胜利80周年纪念日,“九一八事变”94周年纪念日也即将到来。在这个对历史深沉回望的9月里,由中国美术家协会和中央美术学院联合主办的“雄歌一曲献中华——许幸之艺术成就回顾展”即将于9月18日在中央美术学院美术馆启幕。艺术家许幸之1935年导演的影片《风云儿女》正是以“九一八事变”为创作背景和叙事起点,以电影为载体,抒发了对日本侵略者的痛恨和对国家命运的担忧,同时也展现了中国人民不屈不挠的抗日精神。它的主题曲——由田汉作词、聂耳作曲的《义勇军进行曲》更是激励着无数中华儿女投身到抗日救亡的伟大事业中,并最终成为中华人民共和国国歌。1935年许幸之导演的抗日救亡故事片《风云儿女》初次上映之后,直到1980年代初期,才又在全国重新上映。图为1980年代复映时的海报1935年2月,许幸之导演电影《风云儿女》现场照片,金石声摄影1935年上海百代唱片公司出品的《义勇军进行曲》原版唱片,只有聂耳作曲的署名,由袁牧之、顾梦鹤等七名男演员演唱许幸之(1904—1991)是我国著名的艺术家、美术史论家、艺术教育家、影剧编导、左翼美术运动先驱、文艺战士、中国美术家协会理事、中央美术学院教授。在20世纪中国艺术变革的激流中,许幸之如同一枚多棱镜,将时代的光谱折射出斑斓的维度。他左手执调色盘解剖时代肌理,右手持摄影机记录民族心跳,以戏剧舞台为思想战场,用文学笔锋刺破精神迷雾。这位左翼文化运动的旗手,在美术、电影、戏剧、文学四重维度上裂变出惊人的创造力,更以文艺理论家和艺术教育家的身份将革命火种播撒进新中国的土壤。本项目是中央美术学院“百年辉煌·艺术名家”系列展览之一,作为迄今为止规模最大、内容最全面的许幸之艺术成就回顾展,本次展览将展出许幸之代表作品及珍贵文献400余件(组),许多为首次展现,将全方位、多维度、深层次地呈现他在绘画、美术史、文学、电影、戏剧等多个领域的卓越成就。邀您一同走进这位20世纪跨界大师的精神世界。通过这些珍贵的展品,感受许幸之永不停息的艺术探索,体悟中国现代艺术发展的精神脉络。1935年1月,许幸之在上海电通影片公司,导演了中国最早的抗日题材故事片《风云儿女》,其电影主题曲《义勇军进行曲》,现已成为中华人民共和国国歌1939年7月底,导演许幸之与饰演阿Q的演员王竹友合影1957年4月,许幸之带领美术理论研究室青年教师们,赴山西大同云岗石窟考察 1978年9月,许幸之在家中创作油画《水晶世界进行曲》与此同时,本次展览的系列活动将于9月18日、19日陆续举办,欢迎您的关注与参与。01许幸之先生铜像揭幕仪式时间:2025年9月18日下午地点:中央美术学院石膏馆西侧02许幸之艺术成就学术研讨会时间:2025年9月19日9:00—18:00地点:中央美术学院5号楼电教报告厅03电影《风云儿女》展映时间:2025年9月19日18:30—20:00地点:中央美术学院美术馆报告厅《晚步——东京街景》 1926年 布面油彩 33.5×45.5cm 私人收藏《银色协奏曲》 1962年 布面油彩 62.0×76.0cm 私人收藏《油站朝晖》 1962年 板面油彩 44.2×61.8cm 中央美术学院美术馆藏《红灯柿》 1978年 板面油彩 30.2×40.0cm 中国美术馆藏《水晶世界进行曲》 1977年 板面油彩 直径127.3cm 中央美术学院美术馆藏许幸之先生是一位从青年时代起就献身人民大众解放事业的革命者,也是一位多才多艺的艺术家。他是一位杰出的画家、诗人、戏剧电影编导、艺术史论家,是一位关注民族命运和国家前途、爱护青年的社会活动家和艺术教育家。他在我国现代美术史上,占有独特的地位。他最早在绘画领域崭露头角而跻身二三十年代文坛,稍后在戏剧、电影等方面作出重要贡献,最后又回到画坛,在美术领域结束自己的艺术生涯。他和绘画创作、美术教育有着不解的缘分。虽然,他在影剧事业上的成就,如作为影片《风云儿女》(由田汉编剧)的导演和作为《铁蹄下的歌女》(由聂耳作曲)的词作者,已使他的名字无愧地载入我国现代文艺史册,但是他在美术领域里的功绩和成就,同样不可忽视、不可埋没。这不仅是因为他在 30 年代曾担任过中国左翼美术家联盟主席,是一位忠诚的左翼文艺战士,在当时的革命美术运动中起过先锋作用,而且还因为他是一位颇有天赋和创造才能的绘画家。他的绘画创造成果是我国现代美术史上一笔宝贵的财富。——邵大箴   1995年10月30日
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The Wonderful World Of Fusion Between Nuclear Fusion And Art | The Grand Launch Of The 2025 "Energy And Civilization" Event

2025-09-15

Exhibition SiteToday, as the energy revolution and cultural innovation intersect, science exhibitions are confronted with multiple challenges, such as the obscurity of professional knowledge and the fragmentation of disciplinary boundaries. These factors have rendered the mission of science exhibitions far beyond the traditional display of achievements and dissemination of knowledge; instead, they have become platforms for dialogue between science and art and hubs for popular science education accessible to all.On September 14, 2025, the large-scale popular science exhibition "Energy and Civilization – Science & Art Fusion Future" jointly launched by the Central Academy of Fine Arts, the Energy Research Institute of Hefei Comprehensive National Science Center, and the People's Government of Hefei Municipality grandly opened at CAFA Art Museum. As a national popular science education base, this exhibition also serves as the 2025 National Popular Science Month event of CAFA Art Museum.As China's first museum-level science and art exhibition themed on "controllable nuclear fusion", this exhibition brings together top scientists in the field of nuclear fusion and leading figures in the art world. From an interdisciplinary perspective, the exhibition integrates scientific achievements with contemporary artistic expression methods. Its display approach not only achieves mutual inspiration between science and art, but also enables audiences to intuitively perceive the infinite potential of energy through immersive experiences, stimulating people's imagination and reflection on the future energy era.Exhibition SiteThe guests attending the opening ceremony are as follows: Lü Pinjing, Vice President of the Central Academy of Fine Arts; Wu Qiang, Deputy Secretary of the Party Committee and Secretary of the Disciplinary Inspection Commission; Pan Chenghui, Assistant President; Hu Haomin, Executive Vice President of the Energy Research Institute of Hefei Comprehensive National Science Center; Yan Xiaohong, Deputy Director of the China International Nuclear Fusion Energy Program Execution Center of the Ministry of Science and Technology; Zhou Jianqiang, Vice Chairman of the China Society for Science and Technology Journalism; Wang Xiaoming, Honorary Chairman of the Yangtze River Delta Science Popularization Venue Alliance, Standing Deputy Director of the Learning, Culture and History Committee of the Shanghai Municipal Committee of the Chinese People's Political Consultative Conference, and Executive Vice Chairman of the Shanghai Science Popularization Education Development Foundation; Tong Zhihua, Deputy Director of the Science Popularization Department of the Beijing Association for Science and Technology; Wang Yudong, Chairman of Beijing International Design Week Co., Ltd.; He Dan, Vice Chairman of the Beijing Association for Science and Technology Education and former Director of the Beijing Science and Technology Center; He Xiaowei, Secretary of the Party Committee of the School of Design and Art of Beijing Institute of Technology; Zhang Kai, Founder of GRT Jiajia Capital; Zhang Xiaomin, Chairman and General Manager of Beijing Ziwei Yutong Technology Co., Ltd.; Wu Zheng, Founder of the Science and Art Joint Laboratory of the Energy Research Institute of Hefei Comprehensive National Science Center and Chief Planner of the exhibition; Zhang Zhaohong, Chief Curator of this exhibition and Teacher of the Sculpture Department of the Central Academy of Fine Arts. In addition, there are representatives from a number of science and technology-related institutions and enterprises that care about and support this exhibition, relevant persons in charge of the hosting, undertaking and co-organizing units, as well as persons in charge from various departments and administrative offices of the Central Academy of Fine Arts. Jin Jun, Director of CAFA Art Museum, served as the host of the opening ceremony.嘉宾合影01      2025.09.14-10.12Opening Message: Break Down Disciplinary Barriers,and Build Bridges Between Science and the PublicSpeech by Lü Pinjing, Vice President of the Central Academy of Fine ArtsLü Pinjing, Vice President of the Central Academy of Fine Arts, stated that energy is the cornerstone of the survival and development of human civilization. From the passing down of fire to nuclear fusion, every energy revolution has profoundly reshaped the relationship between human society and the natural world. Art, as a core way for humans to perceive and express, has always interacted with and illuminated scientific exploration and technological innovation. With the theme of "Energy and Civilization", this exhibition directly addresses this proposition of the times. Through the in-depth integration of art and technology, it inspires people to engage in creative thinking about the future forms of energy, paths of civilization, and ecological responsibilities. In recent years, the Central Academy of Fine Arts has continuously made disciplinary arrangements and invested resources in the field of tech art, enabling art to empower technological innovation and guiding industrial transformation with aesthetics, thus making art an important driving force for social innovation and the shaping of future civilizational forms. The Academy has always firmly believed that the integration of art and technology is a crucial direction for contemporary cultural innovation and the expansion of humanistic spirit. This exhibition is a vivid practice of this concept: it transforms invisible energy into perceptible visual experiences, and achieves unity between the rational thinking of science and the perceptual creation of art through their resonance at the same frequency.Speech by Hu Haomin, Executive Vice President of the Energy Research Institute of Hefei Comprehensive National Science CenterHu Haomin, Executive Vice President of the Energy Research Institute of Hefei Comprehensive National Science Center, noted that the Institute was jointly initiated by the People's Government of Anhui Province and the Chinese Academy of Sciences (CAS). With the positioning of "Three Bases and One Repository", it is committed to building a "national team" in the field of future energy technologies such as controllable nuclear fusion, so as to make due contributions to the energy technology revolution. When referring to the concept of "two wings of scientific and technological innovation and popular science" proposed at the 20th National Congress of the Communist Party of China, he mentioned that scientists and artists had jointly established a Science and Art Joint Laboratory and successfully organized and hosted two Science and Art Weeks. Coinciding with the first National Popular Science Month, this exhibition has seen the Science and Art Joint Laboratory transform abstract scientific concepts into tangible and perceptible experiences. It has infused an artistic cultural expression into the "major national asset" that is the controllable nuclear fusion device, and provided a new paradigm for telling China's scientific stories. He expressed the hope that through this form of expression featuring in-depth integration of science and art, more ideological inspiration could be brought to everyone, the innovative potential of scientific researchers could be further stimulated, and more and greater strength could be accumulated for lighting up the first lamp of fusion energy in China in the future.Speech by Zhang Zhaohong, Representative of the Curatorial Team and Teacher of the Sculpture Department of the Central Academy of Fine ArtsFinally, Zhang Zhaohong, representative of the curatorial team and teacher of the Sculpture Department of the Central Academy of Fine Arts, shared the story of interdisciplinary collaboration behind the exhibition's preparation: "It took us nearly a year from the initial preparation stage to the final launch of the exhibition. The scientist team brought Tokamak device drawings and fusion principle models, and communicated repeatedly with artists on 'how to turn formulas into visual images'. The exhibition theme consists of two parts: the first is 'Possessing the Ability to Create a Sun', which takes controllable nuclear fusion as its scientific foundation, clarifies that it can fundamentally change the course of human civilization, and endows the exhibition with depth; the second is 'What Will Our Lives Be Like When Controllable Nuclear Fusion Is Realized and Electricity Costs Drop to One Fen?', which corresponds to popular science and science fiction, and provides the exhibition with breadth. In addition, the only digital content in the exhibition focuses on 100 scientific fantasies – these are sci-fi works created with the integration of AI technology and the participation of many children. This exhibition aims to arouse infinite imagination about the future in every audience through the presentation method that integrates science and art."Jin Jun, Director of CAFA Art Museum,act as the host of the opening ceremonyOn-Site Visit02  2025.09.14-10.12Three Dimensions Combined with Scientific Installations: Making Science Perceivable and ComprehensibleThe exhibition focuses on the evolution of energy technologies and the advancement of civilization, particularly the breakthrough progress in controllable nuclear fusion technology. By constructing a knowledge framework from three dimensions—history, science, and art—it comprehensively demonstrates the integration of nuclear fusion scientific principles and artistic expression. With a number of installation works as the core carriers, the exhibition breaks down the disciplinary boundaries between science and art, transforms abstract nuclear fusion principles into perceivable sensory experiences, and guides audiences to deeply reflect on the relationship between humanity and energy.Installation "Lightning": A "Light and Shadow Manifesto" in Dialogue with Ultimate Energy ▏装置《闪电》延续了 19 世纪末尼古拉・特斯拉线圈的设计理念,既是对科学先驱伟大发明的致敬,也串联起能源探索的历史、现在与未来。作品通过剧烈的声响与明暗交织的光影碰撞,不仅直观呈现核聚变反应所需的超高温环境,更以视觉化、听觉化的语言隐喻自然界的深层动力 —— 如同核聚变在宇宙中的能量形态,让观众在震撼的感官体验中,与 “人类终极能源梦想” 展开哲学层面的对话。The installation "Lightning" carries forward the design concept of Nikola Tesla's coils from the late 19th century. It is not only a tribute to the great invention of this scientific pioneer, but also connects the past, present, and future of energy exploration. Through the collision of intense sounds and alternating light and shadow, the work not only intuitively presents the ultra-high temperature environment required for nuclear fusion reactions, but also uses visualized and auditory language to metaphorize the deep-seated power of nature—much like the energy form of nuclear fusion in the universe. This allows the audience to engage in a philosophical dialogue with the "human dream of ultimate energy" amid a stunning sensory experience.Device Discharge Performance ScheduleDaily (on opening days): 17:00-17:05, 17:30-17:35Every Friday and Saturday: 19:00-19:05, 19:30-19:35 *The performance will be suspended in case of rainy weather or other special weather conditions.*During the device performance, there will be strong light and loud sound. Please take safety precautions. Elderly people, children, pregnant women, and those with pacemakers are requested to watch under the guidance of staff. Do not enter the sunken plaza.▏Installation "Sea": The "Energy Future" in 50 Tons of SeawaterInstallation "Sea" uses 50 tons of artificial seawater to vividly present a future vision of converting seawater into energy. It highlights the enormous potential of controllable nuclear fusion and demonstrates its value as an ideal ultimate energy source.Installation "Artificial Sun": "Energy Replication" in Optical Fibers|"Artificial Sun" uses optical fiber equipment to channel outdoor sunlight into the art museum, then through concentrated light projection, creates a 5-meter-diameter "artificial sun". This not only reproduces the energy form of sunlight, but also echoes the seawater scene in the exhibition hall, helping the audience intuitively understand the enormous potential of nuclear fusion energy. These interactive installations break the traditional exhibition format of popular science, build a scientific and artistic space that is "visible, audible, and perceptible", and enable the audience to shift from "passive reception" to "active exploration".03      2025.09.14-10.12Scientific Cultural Relics: Witnessing the Development Course of Nuclear FusionThe exhibition also features a special display of several nuclear fusion scientific cultural relics, showcasing the precision and mysteries of the physical world. From China's earliest Tokamak device KT-5 to the Experimental Advanced Superconducting Tokamak (EAST), these physical objects and models record the key historical milestones of China's nuclear fusion research. Since the 1960s, China has launched research on magnetic confinement fusion, with the Tokamak becoming the main research path.These cultural relics not only showcase China's important achievements in the field of nuclear fusion, but also demonstrate how nuclear fusion research has driven the development of global energy science and technology. Through these precious cultural relics, the exhibition presents China's leading position in the research field of controllable nuclear fusion and highlights the profound significance of nuclear fusion research.04      2025.09.14-10.12To help audiences better understand nuclear fusion, the exhibition has also specially designed a number of interactive sessions. For example, through the "Nuclear Fusion Principle Checkpoint Game", audiences can personally operate virtual particle collisions and generate fusion reaction data in real time; meanwhile, the "Seawater Energy Conversion" device helps audiences understand the physical conversion process from seawater to nuclear energy by simulating seawater flow. These interactive sessions not only enhance the ppeal and engagement of science,but also allow audiences to better grasp the basic principles of nuclear fusion through personal experience.Among them, Fusion Droplets · Decoding Civilization (Seawater Card) is a participatory popular science activity: every participant is a transmitter of civilization's energy. Through the process of extracting seawater → activating the content of documents → piecing together the "Energy Civilization Code Wall", children can personally experience the technological miracle of "from a single drop of seawater to infinite energy".05      2025.09.14-10.12Thematic Forum: Energy and Civilization——Science & Art · Fusing the FutureOn the opening day of the exhibition, a thematic forum titled "Energy and Civilization — Science & Art · Fusing the Future" was held simultaneously. The forum invited experts from multiple fields including energy, art, science popularization, and science fiction to conduct in-depth discussions on interdisciplinary topics.•Roundtable 1: Energy · Electricity · Sci-Fi: The Leading Power in the Narrative of Future Civilization• Roundtable 2: Science · Public Education · Communication: The New Wave of Popular Science Education in China• Roundtable 3: Science · Art · Resonance: When Humanity Possesses the Ability to Create Stars06      2025.09.14-10.12Lecture Preview: Li Jiangang – Holding Up the Sun of Tomorrow: Current Status and Future Outlook of Magnetic Confinement FusionFrom 9:30 a.m. to 11:30 a.m. on Thursday, September 18th, we are honored to invite Academician Li Jiangang — a leader in China's nuclear fusion field and a core scientist who has witnessed and driven China's magnetic confinement fusion industry from "catching up" to "leading" — to deliver a keynote lecture titled "Holding Up the Sun of Tomorrow: Current Status and Future Outlook of Magnetic Confinement Fusion". Starting with an introduction to humanity's energy utilization, this lecture will highlight the advantages of fusion energy as a new energy source. Combining his personal experiences, Academician Li will recount the history of China's independent design and construction of magnetic confinement tokamak devices. He will also elaborate on China's "three-step" strategy for nuclear fusion development, explore the diverse applications of controlled nuclear fusion beyond power generation, and share insights into the integration of science and art. Through these efforts, Chinese scientists have left an indelible mark of China's contributions on the global advancement of fusion technology.Scan the QR code to register. Seats are limitedAudience members may enter the campus with a registration recordCAFA faculty, staff and students do not need to registerThis exhibition has been included in the series of events for the 2025 National Science Popularization Month. It is planned to tour across the country in cities such as Beijing, Hefei, and Shenzhen, promoting the cross-regional dissemination of the concept of energy science and art. In addition, the exhibition will further advance popular science formats including "Science and Art Workshops in Schools" and "Themed Online Classes", expand interactions with young people, and enable cutting-edge scientific and technological knowledge (such as nuclear fusion) to reach the public in a more vivid way.The exhibition will run until October 12, 2025. Visitors from all walks of life are welcome to attend and witness the dazzling sparks generated by the collision of science and art!Energy and Civilization – Science & Art · Fusion FutureExhibition Venue: 1st Floor Gallery, CAFA Art MuseumExhibition Duration: September 14, 2025 – October 12, 2025Exhibition Team:Academic Advisors: Lin Mao, Li JiangangInvited Directors: Qiu Zhijie, Hu HaominChief Coordinator: Pan ChenghuiAdministrative Coordinators: Wu Yajuan, Wang ShuChief Curators: Wu Zheng, Kong DefengExhibition Directors: Jin Jun, Han WenchaoExhibition Planners: Gao Gao, Hai JunCuratorial Team: Zhang Zhaohong, Shen Xingyi, Su Lei, Shen Cong, Chen Yu, Qu Chengming, He QiuyanExecutive Curators: Cai Miaomiao, Liu Xiangqi, Zhou You, Hu Yiwei, Wu Yingqi, Zhu Zixiu, Wu Zhendong, Hu ManluExhibition Coordinators: Wang Jing, Liu XiyanVisual Design: Gong Yi, Wang GengyuVideo Design: Liu Jian, He ChenxuanInstallation Design: Li Peng, Ding Haobin, Xu Guangxin, Meng Xiangzhong, Chen Zhang, Wei Zi'an, Wang Chaoqun, Xu Hongyun, Xiang Nianwen, Lü Zengwei, Li Chunhua, Chen Zhiwei, Wang Shulai, Liu Zhongbao, Xue FengPromotion Design: Ding Guanmeng, Zhang LumingPerformance Design: Hou Baihui, Li Xueying, Kong Xiangyu, Yang Shuting, Ye XiangLiterature Compilation: Wang Jiahu, Jia Xianjing, Ma Jiayi, Ma Chuxin, Zhao YuhanDesign Coordinator: Ji YujieExhibition Management: Su Shicun, Jing Peng, Lü ZhifaMedia Promotion: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding YiPublic Education: Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Xi HuaweiDevelopment & Promotion: Sun Wei, Yi Yi, Jin Jianru, Kou Lei, Liu XinglingFinance & Administration: Yang Liu, Men JingAdministrative Support: Jiang Siyu, Yue Junyao, Zhang Qian, Guo Xu, Chen XiaohuaOrganizersCentral Academy of Fine Arts (CAFA)Institute of Energy, Hefei Comprehensive National Science CenterPeople’s Government of Hefei MunicipalityUndertakersArt Museum of Central Academy of Fine Arts (CAFA Art Museum)Joint Laboratory of Science and Art, Institute of Energy, Hefei Comprehensive National Science CenterBig Sun (Hefei) Culture & Technology Co., Ltd.Co-organizersInstitute of Plasma Physics, Hefei Institutes of Physical Science, Chinese Academy of Sciences (CAS)School of Nuclear Science and Technology, University of Science and Technology of China (USTC)Science Popularization ChinaDepartment of Sculpture, Central Academy of Fine Arts (CAFA)School of Experimental Art and Technology-based Art, Central Academy of Fine Arts (CAFA)School of Design, Central Academy of Fine Arts (CAFA)School of Urban Design, Central Academy of Fine Arts (CAFA)Office of Scientific Research, Central Academy of Fine Arts (CAFA)Institute of Technology-based Art, Central Academy of Fine Arts (CAFA)School of Design and Art, Beijing Institute of Technology (BIT)School of Future Design, Beijing Normal University (BNU)Professional Committee of Science Popularization and Cultural Industry, China Society for Science and Technology JournalismKey Laboratory of Industrial Manufacturing Art Innovation Design, Ministry of Industry and Information TechnologySupporting OrganizationsBeijing International Design WeekEpson Lighting Research InstituteShenzhen Seegle Optoelectronics Co., Ltd.Beijing Yuanlichen Superconducting Technology Co., Ltd.Jimu LaboratoryTianyu ARTECHAnhui Benlun Technology Co., Ltd.Beijing Hegucoguang Technology Co., Ltd.Chief Editor / He YishaAssociate Editors / Du Yinzhu, Ding GuanmengOn-site Photographs / He Yifei, Xu Yun
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少,但更好:“德国工业设计之父”迪特·拉姆斯中国首展亮相中央美术学院

2025-09-15

2025年9月14日,由北京当代艺术基金会联合中央美术学院设计学院、德国拉姆斯基金会、北京国际设计周共同主办的“少,但更好:迪特·拉姆斯中国首展”,将在位于北京的中央美术学院设计学院四层展厅正式开幕。这是今年北京国际设计周的重点项目之一,也是迪特·拉姆斯这位跨时代的德国工业设计大师在中国的首次大型展览(并为亚洲巡展的首站)。现年93岁的迪特·拉姆斯(Dieter Rams)被誉为“德国工业设计之父”,是20世纪下半叶最具影响力的设计大师之一。早在上世纪70年代,他便提出“设计十诫”,认为好的设计是创新的、有用的、美观的,易于理解的、不张扬的、诚实的、经久耐用的、关注细节的、环保的,并尽可能少却更好的。这些不仅奠定了优良设计的评价准则,更为后世树立了可持续设计的标杆。此次展览以其格言“少,但更好(Less, but better)”作为展览主题,既是设计信条的延续,也是当代社会在可持续发展和生活方式探索中的重要价值坐标。“少,但更好:迪特·拉姆斯中国首展”在迪特·拉姆斯的理念指引下,由德国拉姆斯基金会执行总监克劳斯·克莱姆普(Klaus Klemp)与北京当代艺术基金会理事长崔峤共同策展,系统呈现迪特·拉姆斯半个多世纪的设计思想与创作脉络。展览将汇集多件珍贵设计作品、手稿、照片与影像资料,并特别设置 “Ingeborg Rams摄影作品”“博朗钟表与计算器”两大策展单元,为中国观众展现大师独特的设计世界与生活理念。此次展览也得到歌德学院(中国)、德意志联邦共和国驻华大使馆、德国GESTALTEN出版社、北京科学技术出版社、广东人民出版社等机构支持。作为主要推动者之一,北京当代艺术基金会希望通过此次展览,将迪特·拉姆斯的理念与当下“可持续设计”“青年人才发展”“国际合作”的议题相连,令其不仅是一场设计回顾展,更是一次关乎未来生活方式的公共讨论。▲ 扫描二维码,免费预约观展▲ “少,但更好:迪特·拉姆斯中国首展”展览现场#01跨时代的设计理念:少,但更好▲ 迪特·拉姆斯,2019,图片来源:© rams foundation在上世纪末,面对消费主义浪潮,迪特·拉姆斯提出了一项在设计领域极为罕见的主张:“设计应该对世界负责”。他认为好的设计应聚焦最本质的构成,排除冗余,“回归纯粹,回归简洁”。为此,他确立了判断“好设计”的“设计十诫”,构建出功能(Function)、形式(Form)、责任(Responsibility)三维平衡的评估标准。如今,资源节约与环境保护已成为人类面临的核心挑战,迪特·拉姆斯的设计思想比以往任何时候都更加切中时代命题。他说:“我所向往的,是一个由清晰、简洁而朴素的物品构成的世界——它们是我们真正需要并使用的东西。”早在上世纪70年代,迪特·拉姆斯就主张应以最长久的使用周期为目标来设计物品。▲ 1956年设计的SK4收音机与1963/64年设计的T 1000收音机,图片来源:© rams foundation他为家用电器品牌博朗(Braun)、家具制造商Vitsœ设计的超350件产品,影响了全球数代设计师,也深刻塑造了Apple、MUJI等国际品牌的审美。此次展览也将结合其中的典型案例,如仍在生产的Vitsœ 621边桌、博朗的MPZ 2榨汁机等,展现迪特·拉姆斯“延长产品寿命、减少资源消耗与废弃物”的实践逻辑,探讨“可持续”与“可长期使用”之间的密切关系。几十年来,迪特·拉姆斯的设计被全球成千上万的人日复一日地使用并收藏,其设计理念成为一代又一代设计师的灵感源泉,并发展为更多人与之共鸣的生活方式。北京当代艺术基金会理事长崔峤作为本次展览的联合策展人,阐述了迪特·拉姆斯的设计力量:“迪特·拉姆斯是智慧与创造力兼具的传奇人物,他的‘设计十诫’,‘少,但更好’这些理念至今依然激励我们,以更简洁、更理性的方式面对复杂世界,创造真正有价值的事与物。”#02中国首展:从经典产品到珍稀档案▲ 迪特·拉姆斯在“设计十诫”展览现场,德国莱姆戈(Lemgo),2005,图片来源:© rams foundation对于中国观众而言,这是一次难得的机会:近距离触摸和理解世界级设计的思想脉络,以及它如何影响我们的日常生活和可持续思维。▲ regie 550高保真音响控制器,图片来源:© rams foundation当观众踏入中央美术学院设计学院四层展厅,映入眼帘的不是喧闹的装置或炫目的视觉冲击,而是一种静谧、理性而清晰的氛围。展厅内,观众可以近距离观察迪特·拉姆斯的30件经典产品,包括F1 mactron口袋打火机、regie 550高保真音响控制器等,每一件都像在低声诉说着半个世纪的设计哲学。旁边的50件图文展板上,是他从手绘草图到未实现设计的珍贵档案,记录着每一次灵感的闪现。影像区将播放两部重要纪录片《Rams》和《谁是Mr. Braun?》,让设计理念在光影之间被直观感知。对于大众而言,这不仅是对设计史经典的回顾,更是一次触摸生活智慧的体验。值得特别关注的是,北京站相比过往的世界巡展新增了两个策展单元:        ·Ingeborg Rams珍贵影像作品作为迪特·拉姆斯的伴侣与合作伙伴,她自上世纪50年代起为博朗和Vitsœ拍摄了大量产品与空间影像,其冷静而敏锐的镜头展现了功能与美学的融合。展览将呈现她的经典摄影作品及住宅影像。▲ Ingeborg Rams拍摄的Vitsœ展厅,图片来源:© rams foundation        ·博朗钟表与计算器首次系统性展出从折叠闹钟、数字台钟到模拟/数字腕表的设计演进,揭示迪特·拉姆斯与其长期合作伙伴、工业设计师Dietrich Lubs在“时间设计”上的创新探索。▲ Dietrich Lubs绘制的dw 20手表草图,图片来源:© Braun GmbH每一件展品都是迪特·拉姆斯理念的生动注解,也让观众在“观察、阅读、思考”中体验“少,但更好”的设计美感。#03从展厅到日常:当代生活如何实践“少,但更好”▲ 迪特·拉姆斯在德国克龙贝格(Kronberg)家中的工作室内,由Ingeborg Rams拍摄,图片来源:© rams foundation此次展览不仅展示了迪特·拉姆斯经典作品的历史脉络,也在向当下发问:我们如何与物品、环境和自己相处?如何将“少,但更好”运用于日常生活?在快速消费与环境危机并存的今天,迪特·拉姆斯的理念仍然振聋发聩。北京当代艺术基金会希望此次中国巡展对观众来说,不仅是一次与设计经典的近距离相遇,更是一种关于未来生活方式的思考与分享。崔峤表示:“迪特·拉姆斯提醒我们:真正长久的设计,来源于对人和地球的尊重。当下这个不确定和矛盾的世界,更是每个人追索内心、去除杂念、坚实个性的时刻。迪特·拉姆斯用理性、克制和聚焦的设计语言与行动,为我们展示了一个更可持续、更有希望的未来。”国际上,迪特·拉姆斯的影响还将延续。9月9日,他在伦敦世界设计大会上获颁“世界设计奖章(World Design Medal™)”,表彰其对工业设计的巨大贡献。11月开始,迪特·拉姆斯受邀参与东京21_21 DESIGN SIGHT主办的群展“Reflecting on the Work and Philosophy of Great Designers(回顾伟大设计师的工作与哲学思想)”。○展览信息•展览名称:少,但更好:迪特·拉姆斯中国首展•展览时间:2025年9月14日–10月8日(9:30~17:30,每周一闭馆)•展览地点:北京 | 中央美术学院设计学院四层展厅(请从学校北门进入,具体路线如下图↓)•策展人:克劳斯·克莱姆普、崔峤•联合主办:北京当代艺术基金会、德国拉姆斯基金会、北京国际设计周、中央美术学院设计学院•展览支持:歌德学院(中国)、德意志联邦共和国驻华大使馆、德国GESTALTEN出版社、北京科学技术出版社、广东人民出版社• 观展形式:免费观展(请扫描海报二维码,在中央美术学院美术馆小程序提前预约观展时间)▲ 扫描二维码,免费预约观展○延伸阅读《少,但更好:德国设计大师迪特·拉姆斯中国首展九月开幕 | BCAF发起》主编 / 何一沙责编 / 杜隐珠
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Crossover Dialogue Between Energy And Art |The “Energy And Civilization--Science & Art·Fusion Future” Forum Is About To Kick Off

2025-09-12

The interdisciplinary integration of energy technology, science popularization communication, and artistic expression"Energy And Civilization--Science & Art·Fusion Future"Roundtable ForumTime: 13:30-17:30, September 14, 2025Venue: Lecture Hall of CAFA Art MuseumOn September 14, 2025, the large-scale science popularization exhibition "Energy And Civilization--Science & Art·Fusion Future", co-sponsored by the Central Academy of Fine Arts, the Institute of Energy of Hefei Comprehensive National Science Center, and the People's Government of Hefei, will open at CAFAM. A thematic roundtable forum will be held in the Lecture Hall of CAFA Art Museum on September 14. The forum will invite experts from various fields such as energy scientists, artists, science fiction writers, science popularization experts, and investors to conduct three interdisciplinary roundtable dialogues focusing on the future of energy, technology, art, and civilization, thus staging a wonderful collision between "energy and art".This forum is open to the publicScan the QR code to make a reservationLimited spots available; first come, first served   01  Forum Introduction      The forum, themed "Focusing on Controlled Nuclear Fusion: Exploring the Interdisciplinary Integration of Energy Technology, Science Popularization Communication, and Artistic Expression", aims to break down disciplinary barriers and build a public platform for in-depth dialogue between science and art. Focusing on "controlled nuclear fusion" as the ultimate energy direction, it will bring together scientists, artists, and science fiction writers to pool their wisdom. Centering on the core topic of "energy and civilization", three roundtable dialogues will be held to explore how energy technology can lay the foundation for the future, how science popularization education can build a bridge for public understanding, and how technology and art can jointly shape new forms of civilization. This is an intellectual journey from reality to imagination, and we invite you to participate in co-creating the narrative of the future.   02  Three Roundtable Themes · Leading Interdisciplinary Contemplation      13:30-14:40, September 14Forum 1: Energy, Electricity, Future and Science FictionNarrative DominanceThe transformation of energy technology is an underlying variable in the development of human society. It determines the boundaries of productivity and profoundly shapes the economic society, political systems, and even cultural values. From the era of slash-and-burn cultivation to nuclear fusion, every energy revolution has overturned the old order and given birth to entirely new forms of civilization.HostKong DefengPh.D., doctoral supervisor, Huangshan Scholar, Chief Scientist of the National Key Research and Development ProgramGuestsLing ChenCouncil Member of China Science Writers Association, science popularization and science fiction writerChen XiDirector, Screenwriter, PlannerMao WenzheAssociate Professor, University of Science and Technology of ChinaZhang KaiFamous InvestorWang XuanzhengProfessor, Director of the Graduate Department, School of Design, Central Academy of Fine ArtsSeptember 14, 14:40-15:50 Forum 2: The New Wave of Science Popularization Education in China – Science, Public Education, CommunicationIn an era where knowledge acquisition is extremely convenient, the mission of science popularization education has evolved from mere "knowledge dissemination" to the "cultivation of scientific thinking and scientific spirit". It is no longer a one-way indoctrination, but a two-way, creative and interactive public education activity. How to break down the "dimension wall" between science and the public, and make profound scientific research achievements knowable, perceivable and participatory, is a new task facing science popularization workers.HostZhang Wenchao Artist, Director of the Art and Technology Program, School of Design, Central Academy of Fine ArtsGuestsZhou JianqiangDirector and Researcher of the Professional Committee for Science Popularization and Cultural Industries of the China Society for Science and Technology Journalism, and Director of the Institute of Science Popularization Industry at the University of Science and Technology of ChinaWang XiaomingDeputy Director of China's Guidance Committee for Training of High-Level Specialized Talents in Science Popularization, Honorary Chairman of the Yangtze River Delta Science Popularization Venues Alliance, and Executive Vice Chairman of the Shanghai Foundation for the Development of Science Popularization Education.He DanMember of the Science Popularization Education Committee of China Science Writers Association, and Guiding Expert of China Science Popularization Study Tour AllianceWu DanResearcher at the China Research Institute for Science PopularizationZhang JieDirector of the Brand Innovation, Development and Communication Center, China Agricultural Film and Television Center, Ministry of Agriculture and Rural AffairsSeptember 14, 16:10-17:30 Forum 3: The Poetry of Energy: When Science and Art ResonateThe "Energy and Civilization" exhibition resonates at the intersection of technological rationality and poetic intuition. This dialogue seeks to construct a polyphonic narrative of scientific and technological humanities – when the microscopic universe of particle collisions meets the materiality of sculptural materials, when the topological structure of photovoltaic matrices resonates with the spatiotemporal reconstruction of video installations, and when the entropy-increasing process of energy storage components interweaves with the frequency modulation of installation art.HostHu QuanchunDeputy Director of the Department of Sculpture, Central Academy of Fine ArtsGuestsLiu JianProfessor at Shandong University, Fusion ScienceQi ZhenHead of the Tech Art Studio, School of Experimental Art and Tech ArtSong DonghuanScreenwriter, CuratorFan HuiGrade-2 Screenwriter of China Film Group Corporation, Secretary-General of the Youth Film Professional Committee of China Xia Yan Film SocietyXing HeProfessional Writer of Beijing Writers AssociationJing SiyangDirector of the Crisis and Ecological Design Program, School of Design, Central Academy of Fine ArtsEnergy And Civilization--Science & Art·Fusion FutureExhibition Time: September 14 - October 12, 2025Exhibition Venue: 1st Floor Exhibition Hall, Art Museum of the Central Academy of Fine ArtsOpening Time: 10:00 a.m. on September 14, 2025Opening Venue: Academic Lecture Hall, Art Museum of the Central Academy of Fine ArtsEditor-in-Chief / He YishaEditor / Du Yinzhu
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Collection Talk | Lecture Preview for the Series "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"

2025-09-11

"Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"Series of Academic Activities"Collection Talk"(First Session)《Steamed buns, pizza, newspapers, and α Generation》Lecture Time: 14:00-16:00 pm on September 11, 2025Venue: Meeting Room,CAFA Art MuseumSpeaker: Artist duo Chow and LinHost: Art Museum of the Central Academy of Fine ArtsScan the QR code to make a reservationLimited spots available; first come, first servedLecture Content——————Chow and Lin are participating artists in "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection". The "Poverty Line" series of photographs in the collection of CAFA Art Museum are their works. In this lecture, Chow and Lin will share with us their artistic journey starting from the "Poverty Line" project, and how they connect experiences and observations in daily life to social and global issues in their creations.The "Poverty Line" series of works at the exhibition site of "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"One of The Poverty Line, by Chow and Lin, 2012, 39×58cm, collection-grade art giclée print, Collection of CAFA Art MuseumThe CAFA Art Museum collected a total of 56 works from The Poverty Line series in 2016The "Poverty Line" series of works explores the daily choices faced by people living on the edge of the poverty line through the universal perspective of food. Since 2010, the artists have visited 38 countries and regions across six continents, covering a total distance of over 200,000 kilometers, to complete a series of case studies.Based on the official definitions of poverty in different countries, the artists calculated the daily per capita poverty standard. In upper-middle-income economies, they referred to the average food expenditure of low-income households; in low-income economies, they directly used the entire daily income of poor people as the basis for calculation. According to this amount, the artists purchased food in local markets and arranged it on that day's local newspaper for photography.The size and lighting of the works are precisely designed to ensure aesthetic consistency across time and regions. The newspaper forms a monotonous background, filled with headlines vying for attention. This not only reflects humanity's obsession with information but also reveals that in the era of the rise of digital media, the relevance of newspapers is constantly being questioned. This significant shift in information dissemination methods profoundly affects how we access and understand information in a highly interconnected yet fragmented society.Introduction to the Speakers——————————————————Chow and Lin (of Singaporean descent), an artist duo consisting of Stefen Chow and Huiyi Lin, focus on the dynamic relationships between humans and various social systems. They excel at leveraging the power of visuals to explore global issues with backgrounds in economics, mathematics, and statistics. Their projects are driven by cross-disciplinary inputs from photography, media, economics, public policy, as well as insights from experts in different fields. The themes addressed in their works include poverty, consumerism, ecological sustainability, and more. Their works have been exhibited in 15 countries, with a solo exhibition held at the United Nations Conference Centre in Bangkok, and are included in the collection of MoMA in New York.Related Exhibitions————————————The Project "2025 National Art Museum Collection Exhibitions Season" By The Ministry Of Culture And TourismFlowing Artscapes: CAFAM International Exchange Research Exhibition from The CollectionHost: CAFA Art MuseumExhibition dates: July 18 - September 3, 2025Venue: Halls 3A and 3B, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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Energy And Civilization- Science & Art · Fusion Future | The 2025 "Energy and Civilization" Exhibition Is About To Open Grandly

2025-09-10

At 10:00 a.m. on September 14, 2025, the large-scale popular science exhibition "Energy and Civilization: Science & Art · Fusion Future", jointly launched by the Central Academy of Fine Arts, the Institute of Energy of Hefei Comprehensive National Science Center, and the Hefei Municipal People's Government, will grandly open at CAFA Art Museum. As China's first museum-level science and art exhibition themed on "controllable nuclear fusion", it brings together top scientists in the field of nuclear fusion and leading figures in the art circle. From an interdisciplinary perspective, the exhibition combines scientific achievements with contemporary artistic expressions, establishing a complete knowledge chain from scientific issues to artistic representations, and then to public cognition.The exhibition focuses on the evolution of energy technologies and the progress of civilization, particularly the breakthroughs in controllable nuclear fusion technology. It comprehensively demonstrates the scientific principles of nuclear fusion by integrating artistic expressions with the construction of a knowledge map spanning three dimensions: history, science, and art. From the historical perspective, it reviews the evolution of energy technologies from fire-making by drilling wood to nuclear fusion, and presents the arduous journey of China's nuclear fusion research. From the scientific perspective, it provides a panoramic interpretation of the principles of controllable nuclear fusion and showcases the course of scientific exploration through precious scientific relics such as EAST and tokamaks. From the artistic perspective, through large-scale installation works like Lightning, Sea, and Building the Sun, it transforms abstract scientific principles into visual spectacles, stimulating viewers' sensory experiences and reflections.The innovative exhibition methods not only achieve the two-way stimulation of scientific expression and artistic cognition, but also allow the audience to intuitively feel the infinite potential of energy through an immersive experience, inspiring people's imagination and reflection on the future energy era.                                  The exhibition will skillfully integrate scientific expression with artistic perception through a number of installation works, inspiring visitors' in-depth thinking and sensory experience of nuclear fusion technology.Installation LightningThe installation Lightning carries forward the design concept of the Tesla coil. It is both a reproduction of Nikola Tesla's great invention at the end of the 19th century and a link connecting history, the present, and the future. This work not only presents the ultra-high temperature environment required for nuclear fusion but also, through intense sounds and collisions of light and shadow, metaphorically embodies the profound driving forces of nature. It engages in a dialogue with nuclear fusion—humanity's ultimate energy dream—both visually and philosophically.Installation SeaThe installation Sea vividly presents a future scenario where seawater is converted into energy through 50 tons of artificial seawater, highlighting the enormous potential of controllable nuclear fusion and demonstrating its value as an ideal ultimate energy source.Installation Building the Sun  Building the Sun channels outdoor sunlight into the art museum via optical fiber devices, then projects it through light concentration to create a 5-meter-diameter "artificial sun". This not only reproduces the energy form of sunlight but also echoes the scene of 50 tons of seawater in the exhibition hall, helping visitors intuitively understand the enormous potential of nuclear fusion energy. Through these works, the exhibition breaks away from the form of traditional popular science exhibitions and creates an interactive space for art and science experiences.                                                         The exhibition has carefully selected a series of nuclear fusion scientific devices, showcasing the precision and profundity of the physical world and forming a "chain of material evidence for the evolution of civilization". From China's first tokamak device to the EAST device, these precious scientific instruments spanning nearly two centuries link key historical nodes in China's nuclear fusion research, highlighting China's important position in global energy exploration.Since the 1970s, China has launched the magnetic confinement fusion research program, with tokamak becoming the main research path. In the 1980s, China successfully built its first small tokamak device, KT-5, marking a breakthrough in the country's nuclear fusion research. This device not only provided an important experimental platform for basic physical issues such as plasma-wave interactions but also promoted the development of various advanced plasma diagnostic technologies, serving as a core experimental platform for talent cultivation in the field of nuclear fusion. By exhibiting these precious relics, the exhibition enables visitors to deeply understand China's remarkable achievements in nuclear fusion research and its leading position in the global energy science and technology sector.                                                          The exhibition features a number of interactive experience installations, such as "Fusion Droplets · Decoding Civilization (Seawater Card)", which is a participatory science popularization activity: each participant is a transmitter of the energy of civilization. Children can personally experience the technological miracle of "from a drop of seawater to infinite energy" through the process of extracting seawater → activating the content of documents → piecing together the energy civilization code wall. At the same time, a series of derivatives related to nuclear fusion and energy will be launched at the exhibition site, allowing visitors to extend their exhibition experience through these products and think deeply about the integration of science and art.This exhibition is included in the series of events for the 2025 National Science Popularization Month, the 2025 Beijing International Design Week, and the 2025 3rd China (Hefei) International Science and Art Week. It will tour cities such as Hefei, Chongqing, Shenzhen, and Shanghai in the future. The exhibition will also cooperate with a number of science education institutions, and in the future, it will reach a wider group of teenagers through forms such as "science and art workshops entering campuses" and "themed cloud classes".Energy And Civilization-- Science & Art · Fusion FutureVenue: 1st Floor Exhibition Hall, CAFA Art MuseumTime: September 14 - October 12, 2025 (Opening Time: 10:00 a.m. on September 14; Opening Venue: Academic Lecture Hall, CAFA Art Museum)Exhibition Working Team:Academic Advisors: Lin Mao, Li JiangangInvited Advisors: Qiu Zhijie, Hu HaominChief Coordinator: Pan ChenghuiAdministrative Coordinators: Wu Yajuan, Wang ShuChief Curators: Wu Zheng, Kong DefengExhibition Directors: Jin Jun, Han WenchaoExhibition Coordinators: Gao Gao, Hai JunCuratorial Team: Zhang Zhaohong, Shen Xingyi, Su Lei, Shen Cong, Chen Yu, Qu Chengming, He QiuyanExecutive Curators: Cai Miaomiao, Liu Xiangqi, Zhou You, Hu Yiwei, Wu Yingqi, Zhu Zixiu, Wu Zhendong, Hu ManluExhibition Coordinators: Wang Jing, Liu XiyanHost Organizations:Central Academy of Fine ArtsInstitute of Energy, Hefei Comprehensive National Science CenterHefei Municipal People's GovernmentOrganizing Units:Art Museum of the Central Academy of Fine ArtsScience and Art Joint Laboratory, Institute of Energy, Hefei Comprehensive National Science CenterBig Sun (Hefei) Culture and Technology Co., Ltd.Co-organizers:Plasma Physics Institute, Hefei Institutes of Physical Science, Chinese Academy of SciencesSchool of Nuclear Science and Technology, University of Science and Technology of ChinaScience Popularization ChinaDepartment of Sculpture, Central Academy of Fine ArtsSchool of Experimental Art and Technology Art, Central Academy of Fine ArtsSchool of Design, Central Academy of Fine ArtsSchool of Urban Design, Central Academy of Fine ArtsOffice of Scientific Research, Central Academy of Fine ArtsInstitute of Science and Technology Art, Central Academy of Fine ArtsSchool of Design and Art, Beijing Institute of TechnologySchool of Future Design, Beijing Normal UniversityProfessional Committee of Popular Science Culture Industry, China Society for Science and Technology JournalismKey Laboratory of Industrial and Information Technology for Innovation Design in Industrial Manufacturing ArtSupporting Organizations:Beijing International Design WeekBeijing ByteDance Network Technology Co., Ltd.Epson Light & Shadow Research InstituteShenzhen Seetao Optoelectronics Co., Ltd.Beijing Yuanlichen Superconducting Technology Co., Ltd. Jimu LaboratoryTianyu ARTECHAnhui Benlun Technology Co., Ltd.Beijing Hegu Gongchuang Technology Co., Ltd.Chief Editor / He YishaEditor / Du Yinzhu
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White Dew Today

2025-09-07

White Dew today.
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One Mirror, One World: The Translucent Mirror Of The Ming Dynasty From "Han Tianxia" | Collection Exhibition Of CAFAM

2025-09-06

In the exhibition hall of "Collection of CAFA Art Museum – Ancient Chinese Art", a precious relic from the Han Dynasty that has spanned over a thousand years – the circular-knob sunlight and grass-leaf pattern bronze mirror – stands quietly, waiting to meet the gaze of contemporary viewers.> > > >639 Round Knob Sunlight Grass and Leaf Pattern Mirror, Reverse side of the mirror, Han Dynasty, Bronze, Diameter: 10.3 cm, Weight: 108 grams, Collection of CAFA Art Museum639 Round Knob Sunlight Grass and Leaf Pattern Mirror, Mirror surfaceThis bronze mirror is well-preserved, showing an overall black appearance with scattered patches of green rust.The mirror is circular in shape, featuring a circular knob and a deformed persimmon calyx pattern as the knob base. Outside the base lies a double-line square frame, inside which there is a checkerboard-like grid. The knob is at the center of the grid, with symmetrical diagonal patterns at the four corners. On each side of the square frame, there are two seal-script characters; when read clockwise in sequence, they form the inscription: "When seeing the light of the sun, the whole world is bright." Beyond this square frame, there is an additional circular concave frame. Four "ru ding" (breast-shaped studs, a common decorative element on ancient Chinese bronze mirrors) are placed outside the midpoints of the four sides of this concave frame. Outside each "ru ding" pattern, there is a peach-shaped flower bud, with a single-layer grass-leaf pattern arranged symmetrically on both sides. From each of the four corners of the square frame, a double-petal flower branch pattern extends, with the tips of the branches radiating outward—consistent with the direction of the leaf tips of the persimmon calyx pattern base. The mirror is bordered by an inward-facing sixteen-consecutive-arc pattern, with vertical edges.639 Round Knob Sunlight Grass and Leaf Pattern Mirror: Case and InscriptionThis bronze mirror is accompanied by a case, on which there are 283 characters written in ink by its original owner during the Republic of China period, along with three stamped seals. The inscriptions specify the mirror's name, its extraordinary features, the mystery of its light-transmitting property, the reason for its change of ownership, and the owner's expectations for the next holder. The historical sense of responsibility embodied in the inscriptions is admirable, while the reason for the transfer—"selling the mirror to repay debts"—is lamentable. However, as Zhi Wei once said, "Both the one who gains it and the one who loses it should remain joyful." Today, our museum's acquisition of this mirror is indeed a great delight.original inscription by Zhi:The Translucent Mirror of the Ming Dynasty from "Han Tianxia"The translucent mirror is an extraordinary innovation in China's metallurgical technology. Wu Qiuyan, a scholar of the Yuan Dynasty, claimed that it was made "with fine bronze for the frame and impure bronze for the patterns( though the two terms "fine" and "impure" should be swapped). When exposed to sunlight, the patterns are fully transmitted." This is merely a speculative claim with no scientific basis.Scholars such as Umehara Sueji and Naito Konan also conducted research and discrimination, but none of them reached a definite conclusion. In short, this is an undisclosed secret in the casting and smelting techniques of our ancient ancestors.Among thousands of mirrors, few can obtain even one. Now I have to exchange this mirror for money to repay debts, which has made me feel sorrowful for days. I hereby write a few words. May the one who obtains it treasure it, or hand it over to experts for research, so as to solve this mystery. It will also be a glory in the history of mirrors and a fortunate event for the collector. The artistic inventions of our ancient people can thus be praised, which is especially a great fortune in the new democratic era.Words from a Mirror EnthusiastAnd stamped with the seal of Yongle HallMay both the gainer and the loser find eternal happinessSeals: Mirror Enthusiast, Seal of Yongle HallThe scene of the bronze mirror exhibition area in "Collection of CAFA Art Museum – Ancient Chinese Art"In addition to the Round Knob Sunlight Grass and Leaf Pattern Mirror, the exhibition also features dozens of other rare bronze mirrors, such as the Bridge Knob Feather-wing Flower and Leaf Pattern Four-Mountain Mirror (Warring States Period) and the Round Knob Four-Bird Flower Branch Mirror (Tang Dynasty). Through these exhibits, visitors can intuitively perceive the changes in aesthetic tastes and innovations in craftsmanship across different eras.> > > >Collection of CAFA Art Museum -– Ancient Chinese Art(Phase II)Exhibition Time: Starting from July 1, 2024Exhibition Venue: Gallery A, 2nd Floor, CAFA Art MuseumChief Editor / He Yisha Editor / Du Yinzhu
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Revealing In One Minute | "Interflowing Artscapes -- CAFAM International Exchange Research Exhibition from the Collection" Is About To Conclude

2025-09-04

"Interflowing Artscapes -- CAFAM International Exchange Research Exhibition from the Collection" will successfully conclude today. A large number of important artworks in the exhibition are being displayed for the first time, involving 133 global artists and 244 wonderful works (groups). Many of these works once lay silent in the warehouse, but each one bears distinct characteristics of the times and artistic value. One after another, batch after batch, the enrichment and accumulation of international art collections not only reflect the development process of the art museum, the achievements of fine arts education and international exchanges of the Central Academy of Fine Arts, but also outline the cultural exchanges between China and foreign countries and the world's art ecology from a side perspective.       
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Shocking Anti-Japanese War Scene: Yan Han's Printmaking - "When the Enemy Searches the Mountain" | CAFAM Collection Exhibition

2025-09-04

> > > >September 3, 2025, marks the 80th anniversary of the victory of the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War. On this special commemoration day, let us jointly appreciate this black-and-white woodcut print with profound historical significance—Yan Han's When the Enemies Search the Mountain. This work is currently on display in the second phase of the "Collection of CAFA Art Museum: Modern Chinese Art". The exhibition, covering traditional Chinese painting, oil painting, and printmaking, is not only the individual expression of artists but also embodies the exploration and reform in the torrent of history, responding to the times with modern forms and languages."When the Enemies Were Searching the Mountain" 1943 Yan Han Black and White Woodcut 22×19cm Collection of CAFA Art MuseumDuring the War of Resistance against Japanese Aggression, a group of artists represented by Yan Han truly went to the battlefield and directly reflected the most intense and core scenes of the War of Resistance through their works. In 1938, Yan Han crossed the Yellow River with the Eighth Route Army to go to the front line of the War of Resistance. In 1942, the Japanese army carried out multiple "mopping-up operations" against the anti-Japanese base areas behind enemy lines in North China. With the help of local villagers, Yan Han and his comrades managed to break through the blockade."When the Enemies Were Searching the Mountain" was created by Yan Han in 1943 after he returned to Yan'an from the front line, in memory of his fallen comrades. The work not only shows the tenacity and resistance of the people under extreme oppression but also highlights the spiritual strength of military-civilian unity and solidarity as one. It demonstrates Yan Han's creative stance of closely combining art with the destiny of the nation.Excerpt from "When the Enemy Searches the Mountain"The work depicts a battle scene where soldiers and civilians collaborate and share a common hatred for the enemy amid the predicament of the enemy searching the mountains. The painting uses a triangular composition. At the visual center, an Eighth Route Army soldier, with the joint effort of the masses lifting him up, climbs out of the trench and is strafing the enemy with a light machine gun. On the left side of the painting are militia members eager to join the battle, while at the bottom of the painting, the people support the Eighth Route Army soldier with their own bodies. A crawling child holds a grenade high in his hand, ready to pass it to the soldier at any moment. The contrast between black and white colors and the variations in the thickness of the lines create a tense and intense atmosphere.Excerpt from "When the Enemy Searches the Mountain"This print truthfully and vividly reflects the arduous anti-Japanese struggle of the Chinese people, depicting the profound bond between the military and civilians who shared weal and woe like fish and water. It conveys a stirring spiritual power and has left a brilliant mark in the history of Chinese national art development.> > > >Collection Of CAFA Art Museum——Modern Chinese Art(Phase II)Exhibition Duration: Starting from July 1, 2025Exhibition Venue: Hall A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.

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Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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