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: “图示新探”系列学术讲座回溯（第一讲）| 殷双喜：改造与重塑——王式廓《改造二流子》再研究

2022-12-06

“图示新探：延安文艺座谈会讲话与现实主义艺术”系列学术讲座，由中央美术学院美术馆直属党支部主办，计划从一系列与中央美术学院美术馆收藏与展示的具体作品出发，围绕1942年毛泽东同志《在延安文艺座谈会上的讲话》对艺术创作与艺术研究产生的影响展开，譬如：文艺创作方向的转变、创作主题的变化、创作中对于人民群众形象的表现、历史史实与艺术表达的关系等等。以此进一步探讨《在延安文艺座谈会上的讲话》对中国现代美术创作中新图示的创造以及中国文艺理论研究等方面所产生的深远影响。本系列学术讲座在第一期拟举办五讲，邀请殷双喜、于洋、吴雪杉、杨灿伟和李垚辰等美术史学者主讲，主题包括王式廓的《改造二流子》、周令钊的《五四运动》、宋步云的《北平解放》、延安版画与鲁艺木刻工作团和袁运生的《水乡的记忆》等。系列讲座的总召集为美术馆直属党支部书记韩文超。2022年11月2日由中央美术学院教授殷双喜开启首讲，主题为“改造与重塑——王式廓《改造二流子》再研究”，首次讲座与建筑学院党总支联合主办。主讲人介绍殷双喜江苏泰州人。1991 年毕业于西安美术学院，获硕士学位，2002 年毕业于中央美术学院美术历史与理论系，获博士学位。现为中央美术学院教授、博士生导师，《美术研究》执行主编、国家近现代美术研究中心研究员、中国国家画院理论研究所研究员、《美术》杂志编委、中国雕塑学会副会长、中国画学会创会理事、中国油画学会理事、文化和旅游部国家重大题材创作项目专家指导委员会委员。研究方向为20世纪近现代中国美术。讲座内容讲座由美术馆直属党支部书记韩文超主持讲座伊始，美术馆直属党支部书记韩文超首先介绍举办此次系列学术讲座的缘起是为了纪念1942年毛泽东同志《在延安文艺座谈会上的讲话》发表八十周年。他提到，举办系列讲座有两个目的，一方面是希望对重要馆藏和已展出重要作品进行一次新的聚焦和讨论，另一方面，也希望以作品为出发点，与诸位学者一起探讨对于中国现代美术创作中新图示的产生以及文艺理论研究等方面所产生的深远影响。“图示新探”这一系列学术讲座目前计划有五讲，之后计划在2023年度持续举办，争取打造成美术馆党建的特色品牌项目。同时，此系列学术讲座还有两个背景：一是在二十大胜利闭幕之际，全党全国全行业全系统正在掀起学习二十大的热潮。二是美术馆作为我们学校的窗口和平台单位，富有弘扬和展示美院优秀作品、优良传统、传播优秀文化、普及大众美育的责任和使命，美术馆支部也将此次系列讲座作为学校层面的二级党校和党员教育的一个公共平台，共享教育资源，联学共进。在介绍了“图示新探”系列学术讲座第一讲的主讲嘉宾殷双喜教授和主讲内容之后，韩文超书记对建筑学院党总支副书记李琳和王式廓基金会执行秘书长李蕾的支持、参与表示感谢，并向参与此次讲座活动的师生，特别是建筑学院的党员师生和通过线上平台参与此次讲座的燕郊校区附中的师生表示欢迎。殷双喜教授在讲座现场接下来，殷双喜教授开始了本次讲座的讲授。他首先对讲座内容进行了简要介绍，作为延安美术的杰出画家，王式廓的版画《改造二流子》是延安版画的代表作，也是王式廓艺术创作史上重要的早期代表作品之一，其中蕴含着丰富的文化与社会信息，有助于帮助我们认识近代中国的美术及社会发展。讲座内容分为七大部分，逐一展开。不仅介绍王式廓的个人生平，而且介绍了延安鲁艺、延安文艺座谈会、延安木刻、延安大生产运动等历史事件，让观众在20世纪40年代延安的视野下，重新回望王式廓的版画《改造二流子》及相关主题美术创作，在当今语境下重新解读《改造二流子》的深远意义。殷双喜教授首先对中国近现代美术的特征与研究方法进行了阐述。他认为，中国艺术的发展的特征之一是延续性大于断裂性，综合性多于纯粹性，这不同于20世纪以来西方现当代艺术的不断更迭，是我们观察中国艺术的基础视角。提到综合性，殷双喜教授提到今天的美术史学者已不再只谈论绘画作品与语言特征，20世纪全球艺术史研究的新兴的、主流的趋势是从社会学、文化学、艺术学等角度展开跨学科综合性研究。1940年10月，延安鲁艺战地写生画展门前（后排左起：王式廓、华君武、胡蛮、蔡若虹、力群，前排左1陈布文、吴咸和大女儿王荻地）延安文艺是20世纪中国文艺发展的高峰之一，产生了《黄河大合唱》、歌剧《白毛女》、平剧《逼上梁山》与延安版画等诸多创作。近年来，有关延安文艺的研究认为文艺主流思想或语言风格的变化，有时不会即刻与时代及政治同步，这正是由于艺术创作的延续性与文化的相对封闭性，因此艺术史研究不能完全以政治事件节点作为划分节点。王式廓为山东人，1932年入北平美术学院，1933年到国立杭州艺专学习西画，1934年到上海美专西画系研究进步木刻，1936年考入东京美院。在多所美术学校学习。1937年“七七”事变，王式廓毫不犹豫退学回国参加抗日活动，创作了大量抗日宣传画。1938年，他在延安鲁艺担任教员兼研究员，1942年加入中国共产党。在延安是他艺术生涯比较稳定，比较突出的创作时期。1932年国立北平大学艺术学院学生，后排右6王式廓王式廓《台儿庄会战》油画 1938年王式廓《鲁艺美术系四期学员吕琳》泥塑 1941年抗战胜利，他随着鲁艺转战，接着转入北方大学与华北大学。新中国成立后，他创作了油画《参军》、《井冈山会师》、《毛主席和我们在一起》及大型素描《血衣》等作品，成为中央美术学院研究部主任、院党委委员，其创作深刻影响了中央美术学院的教学与创作。1973年5月23号，他在河南农村深入生活，为《血衣》油画搜集素材，逝世于画架前，享年62岁。王式廓去世前的最后一张照片王式廓为完成油画《血衣》在巩县所画的最后一幅画在王式廓人物生平介绍的铺垫之后，殷双喜教授开始探讨《改造二流子》的研究意义。《改造二流子》是延安版画的代表作，也是王式廓艺术创作史上最重要的早期代表作品之一。在今天看来，《改造二流子》是一幅难得的历史题材创作，其中蕴含着丰富的文化与社会信息，是延安时期中国共产党探索社会改造、提升执政管理能力的重要见证，研究这幅版画作品也有助于我们认识现代中国的社会发展和主题性美术创作。王式廓《改造二流子》木刻 17.2×26.4cm 1943年讲座由此进入第二部分，殷双喜教授从延安鲁艺、延安文艺座谈会、延安木刻、延安大生产运动等事件切入，让观众进入20世纪40年代延安的历史语境中。在全民抗日的热潮中，王式廓没有忘记艺术根本问题的探求，艺术家除了积极参加抗战的宣传活动，如何能够提高艺术创作的内在质量，提升艺术作品的品质？如何处理艺术与生活的关系？殷双喜教授提到，正是在延安的生活与学习，使王式廓找到了此前困惑他的艺术创作的根本问题，即艺术创作的基本动力，是来自某一时期政治、政策的命题要求，还是来自生活给予艺术家的重大影响和人民的迫切需要？艺术如何更为生动、更为准确地呈现时代发展的真实面貌？1937年初到1940年底，通往延安小路上，许多青年知识分子长途跋涉奔赴延安。右：1938年4月10日鲁迅艺术学院开学典礼，毛泽东与鲁艺师生合影，背后为延安城里的基督教浸礼会礼拜堂，鲁艺学员常在此上大课。图右远处为延安宝塔。殷双喜教授从大量文献出发，对延安鲁艺的创立缘起、教育方针与课程设置等进行了全面介绍。1942年鲁艺学员在自己挖建的窑洞画室上素描课同年王式廓在鲁艺美术系上课1942年5月，中共中央在延安召开了文艺座谈会，毛泽东在会上发表了《延安文艺座谈会讲话》。这次会议和毛泽东的讲话，对于抗战时期中国文艺的发展和中国共产党执政后的新中国文艺十分重要，《延安文艺座谈会讲话》奠定了中国共产党的文艺方针，对中国文学艺术的发展具有深远的指导意义。《讲话》紧紧抓住文艺与人民的关系，提出了“人民文艺观”的三大要点。《延安文艺座谈会讲话》拉开了文艺界整风的序幕，是延安整风运动的一部分。1942年5月23日延安文艺座谈会后合影及名单接着，殷双喜教授聚焦于延安木刻艺术，提到有关中国共产党领导下的延安及陕甘宁边区的新生活、新气象，在20世纪30、40年代的延安木刻艺术中，得到了充分的反映，并且在国际上产生了较大影响，曾两次赴苏联展出。延安的木刻、年画作品，如《积极养鸡增加生产》（罗工柳）、《拥护咱们老百姓自己的军队》（古元）、《丰衣足食》（力群）、《改造二流子》（王式廓）等作品。古元《减租会》1943年彦涵《给农民治病》14.3×21.3cm 1943年而有关延安大生产运动的介绍，让现场观众的视角回归到更大的时代背景下。殷双喜教授主要阐述了劳动生产如何既创造物质财富也改造和教育人，运用丰富的文献对陕甘宁边区的经济生活进行了生动描述。希望大家从历史的角度理解《改造二流子》创作的时代背景。鲁艺师生参加大生产运动 1942年1943年11月26日，陕甘宁边区第一届劳动英雄模范生产工作者代表大会及第三届生产展览会举行开幕典礼，出席代表185名，林伯渠主席致开幕词。在对大生产运动中的“二流子”现象的分析之后，接着，殷双喜教授探讨了对《改造二流子》的再研究，从二流子的定义、时代背景出发，将《改造二流子》与其他相同主题作品对比，深入挖掘形象塑造的生活依据，例如由“斗争二流子”至“改造二流子”的改变，使得王式廓在构图上进行了调整。随后，由作品分析又再次回到时代背景中，阐述了《改造二流子》如何体现延安改造二流子运动的成功之处。殷双喜教授认为，二流子改造运动是陕甘宁边区社会教育的一部分和一项社会运动，陕甘宁边区对二流子的成功改造是一个奇迹。最后，殷教授联系新中国成立以后对于农民与劳动的视觉表现，讲述了作品背后贯穿至今的劳动光荣的精神,并列举了教育部关于开展中小学生劳动教育的新闻，强调了劳动在当下社会的重要意义，《改造二流子》在当下依然有着重要的历史意义。王式廓《改造二流子草图—劝说》王式廓《改造二流子》套色木刻 17.2×26.4cm 1947年中国美术馆藏最后，中央美术学院美术馆直属党支部书记韩文超对殷双喜教授运用完整系统和大量史料呈现的精彩讲座表示感谢，特别提到殷双喜教授带领我们不光以《改造二流子》这个作品为切入点了解了作品本身，更是在时代背景的精心梳理下，把延安文艺座谈会整个背景，甚至把延安鲁艺的红色血脉、红色基因做了讲述，这是一个完整的红色革命教育和校史教育，并再一次感谢了殷双喜教授。“图示新探：延安文艺座谈会讲话与现实主义艺术”系列学术讲座主办：中央美术学院美术馆直属党支部召集：韩文超执行：刘希言、李垚辰、胡晓岚、闵志伊
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: Closing Notice

2022-11-23

Closing NoticeAccording to the epidemic prevention and control work of Beijing, CAFA Art Museum will temporarily close from November 22, 2022 until further notice. We apologize for any inconvenience.CAFA Art MuseumNovember 22, 2022
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: 讲座预告 | “全球史与跨文化艺术研究前沿系列讲座” 11月开讲

2022-11-16

全球史与跨文化艺术研究前沿系列讲座主办：中央美术学院美术馆、中央美术学院丝绸之路艺术研究协同创新中心、中央美术学院人文学院协办：跨文化艺术史四季学堂总策划：李军、张子康、岳洁琼统筹：黄小峰、高高执行：任蕊、刘希言、郑伊看时间：2022年11月21日-11月24日，18:00-20:00地点：腾讯会议 546-1254-1659扫描二维码进入腾讯会议系列讲座简介为直面全球化思潮、服务国家文化软实力提升，中央美术学院在“双一流”建设中，将跨文化美术史确立为美术学学科建设的重点领域。跨文化美术史强调从跨越空间和媒介的视域出发，探寻艺术的文化语境、图案的生成机制以及不同文化艺术间的交互影响，追踪人类命运共同体的历史建构过程。近年来，在中央美术学院的教学课堂之外，包括美术馆、丝绸之路艺术研究协同创新中心、人文学院等学院部门也致力于搭建面向社会的交流平台，开设包括“秋季学堂”在内的系列讲座，邀请著名学者或文化界人士参与讲授和主持，与公众分享跨文化美术史研究的方法与视野。本次系列讲座邀请了四位在跨文化研究领域有卓越探索的学者，分享从中国视角出发、介入全球史研究的最新成果。系列讲座时间安排第一讲：11月21日（周一）18:00主题：作为方法论的全球史与跨文化研究主讲：李雪涛（北京外国语大学历史学院院长/全球史研究院院长，教授、博士生导师）主持：李军（中央美术学院人文学院院长，教授、博士生导师）第二讲：11月22日（周二）18:00主题：观音菩萨观念、崇拜与仪轨在欧亚大陆的跨文化传播与演变主讲：沈卫荣（清华大学中文系、清华人文社会科学高等研究所教授）主持：王云（中央美术学院教授、博士生导师）第三讲：11月23日（周三）18:00主题：地域与风格——亚欧大陆早期黄金艺术与技术主讲：苏荣誉（曾任中国科学院传统工艺与文物科技研究中心主任，教授、博士生导师）主持：贺西林（中央美术学院教授、博士生导师）第四讲：11月24日（周四）18:00主题：从“东方”意象、东方之“子”到人类之“树”——达芬奇与“东方”问题再研究主讲：李军（中央美术学院人文学院院长，教授、博士生导师）主持：黄小峰（中央美术学院人文学院副院长，教授、博士生导师）系列讲座内容详情第一讲：作为方法论的全球史与跨文化研究主讲内容全球史不仅仅打破了民族国家的界限，以跨国家、跨地区的历史现象作为其研究对象，同时在研究方法上也突破了以往经常被运用的比较研究，将研究对象至于广阔的相互关系和互动的网络体系之中，从而实现了从整体观和互动观来更好地理解历史。知识迁移史（history of knowledge transfer）、纠缠史（entangled history）和关联史（connected history）让我们舍弃比较研究中的“目的论”与“虚构的主题性”的不足，运用全球“关联性”的方式，对各种文化中心主义保持反省的态度。在新的跨文化理论中，文化并不是作为可以相互划分的单位而存在的，而是将外来的东西和自己的东西相互交错和融合而形成的动态实体，它由于历史或文化间的变化而处于不断变化之中。而“transculturation”（文化互化）则描述了一种文化融合和交汇现象，特别强调随之而来的创造新的文化现象（新文化）的想法，其中“互化”被理解为产生全新的东西。演讲者将以丰富的事例对上述理论问题予以阐释。主讲人简介李雪涛李雪涛，北京外国语大学教授、博士生导师，德国波恩大学文学硕士、哲学博士。主要从事全球史、德国哲学以及中国学术史的研究。现任北京外国语大学历史学院院长/全球史研究院院长，东亚文化交涉学会（大阪，2017-2018年度）会长以及中国中外关系史学会（北京，自2017年）副会长。主编的刊物有：《全球史》、《寻找》、《东亚文化交涉学刊》（英文）等。有论著、译著、编著多种出版，现主持37卷本《雅斯贝尔斯著作集》中文翻译工作。主持人简介李军李军，中央美术学院人文学院院长、教授、博士生导师，文艺复兴艺术史学者，跨文化艺术史家。兼任国务院学位办第八届艺术学理论学科评议组成员、中国紫禁城学会理事、中国美术家协会理论委员会委员。巴黎第一大学、法国国家遗产学院、哈佛大学艺术史系高访学者，哈佛大学佛罗伦萨文艺复兴研究中心客座研究员，意大利博洛尼亚大学客座教授。出版专著《跨文化的艺术史:图像及其重影》、《可视的艺术史：从教堂到博物馆》、《穿越理论与历史：李军自选集》、《出生前的踌躇：卡夫卡新解》、《家的寓言：当代文艺的身份与性别》，译著《宗教艺术论》、《拉斐尔的异象灵见》等。主编《跨文化美术史年鉴》、《明日·艺术史文库》、《达·芬奇全集》等丛书；论文和著作获第七、八届高等学校科学研究优秀成果奖（人文社会科学）三等奖、一等奖，第五届中国出版政府奖提名奖，第二十九届“金牛杯”美术图书奖金奖。第二讲：观音菩萨观念、崇拜与仪轨在欧亚大陆的跨文化传播与演变主讲内容本讲座想要尝试打破印度、汉传和藏传佛教之间早已被人为地建构起来的种种界定和壁垒，重新把印度佛教、汉传佛教和藏传佛教视作一个整体的、连续的和不断发展变化的宗教传统，从而尝试从整体的、内在的和历史的视角出发，来开展汉藏佛教比较研究。具体来说，我们尝试从对汉藏、显密佛教之义理和修持传统本身的探究和比较，来考察它们的共通和不共之处，并观察和建构显密佛教之思想和实践是如何从同一源头出发，进而不断变化发展，最终形成各种不同传统的历史轨迹。本讲座想通过对观音菩萨信仰在汉传佛教和藏传佛教两种不同传统中的表现形式和特点进行分析和研究，尝试向读者表明汉传佛教和藏传佛教中观音崇拜在哪些地方是一致的，哪些地方它们又是不一样的，又是什么原因导致了它们之间会出现这样的异同？然后，我们再来考虑同样是观音菩萨信仰，为什么汉传和藏传之间会有这么多不一样的特点和形式呢？从而不再在印度、汉传、藏传、显教和密教等诸多传统之间人为地设立一条不可逾越的鸿沟，期待汉藏、显密佛教从此能够走上一条相互间更加理解、更加圆融的美美与共和健康发展的道路。主讲人简介沈卫荣沈卫荣，现任清华大学中文系、清华人文社会科学高等研究所教授、中国民族史学会副会长、中国少数民族文学研究会副会长、中国元史研究会副会长、中国蒙古学研究会副会长。历任哈佛大学印度梵文研究系合作研究员、德国洪堡大学中亚系代理教授、日本京都大学文学部外国人共同研究员、普林斯顿高等研究院研究员、柏林高等研究院研究员、中国人民大学国学院教授、西域历史语言研究所所长、汉藏佛学研究中心主任。2013/14年度教育部长江学者特聘教授。专业方向为西藏历史和汉藏佛教语文学。代表作有《西藏佛教历史的语文学研究》（上海古籍出版社，2010 年）、《想像西藏》（北京师范大学出版社，2015年）、《文本与历史：藏传佛教历史叙事的形成和汉藏佛学研究的建构》（北京大学出版社，2016年）、《回归语文学》（上海古籍出版社，2018年）、《大元史与新清史》（上海古籍出版社，2018年）和《从演揲儿法中拯救历史：元代宫廷藏传密教史研究》（中华书局，2022年）等。主持人简介王云王云，中央美术学院教授，博士生导师。从事东方美术史、佛教美术史教学与研究，代表研究有《圣哲的衣装——半偏袒式袈裟溯源》《关于印度早期佛塔象征含义的思考》《日本园城寺藏〈五部心观〉》等。2004年获日本神户大学博士学位。2005年至今就职于中央美术学院人文学院。2002-2004年任日本京都国际日本文化研究中心共同研究员。2012-2013年任印度新德里国家博物馆研究所访问学者。2019-2022年任复旦大学国土与文化资源研究中心客座研究员。第三讲：地域与风格——亚欧大陆早期黄金艺术与技术主讲内容亚欧大陆是人类文明的发祥地和主要文明发展、演化甚至衰落和中断的空间，历史上三大主要宗教：天主教、伊斯兰教、佛教-道家分别位于大陆的西、中、东部。人类走出非洲说认为现代人同源，但在不同环境下演变，并相互交流。本文以黄金为对象，以艺术和技术为切入点，讨论欧亚大陆早期对黄金的态度、表现和表达方式。明显的事实是，近东作为人类文明发祥地，黄金崇拜早在公元前第六千纪即已确立，中亚和北非踵其后，属同一系统；因此，基本以锻造、空心、镂空、箔金、焊接技术加工金器并用之于装饰。但东亚则不同。商周时代黄金出现较晚，数量相对甚少，且铸造成形，直至秦汉仍然如此。真正黄金崇拜可能萌生于东汉，经历魏晋而形成于唐代。此外，在早期东西交流史中，东亚的角色总是接受型而鲜见输出，黄金艺术和技术亦是如此。主讲人简介苏荣誉苏荣誉，1986年进入中国科学院自然科学史研究所工作。1997-1998年在柏林工业大学（TU-Berlin）哲学系作为高级访问学者，进行技术史研究。2000-2001年任华盛顿特区史密森学会（Smithsonian Institution）福布斯研究员（Forbes Fellow），在弗利尔艺术馆（The Freer Gallery of Art）和赛克勒艺术馆（The Arthur M. Sackler Gallery of Art）开展青铜艺术与技术研究。2001年晋升为研究员、博士生导师，任中国科学技术史学会常务理事兼秘书长，兼任北京大学中国考古学中心学术委员。2004年创设中国科学院文物科技与传统工艺研究中心并出任首任主任。2003-2012年几度在图宾根大学（Uni-Tübingen）、柏林工业大学、法兰克福大学（Uni-Frankfurt am Main）作为访问教授和客座教授进行学术研究或讲学。2017年作为客座教授在大英博物馆（British Museum）开展合作研究。研究方向为古代金属技术与艺术，涉及到的学科包括技术史、艺术史（艺术考古）、考古学、科技考古、文物保护等。先后出版专著、发表文章百余种。主持人简介贺西林贺西林，中央美术学院人文学院教授、博士生导师，中国考古学会理事。国家高层次人才“万人计划”哲学社会科学领军人才，哈佛大学艺术史与建筑史系访问学者。长期从事中国美术史、美术考古、中国古代视觉文化与物质文化教学与研究。完成国家和省部级研究课题4项，出版专著8部，发表论文30余篇，参编教材10部。代表作有《读图观史：考古发现与汉唐视觉文化研究》、《永生之维：中国墓室壁画史》（合著）、《中国美术史简编》[第三版]（合著，获首届全国优秀教材奖）。第四讲：从“东方”意象、东方之“子”到人类之“树”——达•芬奇与“东方”问题再研究主讲内容艺术史家肯尼斯•克拉克曾经指出，达•芬奇绘画中的某些部分“与（欧洲）古典绘画之间存在着巨大差别”，却与“伟大的中国绘画”例如陈容的《九龙图卷》有本质上的相似。事实上，除了世界地图和绳结装饰之外，达•芬奇作品中还流露出对于“龙”、“墙”、“云”等一系列极具东方神韵的艺术母题或意象异乎寻常的兴趣，那么，这些相似性仅仅是出于巧合，还是跨文化因果关系所致？此外，近些年西方学界关于达•芬奇是否是“东方女奴”之子的身世之谜，产生了激烈的争论。本讲座还将通过客观呈示对立双方论辩的论点、论据和论证，揭示相关西方学者立论背后隐匿的意识形态立场，并呼吁国际学界在这一涉及“东方”和人类命运共同体的重大问题上，能够超越日益加深的东西方隔阂和意识形态藩篱，发出公正和理性的声音。讲座认为，达•芬奇在精神的意义上有一个东方母亲，他自己正是人类之树上结出的伟大硕果。主讲人简介李军李军，中央美术学院人文学院院长、教授、博士生导师，文艺复兴艺术史学者，跨文化艺术史家。兼任国务院学位办第八届艺术学理论学科评议组成员、中国紫禁城学会理事、中国美术家协会理论委员会委员。巴黎第一大学、法国国家遗产学院、哈佛大学艺术史系高访学者，哈佛大学佛罗伦萨文艺复兴研究中心客座研究员，意大利博洛尼亚大学客座教授。出版专著《跨文化的艺术史:图像及其重影》、《可视的艺术史：从教堂到博物馆》、《穿越理论与历史：李军自选集》、《出生前的踌躇：卡夫卡新解》、《家的寓言：当代文艺的身份与性别》，译著《宗教艺术论》、《拉斐尔的异象灵见》等。主编《跨文化美术史年鉴》、《明日·艺术史文库》、《达·芬奇全集》等丛书；论文和著作获第七、八届高等学校科学研究优秀成果奖（人文社会科学）三等奖、一等奖，第五届中国出版政府奖提名奖，第二十九届“金牛杯”美术图书奖金奖。主持人简介黄小峰黄小峰，中央美术学院教授、人文学院副院长。主要研究方向为中国古代绘画史、书画鉴藏史。2006年至2008年间三度赴英国伦敦大英博物馆，对馆藏中国书画进行整理与研究。2010年获得美国哈佛大学资助，作为哈佛燕京学社2010-2011年度“艺术史项目”访问学者赴美访问。2014年获得香港北山堂基金资助赴费城美术馆研究馆藏中国绘画。2015年入选国家第二批“万人计划-青年拔尖人才”。著有《张萱<虢国夫人游春图>》《西园雅集：两宋人物画》《古画新品录：一部眼睛的历史》，于《故宫博物院院刊》《美术研究》《艺术史研究》《文艺研究》等学术刊物发表论文多篇。
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: A free survey to measure a sense of belonging at museums

2022-10-24

Not everyone wants to visit a museum, in part due to operational issues such as cost, location, schedule, while some even don’t reach the point of worrying about logistics, because the mere idea of visiting a museum makes no sense to them. For these people, museums are not part of their world.Attributing this mentality to the museums’ failure to create a sense of belonging for these people, leaving them systemically and socially excluded from the museums’ cultures, two researchers at the Museum of Science and Technology, Aaron Price and Lauren Applebaum, designed a research model to measure belonging for museums and cultural institutions. They believe that existing studies on museum inclusion tend to focus on staff culture and fieldwide attitudes, and there has been relatively less work listening to audience speak directly about their feelings and experiences of visiting a museum.The model includes three elements of belonging: inclusion (how a person feels included or excluded in different experiences), place belongingness and context of the visit. Researchers also present an easy-to-use survey instrument designed to measure all aspects of the model, named Cultural Institution Belonging Instrument.The model of belonging in museums and cultural isntitutions, designed by the two researchersThe researchers tested their new model and survey instrument with 333 guests leaving the Museum of Science and Technology to eventually prove its validity. They have made further plans to conduct three follow-up studies in the upcoming year, including a comparative study between eight science and art museums. What’s more, the researchers have generously published the survey instrument, including supporting documentation and tutorials online for free, so that other organizations may use the model to observe the sense of belonging they could offer to their visitors, so as to improve their service.Source | American Alliance of MuseumsAuthor | Aaron Price & Lauren Applebaum
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: The city of Basel is funding its museums to scour their collections for looted objects

2022-10-17

Museums in Basel, Switzerland are examining their collections for objects that may have been unethically sourced, as part of a new city-sponsored initiative. As a result, some of the items have already been marked for deaccessioning.The project was announced in September by the Basel City government, which has set aside CHF 250,000 ($250,000) from next year’s budget for the effort. According to cantonal president Beat Jans, the goal "is to gain clarity about the origin of our collections step by step and to communicate the research results transparently."A view of the anthropological collection of the Natural History Museum Basel. © Gregor BraendliProvenance research is already underway at some of the five Basel museums under the city government’s control. At the Kunstmuseum Basel, experts have learnt that an apocalyptic, late medieval-period print in its collection was "forcibly withdrawn" from the Josephine and Eduard von Portheim Foundation in Heidelberg during the World War II era.The museum has since agreed on a "just and fair solution" with the non-profit organization: title of the artwork will be transferred to the foundation, while the piece itself will stay on view at the institution via permanent loan.Meanwhile, the Natural History Museum Basel plans to return 12 skulls and a hair sample from Aboriginal people to Australia, making good on a repatriation request from the country’s government. The Basel Museum of Antiquities has reformulated its provenance research strategy directed toward increased transparency.The initiative arrives as European and US museums have begun to respond to calls for increased transparency surrounding acquisitions. In New York, a law passed in August requiring museums in the US to disclose if artworks on display every passed through Nazi hands.Source | artnet NewsAuthor | Taylor Dafoe
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: Virtual tours of art exhibitions benefit greatly to the elderly’s health, study demonstrates

2022-10-08

Museums are increasingly adopting novel ways such as virtual participatory art education to attract audiences. But this is not only a practice relevant to Gen Z audience. According to the results of a study, virtual museum visits can also contribute positively to the seniors’ health.The research, developed by researchers at McGill University in Montreal, Canada, and released in mid-August in the medical journal Frontiers of Medicine, found that seniors who visited museums virtually showed considerable improvements to their mental, physical and social health.The study compared two groups of community-dwelling seniors in three months, with one group engaged with interactive art activities at the Museum of Fine Arts in Montreal and one didn’t.The research team discovered palpable health benefits in the first group. Weekly 45-minute virtual tours, along with a 15-minute period for questions and answers at the end, showed improvements in feelings of social isolation, well-being, frailty assessments, and quality of life."Art-based activity may be an effective intervention," said Olivier Beauchet, lead author of the report and a professor at McGill. “On a global scale, this participatory art-based activity could become a model that could be offered in museums and art institutions worldwide to promote active and healthy aging.” Currently, there are already some initiatives that target museum outreach to the elderly. For example, the E.A. Michelson Philanthropy initiative has previously donated $15 million to different creative aging programs targeted at those 55 and older across the US, to support some of the best museums in the country, such as the Fine Arts Museums of San Francisco, the Brooklyn Museum, etc. “Sharing a quality art-making class with other people gives the adult an opportunity to meet new people and to connect with these people around a common experience,” said founder of the E.A. Michelson Philanthropy Ellen Michelson.Source | artnet NewsAuthor | Dorian Batycka
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: Citing copyright concerns, Getty Images bans AI-generated content

2022-09-27

While artificial intelligence (AI) image generators such as DALL-E and Midjourney has opened a new world of visual potential, they also opened a new world of potential legal complications. Looking to get ahead of problems before they begin, Getty Images, one the world’s largest supplier of stock photography, has just banned the upload and sale of all content generated using AI art tools.It only takes the technology a few seconds to generate images of a variety of styles, which can sometimes look very realistic. But what is the source material for these AI bots? Most of the time, it’s being scraped and remixed from the work of human artists, who upload their work on the Internet to connect with audiences and potential buyers. Not only do some see this as disenfranchising to artists who have worked hard to develop a personal brand, but it also presents legal quicksand for image sites that decide to trade in AI-crafted content."Effective immediately, Getty Images will cease to accept all submissions created using AI generative models (e.g., Stable Diffusion, Dall-E 2, MidJourney, etc.) and prior submissions utilizing such models will be removed," reads a statement issued by the company recently. "There are open questions with respect to the copyright of outputs from these models and there are unaddressed rights issues with respect to the underlying imagery and metadata used to train these models."French collective named OBVIOUS produced this piece of painting titled "Portrait of Edmond de Belamy" using AI. The piece was sold for $432,500 at Christie's in New York in 2018. via Arts TechnicaGetty’s decision to remove and limit such content coincides with equivalent measures being instituted by image sites like PurplePort. "Our entire purpose is to bring creatives together into a safe, honest and vibrant community to create fantastic images, and so the use of 100% machine-generated images, whilst an incredible breakthrough, is not something that helps our community," reads a September 14 statement by PurplePort CEO Russ Freeman about banning AI art on the site.Speaking of how to avoid AI content being uploaded to the platform, Getty Images CEO Craig Peters said that it’s working with C2PA (the Coalition for Content Provenance and Authenticity) to create filters screening for AI content, and it will also rely on users to identify and report such images.Source | HyperallergicAuthor | Sarah Rose Sharp
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: The National Museum of Brazil unveils the first stage of its restoration project

2022-09-19

The National Museum of Brazil in Rio de Janeiro has unveiled the first phase of a phoenix project this week nearly four years after a fire gutted the historic institution and consumed most of its collection.The museum had hoped to open one wing of the building in time for the Brazilian bicentennial of independence on 7 September but faced various financial and pandemic-related delays. Till now, the Rio de Janeiro-based firms Velatura Restaurações and Construtora Biapó have completed the restoration of the museum’s façade. The full building is now tentatively scheduled to reopen in 2027.The museum had been underfunded and vulnerable to fire for years. After a series of warnings, an overheated air-conditioning unit caught fire on 2 September 2018 and quickly spread throughout the 122-room building. Within two hours, the museum itself, and more than 18 million pieces in its archive, had been destroyed. Only around 50,000 objects were recovered from the fire, including, fortunately, the 12,000-year-old skull nicknamed "Luzia", the oldest human remains discovered in South America and a cornerstone of the museum’s collection.The museum’s director, Alexander Kellner, was appointed to the role around six months before the fire struck. “Of course, this is not something that anyone would like to happen in their career—I will go down in history as the director of the museum that caught fire,” he tells The Art Newspaper. “But as long as my health allows I’ll work to recuperate the museum because overcoming this tragedy can perhaps be an inspiration for other struggling museums in Brazil and throughout South America.”The São Paulo-based firm H+F Architects, led by Eduardo Ferroni and Pablo Hereñu, has overseen the interior renovation since 2020. According to Hereñu, the fire created a “violent intervention”, making visible parts of the building that would not have surfaced during a normal renovation.Originally the home of the Portuguese slave trader Elias Antônio Lopes, the building became the residence of the Portuguese royal family in 1808 before becoming a museum in 1892. Throughout the process, it was remodeled and rebuilt and expanded several times. “Some of these layers have been hidden for more than a hundred years,” Hereñu says.Once the renovation is complete, the architects hope the history of the building will be more visible. “We would like to make it easier for visitors to read this timeline through the building itself—to reveal the contradictions that exist here,” Hereñu says.When it reopens, the museum will inescapably be more modern. “We are attempting to conserve everything that survived. But, in many situations, everything was destroyed,” Hereñu says. “There will be a more contemporary atmosphere, with a mixture of elements conserved and restored.”As Brazil seeks to re-establish its cultural identity through the restoration of its most significant institution, Kellner emphasises that it “needs to deserve this new material”, and it will “only prove that we deserve the materials if we rebuild the palace with the best safety measures in place”.Source | The Art NewspaperAuthor | Gabriella Angeleti
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: Carefully worded new definition of "museum" released

2022-09-08

A near-unanimous vote by members of the International Council of Museums (ICOM) has officially replaced its standing definition of a “museum” with a more contemporary one. The new definition introduces terms like “accessibility,” “inclusivity,” “diversity,” and “community,” marking a more horizontal and democratic conception of the modern museum.ICOM’s definition of museum was last updated in 2007 during General Assembly conference in Vienna. But since 1974, modifications to ICOM’s definition have been relatively minor. The new definition now reads:"A museum is a not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing."In this new definition, it is stressed that the museum, in addition to being “open to the public,” is “accessible and inclusive,” with the stated aim of facilitating “diversity and sustainability.” For the new museum, “tangible and intangible heritage” is “collected,” not “acquired”; “interpreted,” not “explained,” or “communicated.” The museum’s raison d’etre is formulated as “reflection and knowledge sharing” over “study.” Each of these subtle shifts signals that the museum world is moving towards a model wherein it occupies a node in a more level network of people and institutions rather than a neutral position of privileged authority and significance.ICOM’s definition often determines the definitions national governments use. This could in turn influence how organizations are taxed, fundings they are qualified to receive, and whether they receive heritage protection status.The new definition puts an end to a lengthy 18-month participatory process that involved 20 ICOM Define committee members and over 120 national committees globally. The committee’s work began in 2019 when a controversial definition proposed at a conference in Kyoto was not adopted, as some people questioned the definition to be stuffed with politically charged fragments such as that museums should be “democratizing, inclusive, and polyphonic spaces for critical dialogue about the pasts and the futures,” and that they should aim “to contribute to human dignity and social justice, global equality and planetary wellbeing.”Regarding the newly released definition, although some voiced dissatisfaction that it is not as transformative as they wish it to be, there are also voices like Inkyung Chang, director of the Iron Museum in Seoul, Korea, that "while it’s not strong enough…you can do strong things in your museum."Source | HyperallergicAuthor | Jasmine Liu
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: The National Gallery offers its first immersive experience in Roblox

2022-08-29

In April 2022, the National Gallery in London released its first augmented reality experience. The free mobile-based The Keeper of Paintings and the Palette of Perception invited young visitors on an AR-powered quest through the institution the locate the lost "Palette of Perception". Guided by the "Keeper of Paintings", players were asked to solve puzzles, uncover secrets, and collect gems related to works in the galleries, effectively immersing themselves in the National Gallery’s collection.Three months later, the onsite experience has now gone offsite. It is adapted as an at-home experience on the virtual gaming platform Roblox, continuing to entertain, educate and interact with kids even when they are not physically in the museum.In the Roblox game titled The Keeper Council, participants are sent on a quest to collect paintings, which they can then use to curate their own galleries. Under the game’s magic world style visual and sound design, the exploration of museum feels like an adventure.The offsite and onsite immersive programs are built out by digital studio Arcade and co-created with children, with help from researchers at Royal Holloway and Brunel Design School. Throughout design and development, which reportedly began during the pandemic, schoolchildren from London, Brighton, and Bournemouth were consulted about gameplay and enlisted to test The Keeper Council. “The way the project has evolved with the children through the design process,” noted Lawrence Chiles, Head of Digital at the National Gallery, “is really special.”Roblox has seen an influx of projects as the metaverse has boomed. In 2021, it has already teamed up with the Museum of Science on a game in which players could role play as astronauts to explore the moon, Mars and the international Space Station. As an open-source gaming platform that everyone can make its own world, Roblox represents an opportunity for organizations to create educational and interactive programs with gamified elements to reach digital natives.Source | Jing Culture and Commerce
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CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.