1950年的《开镣》与“美院” | “胡一川艺术与文献展”闭展倒计时

站在人生的前线——胡一川艺术与文献展

- 2020.11.18—12.23-

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由中央美术学院、广州美术学院主办的“站在人生的前线——胡一川艺术与文献展”正在中央美术学院美术馆展出。展览以聚焦胡一川不平凡的人生历程和艺术历程为内容,展示了胡一川各时期重要油画、版画具有代表性的作品和珍贵文献约500余件,共分为五个板块,从口述史、美术作品、美育文献、人生抉择等方面进行切入,多角度展现胡一川“勇敢地跑到时代的前头当旗手”的人生追求。我们将循着展呈顺序,按版块,以图文的方式,进一步梳理胡一川与展品,展品与时代之间的关系。


“当时,我住在煤渣胡同。《开镣》就是在这个小房子中搞出来的。《开镣》表现全国人民解放的心情。选这个题材,因我有亲身体会,1933年我曾蹲过国民党反动派的监狱三年,同时,我也访问了许多从牢房中出来的同志,才画出来的。但此画并没有画完,为了开展览会就急着拿走了。郭沫若、郑振铎等看了都说好,苏联的阿·格拉西诺夫也表扬我。我技巧有限,知道自己的水平。但我知道油画在群众中是有影响的。”[1]

这是胡一川在1982年接受陶咏白女士采访时回忆创作《开镣》的片段。

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胡一川,开镣,1950年,北京,布面油画,174cmx244cm,中国国家博物馆藏

1950年暑假前后,胡一川利用假期业余时间,在当时所住的煤渣胡同美院教职工宿舍里,钉了一个两米多的油画框,绷上画布,在卧室床前画起了这幅最重要的代表作,也是新中国革命现实主义题材最具时代意义和精神价值的油画作品——《开镣》。

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1950年,胡一川一家在煤渣胡同家门口合影

1949年初,胡一川从天津调往北京,担任华北大学三部美术科主任,并负责集中美术科180多位美术创作人员,举办了一个短期训练班。经过半年培训,胡一川从这个班里带出40个人与徐悲鸿领导的北平艺专合并、组建中央美术学院。从1949年8月起,胡一川全心全意投入两校合并和美院建设的工作中。正如华天雪老师在《如何“坚决”,如何“稳步”——以胡一川、徐悲鸿为核心的华大三部美术系与国立北平艺专的合并问题》一文中所说:“历史就这样风云际会地为胡一川留出了整整两年介入央美的时机,也让央美‘遇到’了胡一川这样一位稳健的掌舵人。” [2]

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1949年,华大三部师生在北京草垛胡同开会,分队告别前的合影。一排右起:胡一川,王式廓,莫扑,金浪,张松鹤,洪波,辛莽;二排右起:王朝闻,罗工柳,邹雅,吴劳,卫天霖,吴一轲,江丰,邓野,谷首;三排右起:王淑芳,黄君珊,顾群,邓澍,白炎,吴咸,曹思明,张启,林岗,李本田,彦涵。

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1950年胡一川与徐悲鸿在徐家门口合影

1950年4月1日,中央美术学院成立典礼在王府井校尉胡同5号举行,当时的党组书记胡一川在成立大会上发言:“我们以新的立场、观点、方法,批判自己旧的思想感情、旧的艺术观点,建立新的为人民服务的革命人生观、艺术观,不然的话,艺术上的是非黑白问题,就没有一个明确的标准。如果不首先在方针上弄清楚,为谁培养人才,培养什么样的人才,为谁画画,画什么,怎样画才能为广大人民所接受、喜爱和有深刻的教育意义,那么他的为人民服务的革命人生观是空的。”[3]

胡一川在中央美术学院成立大会上的讲话手稿

胡一川的前半生与国家苦难命运相守同行,在革命工作中、在抗战生活中,不断收集素材、整理思路、创作作品,执着坚守着宝贵的革命理想和艺术追求。当国家解放举国欢腾之际,他抑制不住对于“解放“和”自由“的激动情绪,对于歌颂革命先辈和群众战士的热切愿望,特别是对于自己个人经历和情感的创作表达,所以他一进北京城就开始构思这幅《开镣》。

1933年,胡一川因为从事木刻和革命活动而被当局逮捕,在国民政府的监狱里被关押了3年,由于领导狱友为改善生活而进行罢饭斗争,结果被钉了40天的脚镣。他曾向学生们回忆,永远“忘不了当年自己被打开镣铐时‘铿’的一声,‘多好听呵,多美呵’”。[4]

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《开镣》局部

30年代起,左翼文艺青年胡一川就切身感知到“开镣”和“解放”所迸发出的力量。革命路上,他以此作为信仰,通过真挚情感和实际行动去完成这最质朴的“目标”。不论是为抗战与爱人分离后的那份坚守,还是看到革命者为自由牺牲的那份感动,都一直推动着他对“开镣——解放”这个题材的思考。“对于那一代经历过白色恐怖考验的革命美术家而言,‘开镣’打开的不仅仅是受关押者的脚镣,更是为他们带来了自由与解放,这是人民的胜利,也是革命者的胜利。”[5] 

“风在吼,浪在叫”,这是中国民族解放的先声,这是弱小民族被压榨的必然的反应。[6]

——胡一川日记1937年8月17日


“3[7]啊,如果不是为了全人类争取自由解放,我们总不至于这样逐年逐月的含辛茹苦,那恶魔般的寂寞更不至于整天缠绕着你和我啊。”[8]

——胡一川日记1942年3月10日


“店员告诉我,当八路军进城不久,监狱就被解放了,犯人也放出来,有些犯人在肩上还拿着脚镣,是八路军怎样解放人民的痛苦。”[9]

——胡一川日记1946年10月15日


“一九四九年是中国人民翻天动地求得彻底解放的一年,我的创作事业从今天起也应有一个新的气象。”[10]

——胡一川日记1949年1月1日

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胡一川日记 1949年1月1日

1950年,作为合并筹委会党组重要成员、中央美院党总支书记的胡一川应该是最为忙碌而紧张的,甚至他一直坚持记日记的习惯也被迫暂停。当年,胡一川没有留下任何关于《开镣》创作前后的文字,但我们仍能从他密密麻麻的报告手稿和工作笔记中一探当时复杂的创作环境,也能从他晚年简短的回忆和旁人口述中得到点滴细节。

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1950年胡一川工作笔记本

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1950年暑假前,胡一川作《下工厂的动员讲话》手稿

1950年4月1日,中国美协通过《人民美术》发出全国美展创作通告,也为筹备去苏联的《中国艺术展览会》向全国征集作品。5月底中央美院完成文化部下达的革命历史画创作任务,根据《人民美术》杂志的报道,其中有徐悲鸿《人民慰问红军》(油画)、王式廓《井冈山会师》(油画)、李桦《过草地》(套色木刻)、冯法祀《越过夹金山》(油画)、董希文《抢渡大渡河》(油画)、艾中信《一九二〇年毛主席组建马克思小组》(油画)、夏同光《南昌起义》(油画)、蒋兆和《渡乌江》(水墨画)、周令钊《鸦片战争》(油画)等,但是胡一川的《开镣》并没有在这里出现。[11]在此后《人民美术》编辑部组织的历史画作者座谈会等活动中,也未见胡一川的名字。因此,胡一川应该是在看到文化部艺术局关于征集赴苏联举办《中国艺术展览会》的现代美术作品通知之后,主动地、相对独立地完成了《开镣》的创作。

“他在牢监里头一直在口袋里默写那些监狱里面的形象,就是用手在那个裤子口袋里面默写牢友的形象、钉镣的方式。一直把形象记在心里,直到解放后将早已打好的腹稿实现出来。”

——大女儿胡珊妮口述父亲的回忆


“他画画就在卧室里头,整天扭巴扭巴可有意思了。然后画两笔,拿着那个碳条,画的真快,画完了倒着走,晃悠悠……他是这样的,画画在这边,扭着扭着他就扭到那边的窗户,完了再过来,这儿不合适,拿那个馒头扣过来,使馒头擦。我妈妈说就不愿意给他馒头,挺好的馒头都给尅尅弄成墨了。”

——2013年,谢秀英(当年在胡家照顾孩子的保姆)口述[12]


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2013年,谢秀英口述胡一川

“胡一川画这张画完全都是业余的,饭前饭后、礼拜天,我给他做模特儿,不知道他请别人没有,反正我去了两三次,我挺清楚的,然后他弄完,特别喜欢。当时去学习嘛,反正就是学习,我看他画的。

构图都有了,初步第一道颜色也涂得差不多了,涂满了。这个脸怎么画,找个模特儿,我就站在那儿,主要的是画衣纹,我需要穿上衣服(军装)。他的风格是画的大块的,小细节他不喜欢画,你看他那个延安版画,多有意思,他是那种风格,他性格也是。

画得很真实,很感人,后来一看这个气氛很感人,因为他坐过牢,知道什么气氛,什么感觉,他这种气氛完全是从内心里面表现出来。”

——2013年,林岗先生口述[13]

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2013年,林岗口述胡一川

《开镣》再现的是解放军攻破城关,第一时间找到牢房,甚至来不及放下行囊,敲开铁镣,解救革命同志的情景。在画面中,由左右两束相对独立的光源——油灯,投映出画面叙事的多个视觉焦点:“解镣”、“被解镣”、“握手迎接”。画面背景又开另一个视角——“打开的牢门”,安排了解救和簇拥的场面。这些人物个性并不突出,但却有明确的指代意义,是匿名的、符号化的战士和同志,是群众熟悉的人,同样的处理手法也曾出现在胡一川早期的版画作品中。为了强化叙事性,胡一川还有意识地对《开镣》中的镣铐、红军战士佩戴的驳壳枪、斗笠、手榴弹、军号、五星红旗、油灯等标识性物品进行刻画,对握手、挥手、搀扶等动作加以强调,突出身临其境的现场感和叙事性。而画面带着舞台剧场效果的光感,更营造出一种发自内心的温暖和感人的氛围。

《开镣》局部

胡一川在家里画《开镣》时没有太多人知道。有一天徐悲鸿先生到家里谈事情,才发现了这幅画。“徐悲鸿先生觉得非常惊讶,而且觉得很震撼,立即把《开镣》推荐给正在北京拍《锦绣河山》纪录片的苏联摄制组。虽然当时画还没有画完,但他们还是马上拿去拍摄,拍完后就把画直接送去参加故宫举办的展览,其实徐悲鸿先生介绍去的这幅《开镣》完全不是计划内的一个”(女儿胡珊妮口述)。

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50年代上海青年会电影院上映的《锦绣河山梗概》

在故宫举办的展览正是万众瞩目将赴苏联展览的《中国艺术展览会》预展,展期为1950年7月29日至8月5日,共展出1200多件作品,包括古代文物、现代工艺品、现代美术作品及解放战争和生产建设的照片等四大部分。经过预展,文化部根据有关意见作了适当的筛选,最后确定600件古代文物和近500件现代艺术品运往苏联,并于10月1日在莫斯科国立特列加科夫艺术馆正式开展。负责此次运送和展览会布置的是文化部文物局副局长王冶秋、中央美术学院教师彦涵、戴泽等5人。

1950年7月27日,胡一川参加《中国艺术展览会》预展的故宫出入证 

1950年,俄文版《中华人民共和国艺术展览会》画册,胡一川研究所藏

胡一川的油画《开镣》是赴苏展览中现代美术作品较为突出的一件,受到苏联专家和艺术家的关注和赞扬。苏联美术研究院院长A.格拉西莫夫认为:“在画家胡一川的《开镣》的画中,解放者们及被解放者们的喜悦,真实地在许多成功的细节中被描绘出来了。”[14] 巴伏洛夫在展览评论文章中特别提到:“在许多油画中间,令人不能忘记的一张是胡一川的《开镣》。构图中一个主要的身影——憔悴的囚犯,但是他的脸上闪耀着喜幸的微笑。人民解放军的一个战士搀扶着他,另一个紧握着拳头望着他的脸,第三个正锤击打开着他的脚镣。在这张画中包含着高深象征的意义。”[15]

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1950年《中华人民共和国艺术展览会》巴伏洛夫评论文章,胡一川研究所藏

1951年底《开镣》随《中国艺术展览会》巡展苏联和东欧国家后回到美院。胡一川在日记中曾提及,“当画没有回国前,徐院长曾提出由学校收藏此作,不要答应给旁人。但此事因徐院长生病而搁置。” 1952年9月,中央革命博物馆来信征求意见,长期借《开镣》给革命博物馆陈列。“我就给他们回了一封信,下午他们就派人来把画取走了。” [16] 油画《开镣》作为新中国革命历史题材的经典之作从此珍藏在中国国家博物馆(原中央革命博物馆筹备处),一直展示于公众面前。

经过将近70年光景,2020年的今天,《开镣》因为“站在人生的前线——胡一川艺术与文献展”在中央美术学院美术馆的举办,跟随“110岁的胡一川”终于回到了“美院”。《开镣》一定是胡一川在中央美术学院最珍贵也最值得骄傲的记忆,贯穿其在美院所有经历并实践着他对新中国美术教育及美术创作的深刻思考,因此这次“回校”,对“胡一川”来说更加意义深远令人欣慰。

 “……煤渣胡同六号中央美术学院教职员宿舍啊!我也舍不得离开你,一九五○年夏天,我曾在北房靠西的房子里画过《开镣》的油画。”[17]——1953年3月1日,胡一川在被调南下离开北京的火车上日记写道

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展览现场

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策展人曹庆晖老师为“站在人生的前线—胡一川的油画与文献”选取的章节文字

“我准备以我的全力用艺术的表现方式去赞美新的世界,新的事物,以我所能做到的主观力量去歌颂光明。

以照相的方式不能表达出我内心对于新社会新事物的热爱,以照相的方式也不能表达出我对于旧社会和敌人的憎恨。

你千万不要以照相的标准来评价一切艺术作品”

——胡一川日记1943年6月1日


  

文献整理及文字、图片提供

广州美术学院胡一川研究所、肖珊珊



注释

[1] 陶咏白:《胡一川:革命家·画家——1982年4月6日访谈随记》,《美术学报》2011年胡一川百年诞辰纪念专辑。

[2] 华天雪:《如何“坚决”,如何“稳步”——以胡一川、徐悲鸿为核心的华大三部美术系与国立北平艺专的合并问题》,《胡一川与新中国专题研究文集》,岭南美术出版社,2019年,第131页。

[3] 胡一川:《在中央美术学院成立大会上讲话》,1950年4月1日,手稿未出版。

[4] 梁明诚:《革命的艺术的人生——痛悼胡一川》,《美术》,2000 年第 9 期。

[5] 赖荣幸:《生活源泉与历史题材美术创作——从胡一川的〈开镣〉谈起》,《美术界》,2014年第 6 期。

[6] 胡一川研究室编:《红色艺术现场——胡一川日记(1937-1949)》,湖南美术出版社,2010年,第40页。

[7] 3,指黄君珊,胡一川的夫人。

[8] 同上,第298页。

[9] 同上,第447页。

[10] 同上,第467页。

[11] 李公明:《革命历史画创作中的“解放”与“自由” ——重读胡一川〈开镣〉》,《胡一川与新中国专题研究文集》,岭南美术出版社,2019年,第201页。

[12] “谢秀英口述胡一川”视频文字整理, “口述胡一川” — 广州美术学院2013年校级科研课题。

[13] “林岗口述胡一川”视频文字整理, “口述胡一川” — 广州美术学院2013年校级科研课题。

[14] 格拉西莫夫:《一个伟大民族的艺术——评莫 斯科中国艺展》,《文物参考资料》,1950年第10期。

[15] 巴伏洛夫:《中华人民共和国艺术展览会》,《人民美术》,1950年第6期。

[16] 1952年9月11日胡一川日记,未出版。

[17] 1953年3月1日胡一川日记,未出版。


参考文献

[1] 胡一川研究室编:《红色艺术现场——胡一川日记(1937-1949)》,湖南美术出版社,2010年。

[2] 陶咏白:《胡一川:革命家·画家——1982年4月6日访谈随记》,《美术学报》2011年胡一川百年诞辰纪念专辑。

[3] 赖荣幸:《生活源泉与历史题材美术创作——从胡一川的〈开镣〉谈起》,《美术界》,2014年第 6 期。

[4] 李公明:《革命历史画创作中的“解放”与“自由” ——重读胡一川〈开镣〉》,《胡一川与新中国专题研究文集》,岭南美术出版社,2019年。

[4] 华天雪:《如何“坚决”,如何“稳步”——以胡一川、徐悲鸿为核心的华大三部美术系与国立北平艺专的合并问题》,《胡一川与新中国专题研究文集》,岭南美术出版社,2019年。

[6] 胡一川手稿:《在中央美术学院成立大会上讲话》,1950年4月1日,未出版。


Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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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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